So cute! Thanks RobStenTeamThailand for posting the pic! They said they will post the fan encounter soon as well.
Source: Twitter / RobStenTeamThailand
So cute! Thanks RobStenTeamThailand for posting the pic! They said they will post the fan encounter soon as well.
Source: Twitter / RobStenTeamThailand
For the September issue, ELLE took over Fields Market in West Hills, California, turning aisles of organic produce, tuna cans, and soda into an everyday-glam backdrop for Kristen Stewart’s cover shoot. At once the ultimate tough girl and the vulnerable everygirl, Stewart has been bringing emotional, undeniably real characters to the big screen for more than a decade. She has millions of fans and a slew of new projects big and small, but the actress’s most impressive feat to date may be her ability to tune out all the noise and just be herself, no matter what.
So what is it like to be, well, Kristen Stewart? In her cover story, Stewart discusses if having a private life is even possible for someone like her, how the sudden fame brought on by the Twilight phenomenon shaped her and her public image, and what actually makes her want to “fucking hang out and chat all day” with strangers.
Here, a sneak peek at the story:
Stewart on letting her career evolve naturally:
“Never at any point have I sat down and plotted how I should proceed from here on. As soon as you start thinking about your career as a trajectory—like, as if you’re going to miss out on some wave or momentum—then you’re never doing anything for yourself anyway. Then you’re truly, actually, specifically working for the public. You’re turning yourself into a bag of chips.”
On not being able to please all the people, all the time:
“Now I feel like if I smiled for a paparazzi photo—not that I ever would—that’s exactly what people would be desecrating me for. They’d be like, ‘now you’re going to give it up, now you’re a sellout.’ like, okay. What do you want? What would you like?”
On when she realized how big Twilight would be:
“The day the movie came out there was a picture of me—in the New York Post, I think. I was sitting on my front porch, smoking a pipe with my ex-boyfriend and dog. And I was like, Oh shit, well, I have to be aware of that.”
The full interview and fashion feature can only be found exclusively in ELLE’s September issue, available digitally and on newsstands in select cities starting August 12, and nationwide on August 19.
French fashion house Balenciaga is pretty badass– so obviously the label wasn’t going to put out any old floral fragrance. Its Florabotanica convinced cool girls, who wouldn’t normally go anywhere near a flowery scent, to join the garden party. That status was cemented by its face Kristen Stewart–an actress who doesn’t do girly-girl, as evidenced by her preference for Chucks and unwashed hair on the red carpet. This spring, Stewart reprised her spokesperson role for Balenciaga’s latest unconventional take on a flower, Rosabotanica. She was nice enough to take the time to discuss the fragrances, what she would wear with each, and which one would be Bella’s signature scent.
You’ve said in the past that you weren’t really into fragrances, but now that you’ve been the face of the Balenciaga fragrances for awhile, are you more comfortable being a perfume-wearer?
Yeah, yeah I’m a very comfortable perfume-wearer now. I hadn’t really taken to any particular scent before I did this, and so luckily, I was more than a huge fan of it when I first smelled it. Whenever I had anything to do with them it always felt like, you know, just really fucking cool and natural and. To be the face of a brand seems a bit of a superficial, but this was really about my love for Balenciaga. And then so, when I actually smelled Florabotanica, I really took to it. I sort of came into my own, in regards to fragrance, at a perfect time.
It feels very adult, once you find your signature scent.
It does, right? And, you know, it doesn’t go with everything, like if you wake up and put on a T-shirt and a baseball cap, it’s not like you’re gonna put on the fragrance. But if you go to dinner that night h, it’s such a nice little touch to add. It makes you feel a little bit more ready.
So do you feel the same about the new one, Rosabotanica?
I’m not sure which one I like more. They’re really different, like it feels like Florabotanica is like white wine, and Rosabotanica is like red, like a little deeper. It’s a little muskier. It’s like they come from the same garden, but the new variation is a bit warmer and headier. It feels like a little bit more nighttime.
Rosabotanica is a little sexier?
It is! Honestly.
So when would you wear Florabotanica versus Rosabotanica?
