Kristen & Juliette Binoche cover Interview’s September 2014 issue!

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@interview_de “GET READY. one more week to go… #SEPTEMBERISSUE #interviewmagazine”

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INTERVIEW:

Seems like it was impossible to mesh aristocratic French actress, famous for her role in The English Patient, and American golden girl, famous because of her role in Twilight Saga. But French director Olivier Assayas managed to film them together. And it turned out to be so great, that critics in Cannes almost choked with delight. A woman with severe temper, Binoche, and flighty girl, Stewart, coalesced both in the movie and in real life. They’re not close enough for Kristen to call her new BFF at night, but close enough to ask her opinion and tell silly jokes without restraint. Even with witnesses during the interview.

J: Wow, your hair is so short!

K: A la Binoche. I’m trying to be more like you.

J: It suits you.

K: So, I’m supposed to interview you? Or we both supposed to interview each other? Listen, what if we imagine that we’re still on the set of Sils Maria?

J: Walking along the emerald meadows, sun is shining and fluffy clouds above us, we read Nietzsche…

K: …And we got lost!

J: No, we’re not!

K: No, but we weren’t there during filming either.

J: Ok, but we were pretending. It’s just we’re such incredible actresses (Both laugh)

K: You were skipping ahead of me like a mountain deer, and I was dragging my feet behind and complaining. It was awesome.

J: If only we didn’t have all these cigarettes and alcohol.

K: Right, you were always smoking and drinking.

J: But it wasn’t my idea! It’s all director’s fault. Olivier always was like, smoke just one or two. Or, drink just one glass, pleeeeeease! He thought that every aged actress behaves that way. But not me!

K: Still you smoked like a chimney and drunk non stop (Laughs)

J: It’s just a part of the act. Cigarettes and alcohol is such an old cliché. They cultivate talented people’s…

K: …weaknesses and vices, and an artist needs them to move forward.

J: Did you just say ‘vice’? Never heard this word used with this meaning.

K: It has a lot of meanings, from vice president to behavior. (Laughs) But seriously, I love that about our characters: they both live in a certain miserliness, closeness, and drunkenness helps to fill the void. By the way, after filming lots of our colleagues feel the emptiness and dive into bottle. This cliché is not far from the truth.

J: Are you serious? How do you know? (Laughs)

K: I don’t drink! I swear!

J: Ok, I just wanted to irritate you (Laughs). You’re right, my character goes through all the circles of Hell, and it’s hard. And alcohol helps her…

K: …To forget.

J: Yes, she doesn’t want to believe in everything that goes around and inside of her.

K: In whole it’s a very complicated internal drama: your character, Maria, became famous because of her role of young and charming, ambitious Sigrid, and 20 years later she should play her exact opposite – tired and aged actress.

J: And here’s the question: would you, dear Kristen, play my character, battered, old drunk, in your 24?

K: Umm… I’m not sure.

J: What? Wouldn’t want to?

K: When you look at me like that, I can’t say “no” (Laughs). But you have to agree, it’d be weird. If only we’d trade bodies.

J: Excuse me?!

K: Did I say something stupid again?

J: It’s nothing, forget it.

K: My god, how did I get to the point, where I imagined myself to be someone like you? You’re prefect! I’m so far behind. By the way, the movie is based on this: how a person sees themselves and their roles, and how other people see them. Do you remember our first meeting, Juliette?

J: You were hanging with your producer and a couple of friends at the terrace at Soho House in Berlin.

K: And suddenly: “Juliette Binoche is coming”.

J: By the way, I was extremely nervous before our meeting.

K: Really? I think I was nervous way more than you. When you walked in everyone jumped to their feet and I just froze and stayed in my place, alone. It was somewhat a formal meeting. I think we started to talk about our characters right away.

J: And I remember how you swung your leg the whole time then, just like you’re doing now.

K: It’s a tic of mine. (Laughs) It was right after I came to Berlin.

J: Right. Unlike you, I had a few days of acclimatization.

K: I almost died from the anxiety, and you say “leg”. By the way, did you get the chance to google me before our meeting?

J: Of course.

K: And?

J: I read a couple of your interviews, and decided that I like you. Besides, I saw On The Road, but refrained from Twilight.

K: Pfft… Admit it, you watched all parts and loved it.

J: I’m sorry, no. But in truth, it was because of Twilight I learned about you: the first time I saw you was on the poster in my daughter’s bedroom. It was such a shock (Kristen laughs). And at that meeting in Berlin you were hiding behind the door and scared me to death. But the ice has been broken.

K: And we talked a lot that day, and after our meeting I though, “Shit, there’s so much I didn’t tell this woman!” There’s something about you, Juliette, that makes a person open up right away. You’re easy to trust. How do you do that? This is a real gift. If we both weren’t so busy, I’d probably call you at night to ask for your advice in anything. Listen, did you think about how different our biographies are?