I think it’s about mood. I would wear Rosabotanica at night, and I would wear Florabotanica in the day. But when I didn’t have Rosabotanica, I wore Florabotanica at night. I feel like if you’re someone who is like quite young wearing it, it can make you feel like, like you’ve like stepped up to the plate, like you’re a little older, like you’re a little bit more ready and finished. And then, I can totally imagine giving it to my mom and having her be like “Wow! This is awesome. This is like fresh.” Depending on who you are, I feel like it has different effects.
Which pieces from Balenciaga would wear with each of these fragrances?
If I were to go out at night and wear my leather jacket, I’d probably put on Rosabotanica. I have this jumpsuit that’s a little bit older but it’s sick, and that I would definitely wear Florabotanica.
If you were going to pick out characters you’ve played, who would wear these fragrances?
That’s interesting. Let’s see…Well, I think Bella (from Twilight) would probably wear Rosabotanica because she is completely preoccupied with all things sexy. And I just finished a movie called Sils Maria, and I play the personal assistant to Juliette Binoche, who’s playing a really famous actress. And you’re always a little bit more curious about my character because you don’t know anything about her and her life but she’s still a big part of the story, so like when anything is revealed about her, like she’s into this guy, or she’s into this artist or something, you’re like, “Oh, whoa! Who are you?” And I think she would be a Rosabotanica girl. Like a little bit darker and more mysterious. Then I would say that Marylou in On the Road, would definitely wear Florabotanica. The character in the book is so fucking effortlessly sexy and light. She’s so sweet and very unassuming.
“It’s annoying that people think, ‘Oh, is this the role where she’s going to show everyone how she’s grown?,’” Kristen Stewart told Indiewire last Friday in Cannes. “I’m not trying to show anyone anything.”
The actress was feeling a bit defensive following the world premiere of her latest post-”Twilight” indie, Olivier Assayas’ “Clouds of Sils Maria,” and you can’t blame her. Ever since shooting to worldwide fame after being cast as Bella Swan in the “Twilight” franchise, it’s arguable that no actress has received more attention — often for the wrong reasons — than Stewart.“I’m not trying to show anyone anything.”
Up until the first “Twilight” entry, Stewart had endeared herself to many with her bracing work in films such as David Fincher’s “Panic Room” and Sean Penn’s “Into the Wild.” As soon as “Twilight” hit the scene, turning her into a supernova overnight, she became better known for her romance with co-star Robert Pattinson than her craft. She kept busy working in between the five “Twilight” installments, appearing memorably alongside the late James Gandolfini in 2010′s “Welcome to the Ridleys,” and in 2012′s “On the Road,” which also premiered at Cannes. But it’s been her post-”Twilight” projects that have drawn the most attention to the actress — attention she’s trying her best to manage.
First came the Sundance prison drama “Camp X-Ray,” and now “Clouds of Sils Maria,” in which Stewart shares the screen with Juliette Binoche, playing her character’s overworked assistant. “Clouds of Sils Maria” was better received by critics, yet both were met with countless articles on how Stewart fared in the film, and whether her performance boded well for a long career ahead. (Just last week, Criticwire ran an article titled “Will Kristen Stewart Finally Get Her Due With ‘Clouds of Sils Maria’?”) Despite her many years the business, Stewart still finds herself having to prove that it’s her talent that got her to where she is today — not the twihards.
That struggle was evident during a roundtable interview Stewart did with select press at Cannes the afternoon following the competition screening of “Clouds.” No longer visibly press-shy as she was when promoting the first few “Twilight” films, Stewart took to the roundtable with a passion that was palpable in the way she articulated her candid responses to each question. It’s clear there’s some fight in her. Below are the highlights:
She doesn’t think of her projects as “products.”
“I am obsessed with ignoring the idea that we’re creating products. I really choose every single project I do based on the desire, and based on really just wanting to experience making that story happen.”
She’s using her celebrity as a tool.
“I just directed this music video with my friend, and it’s going to be made to be something that it’s not. It’s something I did in four days, it was a fun little story, and it’s going to get more attention than whatever it’s supposed to get. I think it’s just something to play on. If you can’t change it, then don’t be afraid of it — push harder!”
She loves blockbusters just as much as small indies — as long as they’re good.“It’s so possible to make a [big] movie that is meaningful and truthful.”
“It’s so possible to make a [big] movie that is meaningful and truthful, and putting it in a sort of heightened setting, to really take ideas that mean something to us but making them more effective by putting them in an odd world. Using conventions to make things hit harder.
“I also just like really like big movies. I’m American, I grew up on them. But I also want them to be really good. I think that that’s totally possible. When you’re not completely product obsessed, I think it’s possible.”
She’s doesn’t get too close for comfort with her assistants like Juliette Binoche’s character in the film.
“I have had an assistant. While we were making the ‘Twilight’ movies, I did a movie in between each of them, so I needed someone who I could ask things like, ‘Can you go help me buy some toilet paper?’
“I haven’t gotten as close. I have seen it though. It’s something that’s familiar to me. Actors become super isolated. Again, I’m not fucking complaining about it. But you have a very unique perspective on things because people don’t talk to you. They feel like they can’t come up and say, ‘Hi.’ Suddenly you’re incredibly lonely. So people hire friends for these jobs, and then the lines get blurred. They’re your co-worker, your employee, your associate, your friend, your mom sometimes.
“In the case of the film, what I think makes it interesting is you have these two women who are codependent and obsessed with each other in many ways. And they don’t fit into the normal categories of what we all know relationships to be. Our relationship should have a category. What the movie is about is having a very unique relationship in a very esoteric world, and having a really hard time gauging why it’s happening and how to deal with it. Knowing that it’s unhealthy and you should be getting those things elsewhere, and how that polarizes you and how at the exact time, it brings you so fucking close together.”
“I got this because of this film,” Stewart said after being asked about her new tattoo on her right forearm. “I gave Valentine [her character in the film] tattoos for the film, so I had transfers made. You don’t know anything about Valentine, it’s all about Maria [Binoche's character]. And that’s a huge aspect of the story, is that she never focuses on herself. They never talk about her life, ever. I wanted to show little indications of, ‘Who is that?’ Instead of just playing an assistant that was generic. She has interests, she’s going to places, you just don’t know where they are. And so I got so attached to this one that I got it.”
“This is part of ‘Guernica,’” she said of the tattoo itself. “It’s a Picasso painting that I saw when I was 18 and in Madrid. It fucking floored me and it’s the first time I responded to a piece of art like that. It is just perfect for me. I love what it makes me think of. It’s like ‘keep going, and keep the fucking light on.’”“Think anything about me, do NOT think that I don’t care.”
She’s doesn’t consider herself to be a “performance-y” actor.
“I’m just the type of actor, and there are different types, who’s not all performance-y. I know a lot of actors that fucking love it. Like right now they’d be captivating you. It goes against my grain. Those things don’t go together for me, which makes it hard sometimes.”
She feels she was misunderstood when she rose to fame.
“I’m not saying that anyone’s impression of me is wrong (that would be a silly thing to say), but initially I was deemed very ungrateful, like I didn’t care. It’s a thing. Think anything about me, do NOT think that I don’t care. It was because I was nervous and I was freaking out that everyone was fucking staring at me.”
She knows how to deal with her fame now.
“I totally have changed, just in the way that I can deal. It’s not like they were right, but they weren’t wrong. I don’t think I was conveying myself as easily. I was just totally overwhelmed. The impression just wasn’t as spot on. I’m a little older and I’m more experienced with it. It’s easier to talk to you guys about it. But initially, it was just kind of impossible. When you’re put on the spot and you can’t think — it was a ridiculous version of that. It blew up in my face. It’s hilarious that the perception is that I don’t care, because when that was happening, I was like, ‘Oh my god, no one cares more than me!’
She’s not in it for the fame.
“With some people you wonder why they’re still doing what they’re doing. What is driving you at this point? The job takes a toll, a thing I think the movie is about. You’re giving so much of yourself all the time. It’s not something in your genetics that you retain. It can really kind of destroy you, constantly thinking about what people think about you. People who want to be movie stars… it’s such bullshit. That type of life is a huge driving force in so many actor’s lives. But they wont be happy people at the end, ’cause they’re not doing anything for themselves. They’re always satisfying.”