J: You’re a kid-movie star, schooled at home, first movie at the age of 9, Hollywood parents, blockbusters etc.

K: And you’re a sophisticated French woman, Catholic boarding school, which you decided to quit at 15 for work in Paris theatre, so you could play in Godar’s movie later.

J: Still we have something in common. Passion for cinema, people, but above all – for acting. It’s this fire inside of you that drew me in. Everyone’s searching themselves in something, and passion helps us to overcome the ever present difficulties. I wouldn’t be sitting here if I didn’t feel this passion now, 30 years later. It leads us through life.

K: Two flames that grow stronger when united. Ew, no, it sounds kinda dirty. But you’re right, this passion drives us, won’t leave us alone.

J: I find it funny that people think strong feelings can be overcome while you’re doing only art-house movies. Of course, give me the freedom, and I’d do art-house only. But the success of these movies is an incredible luck. So you have to learn how to juggle, to experience the whole range of feelings in every movie.

K: I also hate when people say, one role for yourself, one – for audience. Bullshit.

J: I agree.

K: Everything I do, I do for myself. Blockbuster, art-house or Chanel commercial – it doesn’t matter. It could seem that after a successful movie I can allow myself anything. And you know what? I can! It’s incredible: I can do anything I fucking want. Yes, I’m in this unconscionably privileged position. And I’m not ashamed.

J: Good.

K: I never have to beg for a role, I can get any role with a snap of my fingers, and I don’t have to fight and struggle on my way up, like some other actors. I imagine a huge map with lots of streets and roads, and the only thing I have to do – is choose, where do I want to stay. Every door is open for me. I had a conscienceless amount of luck in my life. And it’s enough to understand: I love to play in blockbusters because I know, everyone’d watch them, they attracts people, they’re easy to take and they’re enjoyable. I bet your son was delighted when he learned, that you’d be in Godzilla.

J: He was. Though I’ll never understand what do all these people do at the sets of high-budget movies. After all everything is the same: camera, director, a couple of words or sentences said by someone. But you’re right: I enjoy all the anxiety, that only blockbusters can cause. The expectations are completely different.

K: Expectation is a whole other topic. The readers will definitely want to hear some of your advices. Tell me wise things. Do you have something ready?

J: Don’t let your kids play with an Oscar, the gold comes off.

K: (Shrieks with laughter) You’re so wise! I often noted it during the filming. You urged me to learn to give more of myself to the role. And I was like, wow, she’s just standing here, beside me, and I already want to be better. Than myself, of course.

J: (Laughs) You fox!

K: I swear! That’s why I love you.

J: To play together is like to make a painting together. I’d even want to speak in paintings.

K: Well said. To play every scene together is like…

J: …roller coaster. You can’t tell for sure how it will be, until you’re together in one cabin. Sometimes you can loose footing, or suddenly you need to jump, or someone has to catch someone. That’s how I always know a good director: he always lets actors to find themselves. That’s why Maria’s character interested me, she’s a dying star. But the conclusion is: you’re the star, and I’m dying.

K: Juliette!

J: I’m kidding. I’m allowed to. (Laughs)

K: Damn you. I’m so glad we found each other.

J: Likewise. I already had to work with people I didn’t like.

K: How was it?

J: Tolerable. You have to put a wall around yourself. The worse is when people disappoint you. Or drive you crazy so much that you can burst into tears in the dressing room. It’s very difficult to stay in front of the camera after that, forgetting the hurt.

K: There are actors and actresses that try to make an impression that they and every character they play are two different persons. Like, they wear the character at the set, then take it off and walk away. I don’t believe it. I believe that actor/actress plays a new version of themselves in every role. You can have wild imagination, change scenery, go from one extreme to another, it doesn’t matter, after all you’re playing a part of yourself. Everything else is bullshit.

J: You speak wisely.

K: If two people in front of the camera have a connection, they feel the emotions, they don’t just pretend. Everything is real. And this way the onlooker will feel it too. Like it was between us in Sils Maria. Tell me, does everything seem weird to you too, when you watch the movie?

J: What do you mean?

K: There are some scenes that transfer the exact same things that I remember about that time. It’s like with your memories that stratify on childhood drawings. But here it’s not the same. Here the memories are identical. Because of that it’s very difficult for me to watch the movie. And the critics… Sometimes they’re dead on, but a lot of comments are empty, hurtful and doesn’t have anything to do with reality. No one knows what the movie is really like. And exactly how can they have a right comprehension about it? People often ask me what do I think about public opinion.

J: And you?

K: I answer with question: which one from a thousand of opinions? But still, was it hard for you to look at us on screen?

J: Not harder than looking in the mirror every morning. (Laughs) Why do you worry so much? We did an amazing movie! Beautiful and powerful.