She thinks actors are “weird.”
“If you don’t have anything to put in, you’re not going to give a lot out,” she said of her craft. “Go out and live your life and show us something that you’ve learned. I’ve worked a lot. It’s not like I’ve taken breaks. It’s not breaks that helps, it’s managing input and output. Most people live their lives happily. The impulse to make stuff is not in everyone. Most people who have that impulse are weird. They need to take care of themselves.”
The reviews are coming in, and the movie is sounding incredible!! Thanks SO much to RobstenDreams for compiling this great list! We will continue to update as well, as the reviews come in.
Her sidekick is her assistant. And that’s when the movie gets interesting, because not only is the sidekick reflecting the actress’ ideas about youth, but she is played by Kristen Stewart, who aside from the details of “the play,” is in real life the living embodiment of a Juliette Binoche of 25 years ago. So every exchange is steeped in the reality, even if Stewart is playing an assistant in the film.
Stewart’s character is filling multiple roles, symbolically, here. But the one as a reflection of what Moretz’s character may wake up to in a few years, the next even more aggressive/abusive/self-trapped person behind her, closing even faster.
I have had the opportunity to chat with Kristen Stewart a couple times before Twilight and a couple of times since. I have never felt like the genuine person is being hidden. There is a lot going on in her world… and she has been tardy… and she seems genuinely unhappy being poked at by those near her and at a distance… and she may even be a brat at times, don’t really know. But I like the person I’ve met. And I like this performance as much or more than anything I have seen her do. She reads as the person I have met, having been given that room by the screenplay and Assayas, and Binoche. It often feels like a beautifully lit document of two women to whom ideas are important, who respect each other, and who are worldly, each at very much their own age.
To help her through this metaphysically trying time is assistant Valentine, here played by Kristen Stewart who delivers a performance of immense poise and texture, retaining good humour in the face of a full-time position which involves being locked in the professional mindset of another woman. Her character, replete with forearm tattoos, vintage band t-shirts and thick black-framed glasses, is one who initially seems like a satirical archetype of the carefree PR dolly, yet Stewart imparts an air of pensive solemnity, seldom exploding into grand, try-hard theatrics.
Assayas is a master of fluent, even sinuous, film-making. Although in its way yet another film about film-making, it’s also about the power and transience of youth. The French do it differently. They do it better.
Best Movie: (Google Translate)
If there is something like a cinematic collective unconscious, Clouds of Sils Maria is the closest thing to represent, and does so with stunning images and powerful (the serpent of clouds that runs through the valley and gives the title to the piece), precise dialogues and fun Two actresses bravissime (Binoche and Stewart, whose duet represent 80% of the film).
We’re as surprised as anyone, but the major acting laurels on this particular occasion go to, wait for it, Kristen Stewart, who for our money delivers the better performance (and the film is mostly a two-hander between her and Binoche), and actually manages to make some of the thankless exposition and clumsy dialogue she’s given sound almost natural. Perhaps it’s because she’s playing a character that is not a version of herself–as much as the film comments on Stewart’s fame and peculiar type of celebrity, it does so largely through the medium of the Jo-Ann character played by Chloe Grace Moretz, and so Stewart is free to just play a part and not navel gaze quite so much. In her guise as a personal assistant to a star, she can deliver observations about the nature of teen fandom and say stuff like “there are a shit ton of pre teens, so watch out” and we can all chuckle at the thought of the rabid 12-year-old ”Twilight” fanbase, but she is doing it from the safe distance of a role that is clearly differentiated from her, and in which she is natural and unforced.
Assayas is really more interested in the dynamic between Maria and Val (Kristen Stewart), the actor’s personal assistant, who works her iPhone with one hand and her BlackBerry with the other. The relationship here is quite beautifully drawn, with Stewart again demonstrating what a fine performer she can be away from the shadow of Twilight. Sitting down for dinner, in one telling scene, Val dismisses her boss as a snob and claims that blockbuster fantasies can be just as valid, in their way, as social-realist dramas set in factories or on farms. Maria arches a delicate eyebrow. Yet again, she’s unconvinced.
The majority of the film’s two hours is devoted to scenes involving Binoche and Stewart, sometimes with others but mostly alone, so for anyone who enjoys watching these two excellent actresses knocking it back and forth as their characters cope with the myriad issues surrounding a performing career, there is much to behold. This is definitely an insider’s view, looking at things not in a salacious way but as a consideration of the way such lives are led and how past associations continue to impact decisions made in the present.
Binoche and Stewart seem so natural and life-like that it would be tempting to suggest that they are playing characters very close to themselves. But this would also be denigrating and condescending, as if to suggest that they’re not really acting at all. Their give-and-take and the timing of their exchanges, particularly in the rehearsal sequences, is wonderfully fluid and non-theatrical; Binoche works in a more animated register, which makes Stewart’s habitual low-keyed style, which can border on the monotone, function as effectively underplayed contrast. Moretz is all high-keyed confidence.
To be at all familiar with Kristen Stewart — she had a small role in some vampire movies, maybe you’ve seen them — is to know that she’s not particularly comfortable in the spotlight. She’s a kinetic speaker, elliptical and often self-deprecating, so perhaps it’s no surprise that at 24, she’s already making the move to the other side of the camera. As part of its ongoing Blank Check Series, the denim/lifestyle brand Buffalo David Bitton offered Stewart a modest-but-undisclosed amount of money to “embark on a new creative journey,” which the Twilight star used to co-direct a music video for her friend Sage Galesi of the country-rock outfit Sage + the Saints.
“I’ve been saying I want to direct movies since I was 10 years old,” says Stewart, on the phone from somewhere in New Orleans, where she is currently filming the action comedy American Ultra. “And then I started making movies and working with such incredible people that I realized what I was up against. So it was like, no way, now I’m gonna get more attention than I ever should just because of who I am. Basically, I’m grateful to Sage, because she was like, ‘I have this little thing, no one could tell the story better than you. . .just do it and stop being such a pussy.’”
So Stewart, along with co-director David Ethan Shapiro of Starlight Studios, cinematographer/editor James Gallagher, and some mutual friends, decamped to Tennessee for five days in February to shoot the video for “Take Me to the South,” a song off of the Saints’ 2013 EP I Will Lie. (Galesi just launched a PledgeMusic drive to help fund a full-length album.) Filming in and around the L.A. songwriter’s adopted hometown of Nashville, Stewart and Co. shot documentary-style footage of Galesi performing at the High Watt, playing downtown street corners and goofing off with pals in the back of a pickup truck. “We wanted it to feel like a glimpse of her life,” explains Stewart. “And that’s fucking hard. As soon as you start rolling, everyone turns into deer in the headlights.”
The video for “Take Me to the South” premieres later this month. In the meantime, Stewart, along with Galesi and Shapiro, was enthusiastic to discuss her directorial debut via conference call: “It’s so much nicer doing interviews as not what I usually am.”
Your Twilight costar Nikki Reed produced a video for a song called “Edie Sedgwick” from Sage’s solo days, right? That’s how we met, yeah, It was on the set of a movie in Vancouver seven years ago, and then we became really good friends.
The video has an improvised, homespun feel. What, if any, narrative did you come up with? Sage lived all of this; we fabricated nothing. I wanted the video to feel really captured and found rather than set-up and executed. The story is that she’s insanely courageous to be this kid from L.A. who doesn’t hang out with anyone that listens to country music — and suddenly she realizes she wants to be a country star, and drives to Nashville by herself to see if she can meet people and be in a band. Then she did it all. It was so easy, once she presented me with the idea. I was like, well, that’s what the video is. It’s done. Basically, I didn’t want it to feel…I mean, nobody wants their shit to be pretentious, but like, I didn’t want it to seem like we wanted to be cool at all. Country music’s not cool. It’s truthful and it’s sweet.
Are you a fan of country? No. This is what’s so funny. This is something that Sage and I have not shared, and most everything in our friendship is. . .we have so much in common. So I was like: What? You want to do a country song?