K: But is it a chick-flick?

J: At least the lead roles are played by chicks.

K: I hate the term “chick-flick”, it degrades and simplifies everything. And “powerful chick-flick” sounds even worse.

J: Then lets agree that the movie is special.

K: That I like.

(Press Secretary walks in and asks to wrap it up, because Kristen has a plane to catch at 1.15 pm. It’s 11.45 am.)

K: Oh, I have to pack and dash to the airport.

J: Suit yourself. But if you miss your flight, we can meet tonight (Laughs)

K: Sounds great. But it’s even greater to never miss your flight. And we’ll meet soon enough anyway – in South Africa for our new project.

J: Hush! It’s a secret!

 

Picture Sources: Instagram / interview_de | 2nd pic via Robsten Team Thailand | Twitter / via KStewartFans

Translation (from Russian scans): via KStewartFans and their translator for this, OCD_ward

 

Rob’s full & unedited interview with Little White Lies

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The chiselled Brit teen idol tells LWLies about his work on The Rover and his swift transformation into an actor who’s always up for a challenge.

Robert Pattinson’s star power still burns across the globe but all he wants to do with it is make interesting art house movies. David Michôd’s The Rover fits that bill. Pattinson stars opposite Guy Pearce as a splash of humanity in a violent vision of post-apocalyptic Australia. We spoke to him at the Cannes Film Festival, where he also had David Cronenberg’s Maps To the Stars on the docket.

LWLies: David Michôd has said that there’s a very angry man – aka him – at the heart of The Rover. What emotions did you draw from for it and what emotions do you think it conjures?

Pattinson: It definitely conjures a lot of dread and anxiety but it was the character I was reading from. Also the first thing I connected to was purely a stylistic thing. Clean writing and also having it so stark. It was so original, even the way it looked on the page.

What did you find interesting about Rey when he first came into your life?

I thought it was quite interesting to read something where you actually can’t tell if the guy’s mentally handicapped or not. I asked David at the beginning in the auditions whether he was or not and he was like, ‘I don’t know. Maybe’ and then we established that he was someone who has  just been really severely bullied or someone that has been told that he’s mentally handicapped his whole life but it’s more to do with confidence. He’s really shy and people around him, his family, are really rough and have been slapping him around his whole life and so he’s decided that he can’t be his own person. He’s never even attempted to think for himself or speak for himself or anything. It was interesting, the only time when he is his own person is when a horrible man forces him into it.

He goes from being the only peaceful person left alive to not being that anymore.

I don’t think he even really knows what’s happening. I think you can force anyone to be anything. Eric is trying to make Rey more like him. I guess Rey sort of does become just like Eric in the end. He’s been forced to be someone who he’s not, even though it’s out of his comfort zone. He is better. He can stand up for himself a little more but it’s in this totally backward and weird way that’s completely pointless. And I think Eric looks at what he’s done. He’s created a monster and can see himself for this first time and it makes him reflect.

With Rey I was always interested in that dynamic where a husband is beating up their wife and the wife keeps coming back all the time and the worse the husband is the more the woman thinks he loves her and I like transferring that to the relationship of Rey and Eric slightly. I kept thinking that I hadn’t really seen that in a movie. I was kind of looking at it as a love story. There were scenes where I was trying to flirt with Guy.

Was he receptive to your advances?

He had no idea. Neither did David. I said half-way through, ‘You know I’m playing this as a love story.’ In one scene when he was kicking me I tried to put my hand up the back of his shorts. It was cut out of the movie.

Rey has a lot of distinctive vocal and physical traits. Did they come from you or were they something David told you to adopt?

I kind of did it before. It’s a little bit based on my cousin and also just extreme discomfort in yourself. Rey’s spent his whole life trying to hide, even inside himself and in how he’s speaking. He doesn’t want anyone to really hear him. I imagine those little slightly annoying dogs that people have spent their whole lives  kicking away. And he just keeps flopping around chasing after people. He hasn’t toughed up at all. He’s just this floppy, malco-ordinated kid.

I read that Guy Pearce said it was a very heavy atmosphere on set.

Really?

Was that not your experience?

No, I thought it was really fun. It was so relaxed. Playing a part like that there are no parometers to it. You just turn up and have no idea what you’re doing every day. You can be loose.

So you had fun in a post-apocalyptic vision of the future?

It was really fun. Just being out in the middle of nowhere. Also the crew was all staying in the same place and you never normally get that. As an actor, you usually go to an unfamiliar city but then everyone else lives in the city so they go home and you just go back to your hotel and it’s lame but this meant I was able to hang out with everyone else. It was amazing. It was really fun. I had such a good time.

Where does it rank in the fun movie shoots of your life scale?

Very, very close to the top.