Did you do anything to prepare? Well, I sat down and watched a lot of country videos before we started doing this. I just didn’t really see anything that wasn’t trying so fucking hard to be something. But I need to specify something about what I just said: I wasn’t talking about all country music. The country music that Sage is playing — she’s not trying to be cool. And the story was so clearly in front of us, I didn’t need to look elsewhere to get inspired. Also, you go to Nashville and everyone eats, breathes and sleeps country music, [so] being there was this transformative thing. All of our friends were, like, “Hey baby, hey darlin’, how you doing?” It’s a really contagious and super-welcoming place.
What was the primary challenge you faced as a first-time director? It’s such a different pressure than the one that I’m used to when I act. It’s this very consistent strain that never lets up. Whereas with acting, there’s small bursts. . .you alleviate bits of tension for the camera and then you go off and, I don’t know, wait to stress out again. But there wasn’t one second that I wasn’t sitting with my head in my hands. It’s your responsibility to hold this thing together, and I was always concerned I was missing something. Missed opportunities are the most gut-wrenching, painful, nauseating thing. As an actor, your job is to lose yourself in the moment. Losing yourself is the last thing you want to do as a director, so it goes against my instinct. I had to harness my energy rather than let it explode all over the set.
Sage and David, how would you describe Kristen’s technique? Shapiro: She’s very passionate. She either loves something or she hates it.
Galesi: She was a natural. She was good at not over-directing, but making sure that certain beats were captured, and telling me which moments they were going for. Being friends just makes it easier, because she could tell me something very easily.
Stewart: I felt so funny making Sage do things more than once. It was a strange experience, because I wanted to never have to do that. But there were a couple of moments where I made her do something 10 times. Most of the time it felt like we were doing a documentary, but that’s when it felt like a movie.
Like in which scene? Stewart: We’d done so many takes of this one shot of her looking over her shoulder and it felt planned, like she was on cue. But then I caught her standing backstage for a show, looking at this guy, and she doesn’t necessarily have a crush on this dude. . .
Galesi: Let’s make it very clear that I do not have a crush on that guy!
Stewart: Yes, that’s one thing we made up. Anyway, basically she’s standing there watching this dude play, and he just so represents everything that makes Nashville so different to anything we grew up with in Los Angeles — because he’s so goddamned country and I just loved pointing a camera at him. I caught her looking at him, and it’s very silhouette-y, so you’re straining to see it more, which I really love, because she’s having this private moment. And I was like: “Hey, Sage, what are you doing? You’re being so obvious.” She’s like, “What? No!” Cut. We got it.
You’ve worked with an impressive list of actors and directors: David Fincher, Sean Penn, Jodie Foster. Is there anybody you’ve learned a lot from or tried to channel here? I mean, specifically, no, but absolutely everything that I’ve done has changed my every desire. It sounds ridiculous naming these people but [On the Road director] Walter Salles and [Into the Wild's] Sean Penn work the same way I would like to work. It’s about being able to always, always, always sniff out bullshit and refuse to eat it. You honor whatever you’re working on so much that to make a mockery of it would be so principally wrong. That’s the feeling those guys have. I feel so safe with them as an actor, because I know for a fact that I can try things and fully let go and they will never allow me to do anything untrue. I definitely want to explore this avenue of my life, and that’s the way that I would definitely strive to do it.
Do you have any plans to direct any future projects? I have been working an insane amount recently. I definitely need to take a break and reorient my mind, because if I’m going to put that much time in, it needs to be something I’d die for. There’s a couple of shorts that I’ve written that I want to do really badly. I’ll probably move forward and fuck up a few times. Typically you’re allowed to throw stuff at a wall and see what sticks. You don’t have people staring at it, going, “K-Stew’s making a movie!” It’s embarrassing. I have to figure out who I want to work with. This video is four of us — me, Sage, David and James — collaborating, and that’s not me not wanting to say I directed something. It’s people, for lack of a better word, “vibing.” A director is only as good as the people they work with. I gotta figure out who my boys are!
Kristen is on the cover of Les Inrockuptibles’s special Cannes 2014 issue (using an old V Magazine photo), and the magazine interviewed Oliver Assayas for some great info about working with Kristen and creating Kristen’s character. Thanks so much to itsoktobeyou for the translation!! It looks like there may be more translation to come.