What’s above it?

Probably the first movie I ever did. Being 16 or 17. They give you your own apartment and stuff. Shooting in Cape Town. It’s probably why I’m still acting. It’s ridiculous. How did this happen?

How do you find this experience, the media circus that you have to perform in that goes along with being an actor?

It’s so weird. I have such a disconnect. It’s really strange. Especially here in Cannes because I’m always so hungover. It was the Maps to the Stars premiere last night and we went to the after-party. I keep forgetting I have to work. Yesterday I did a whole day of interviews and I literally can’t remember a single thing I said. I start panicking at the end of sentences and thinking, ‘I can’t remember words.’

It must be weird having the expectation that you must make sense at any given moment in time.

I know! At the Maps to the Stars press conference everyone was so articulate. And I was like [makes noises]  the De Niro style of doing interviews. I can’t think quickly enough. I need to plan my answers. It’s amazing how articulate most actors are. Evan [Bird] is like 13 and I’m thinking, ‘How are you answering? This is your first ever interview!’

Maybe that freshness helps.

I find that with interviews I did have a lot of fun at the beginning because I didn’t realise that anyone actually read them. So there’s no responsibility whatsoever. You’re basically trying to tell jokes and then you realise that people remember and it’s written down and they ask you about it after and then you start to close down.

Also you don’t really want people to know who you are. It’s just the worst thing that can happen for an actor. It’s not even about them knowing who you are. It’s just saying enough stuff to make people think you’re a certain kind of thing. When I first started I had so many problems with people thinking, ‘Oh he’s just a private school English kid.’ No one wanted to put me in different parts because of that. Now people don’t even think I’m English anymore and that’s the Twilight baggage and I’m just coming out of that now. But it’s weird. It’s funny how things change. It’s like four years of having one public persona.

You’ve done a pretty good job of turning around perceptions. I was looking at what you’ve got coming out, and Werner Herzog was there. Does he direct in that extraordinary monotone?

Yes, it’s ridiculous. He’s so funny it’s insane because he wrote the script as well and it’s one of the most difficult scripts. It’s only a small part. I remember my first scene with Nicole Kidman and it’s something about the political situation in Turkey and then Werner comes up and he says, ‘This line is a joke! Say it as a joke! And I was like, ‘What?? What are you talking about?’ And then he just walks off and says, ‘It’s funny, it’s funny.’ Nicole said, ‘Good luck’. But Werner’s great. He’s exactly what you’d expect. He’s got so many amazing stories. On every single story he’s got an insider story.

He’s also got this constant existential awareness that’s quite soothing. I don’t know if you find it soothing?

He’s got this insane confidence as well. I think that’s where it all comes from. He’s got 100 percent belief in himself. It’s a little bit like Cronenberg so you feel fine to say, ‘Yes, I’ll just do whatever you say’

What did it require of you to manoeuvre from the blockbuster super-highway to the arthouse sidepath?

It just took quite a long time. Cosmopolis really changed everything. I’m basically just trying to recreate my DVD shelf from when I was 17. I’ve got my list of 20 directors.

Hit me.

I’ve crossed off like nine just over the last few years! Who else did I wanna get? Paul Thomas Anderson because everybody does, Jacques Audiard. Alfonso Cuarón I want to do a Godard movie. I’m doing Harmony Korine, James Gray, Olivier Assayas and James Marsh.

You got to exercise your singing muscles in The Rover. Will you be releasing your version of ‘Pretty Girl Rock’?

I’d never heard that song before David played it. I love that Rey would know all the words to that song. One of the more embarrassing things to do is to sit there and listen to it constantly. I’m so bad at remembering lyrics so I just had it playing constantly in my hotel room. It’s so catchy as well. But yeah. I’m definitely going to be releasing a cover version.

What role does music play for you in your life?

Not as much as it used to. I’ve got into a little bit of stagnation with music and I don’t know why. I’ve found a few different people recently but it’s weird how you can just stop listening to music sometimes. I don’t know. I’m trying to get back into it again now. I used to always listen to music when I was on set and use it for inspiration and I just don’t really. I just listen to rap all the time.

What do you love about movies?

When I first realised I really wanted to be involved in the industry I remembered and this is a very, very vague answer and I don’t even know what I’m saying, I remember watching One Flew Over The Cuckoo’s Nest and for some reason wanting to be that character afterwards. Being inspired. Pretending to be something else gives you confidence, even if it’s a false confidence for a second but I think it stays with you afterwards. I remember watching that and watching A Clockwork Orange and they both did the same thing. I was extremely shy when I was a kid. It was that movie that for some bizarre reason had me dressing up as Randle McMurphy. They’re the best mass education tools as well. Oh no, I’m too hungover…

The Rover is in UK cinemas 15 August.

Source: Little White Lies