In Sils Maria, Olivier Assays organizes a few confrontations. Confrontations between two characters, an internationally renowned actress and her young American assistant, both isolated in the outback of Tyrol to prepare a play. But it’s also a confrontation between two real actresses: Juliette Binoche in a mirror role that she interpreted in her debut in André Téchiné’s Rendez-Vous (1985) (written by Assayas), and Kristen Stewart, the Twilight star (2008, etc.), reinvented here as an American student a little tomboyish with an incredible finesse and comical nature. The filmmaker explains for us some facets of this magnificent portrait of actresses, sensual, wily and kaleidoscopic.Danger
“I wrote the movie thinking only of Juliette (Binoche). The movie is constructed around her. Next to this character of a French actress with an international career, I imagined the character of a young assistant and I instantly envisioned for the role an Anglo-Saxon actress. The character had to have this pragmatism that Anglo-Saxon people have, really be of her time, to the point of incarnate some sort of hardness. And it was also important to me that the dialogues are in English. Because I wanted to go search into Juliette something different than what she can do in French. I was looking for an actress who could put her (Juliette) in danger, shake her up.”Identification
“I saw the first Twilight, which I like, but I didn’t see the next ones. Before that, I had already noticed Kristen in her role pretty fugitive, Sean Penn’s Into the Wild (2007). Then I saw her in The Runaways (2010), who isn’t a good movie, where the reconstitution of the rock industry in 70s is very artificial. But she believes in it and we totally accept that she is Joan Jett. In The Runaways especially, we discover in her something pretty rough, tensed. I hoped to find behind this wall some form of humour, something human, close, who produces identification. I found it beyond what I expected.”After
“I ran into Kristen a few times thanks to my producer Charles Gillibert, who also produced On the Road (2012). We spent some informal time together after premieres, in small groups. We didn’t talk about my work, or hers, but the contact was nice. I had the intuition that it interested her to work in one of my movies.”On the side
“She really understood well everything that was going on in the movie, the mapping of feelings, including the more ambiguous ones… But she mostly seen, I think, how this role, which is not in appearance at the center of the movie, was interesting for her. Kristen has a slightly sulfurous reputation in Hollywood. In the movie, there is a character close to that, a teen star played by Chloë Moretz, and the character of Kristen judges her, never cease to comment what she represents. This step aside a little reflective, it’s what attracted her to the project, I think. It allowed her to say: I have this distance, I have this step back and I fuck you.”Star and novice
“I made sure that her status in international cinema is never perceptible on screen. I wanted to deal with the role as if it was played by a young actress fresh out of drama classes. Somehow, I saw Kristen as a novice. When I chose Chloë Sevigny in Demonlover (2002), it was because I admired her in Larry Clark (Kids, 1995). There, I wanted to work with Kristen because of a delightful meeting and the feeling that, until then, she had exploited a very a small portion of her high potential as an actress. She’s a superstar but hasn’t done much yet. So she’s available to go in directions where she has never been.”One take
“Kristen is not an actress who rehearses a lot. She learns the text twenty-five minutes before the take and knows it to perfection. Her precision, malicious intellect, quick comprehension impress me. She thinks she’s never as good as during the first take. And most of the time it’s true. Her implication is due to the fact, I think, that in the movies she shoots in Hollywood the system doesn’t allow to do just one take. They do, for everything, a lot of rehearsals, we can’t know this special shiver of the one and only take.”No look
“The style of the character, in collaboration with Jürgen (Doering), the costume designer, she really built it. She wanted this androgynous look, these big walking shoes, these glasses. She liked the idea of leaving the glamorous to Juliette and to slip into the skin of an American student a little bit ‘no look’.”Liberty
“In the scene where they both swim in the lake, I let them free to undress completely or not. I simply said that Kristen would go in water first and Juliette would follow her. Kristen undressed and kept her underwear. Less because of modesty, I think, she felt sexy like that, with her thong under her panties.. But Juliette took her by surprise, by getting naked and ran in the water the first. Kristen was quite admiring of a certain freedom that belonged to Juliette, a capacity to live in the moment, to try risky things, that could’ve been aberrant. So, Juliette wanted to impress her, to go get her.”