Saturday, August 23, 2014
Q: When you have chosen Kristen Stewart, have you opted for the actress or the phenomenon she represented?
Olivier: Both! The specificity of this movie is that there's a fictional dimension and a dimension completely documentary in the sense that we never forget that Juliette Binoche is Juliette Binoche, Kristen Stewart, Kristen Stewart and Chloë Grace Moretz, Chloë Grace Moretz. What we know about them resonates within the movie, it becomes an additional dimension. The reason I chose Kristen originally is not that one, it's simply because she is the perfect incarnation of the character. But it's true that I needed Juliette to be face to face with a character who is her equal, not someone who is in blissful awe in front of her but someone representing a strength, also threatening, for the actress Juliette Binoche. Kristen is a young girl who is at the peak of her fame, she is intimidating and she also has a kind of hardness, severity. It happens that I've crossed paths with her several several times because Charles Gillibert, the producer of the movie, had also produced On the Road by Walter Salles (2012) and that my previous movie, After May, was traveling doing festivals over the same period. What I saw of her showed that she had a singularity, a force, something very different from actresses I had known. There was something about her that cinema had not yet grasped... What is courageous, is her act of coming to do this movie, at this stage of her career, in the depths of Switzerland and no possibility of return to Hollywood on the weekends, amid a team from European cinema that works very differently from what she knew before. And I also think she had the modesty to go to Juliette Binoche by pure desire to learn, because she felt that it could open her new space...
Q: On the contrary, did Juliette Binoche know what Kristen Stewart represented?
Olivier: She knew pretty much. But she expected to be in front of her someone so talented and intense? I do not believe... The scenario gravitates around this troubled character of Kristen and I think that has stimulated Juliette.
Q: Precisely, because of the relationship between these two characters, we feel that the movie could have taken a lot of different directions. How did you work to maintain a linear and quite simple balance?
Olivier: Lets say that the nuances between the two women belong to a relationship built on the set. I actually wrote a stripped scenario. I like to leave some space to my actors. We haven't exactly shot in chronological order, but still, we started with the train scene which helped to lay the characters, then we shot everything that did not take place in the mountains to finally finish in Sils Maria. Basically, to shoot without a break has made that the two actresses had become accustomed to each other, they were ready to embark on what was the main issue of the movie. Day after day, scene after scene, I could feel they took liberties, reinvented the scenes, twisted them in a way I had not necessarily anticipated. For example this moment where the two women talk about their meeting with Jo-Ann and laugh together at the hotel. This scene was not written as you saw it on the screen. It's just what happens after the last fight. What happens at that point, is in a way already the separation. But the actresses have decided to make of this moment, the moment of complicity the most intimate of the movie, and that brings a strange density at the scene. I hesitated because I felt they wanted that and at the same time that they were afraid of losing track. This relationship has really been established during the filming. A fantasy was being set up between them and we had to use it. So I had to constantly adjusted the dialogue, or even left them to do it themselves.
Source Translation thanks to itsoktobeyou.org
“You try to make it a thematic story, again, incorporating the personal taste of each client. What they want to represent,” Swennen said.
“I remember with Kristen Stewart‘s first ‘Twilight’ tour we loved the idea of matching the colors on the book cover –the red, white and black vampire theme. I don't go that literal for the most part but she was young, we were having fun.”
Fun feels a big part of the process, which is a relief. Her workspace is devoid of cliches like trite catchphrases and oversized travel coffees. Massive frames contain polaroids of fittings throughout Tara's career — faces like Kim Kardashian, Sarah Michelle Gellar and a very animated Stewart make it easy to see clients have a ball with Swennen.
Source via Tara
Friday, August 22, 2014
Click scans for larger view.
JULIETTE BINOCHE AND KRISTEN STEWART: SISTERS OF LIGHT.
In "Sils Maria" by Olivier Assayas, one plays the accomplished actress, the other her assistant. We met both of them. An Interview about cinema.
Distraught text: "Kristen has missed her flight, Interview postponed."
Desperate text: "Kristen has arrived, but there's a Chanel diner at the time of the photoshoot, everything is cancelled."
Worried text: "Kristen and Juliette's taxis just crossed paths, let's pray they're going to the same place."
Encouraging text: "Beginning of the photoshoot! Terrible amount of stress. Will Kristen be able to stay?"
Nocturnal text discovered the morning after: "The pictures are sublime!"
Last text: "You have thirty minutes. Kristen is going back to the US right after the interview."
Therefore, it's early in the morning with some kind of apprehension - Will we manage to say at least three words in less than thirty minutes? - that we head to the hotel to meet with Juliette Binoche and Kristen Stewart, for the release of Olivier Assayas' most beautiful film, "Sils Maria". The director offers to Juliette Binoche, a complex and cruel character that she embraces with open arms: the role of a star faced with other people's judgment and the process of aging, the discovery that she could be forgotten and more importantly, a radical loneliness. A role very far from Juliette Binoche, who proves, by reviving the most beautiful characters, that time is her ally, Olivier Assayas, yet, says that he tried to be as close to her as possible to bring to life the star Maria Enders and that he tried to play with a common biographical element. The director and the actress made their first steps together in the same film, thirty years ago: "Rendez-vous", by André Téchiné. Assayas had co-written the script, and the film had given him an insight that had launched him on the path of director. As for Juliette Binoche, it was an explosion. Suddenly one day, the unknown woman, with the beautiful smile was propelled into another galaxy.
Like every star, the character of Maria Enders has someone by her side: her assistant, a young, bubbly woman, nervous, efficient, tomboy-ish, with glasses, who texts and googles constantly, and who makes decisions on behalf of her boss. It's Kristen Stewart, discovered worldwide in the "Twilight" saga, who plays this role. At the top of her popularity if we believe the comments: "Wow, lucky you! You don't miss an interview with Kristen Stewart. She is really different." is repeated to us everywhere. We see from afar, the girl who almost couldn't make it, alone, in the corridor, without her various PR team and bodyguard. (Who forgot to wake her up), short two-colored hair, low-waisted jeans and a white shirt, sleepy smoky eyes from the photoshoot of the night before. And, right away, a freedom of speech that clashes, a reminder of a young Madonna, and shatters the thousand barriers that made us believe we were having a meeting with Obama himself.
ELLE: Juliette, in what way does the character of Maria reminds you of who you are?
JULIETTE BINOCHE: It's not so much the character but the situation: Two actresses that are not from the same generation, an assistant. So, yeah, there's an echo. The film shows a woman in danger, terribly vulnerable, who doesn't know who she is or where she is. A fragility that we can all feel, if we're being sent on the other side of the planet for no reason, without being able to control anything or to decide for yourself. When you travel that much, you don't know where you live anymore! You make yourself available to mouvement, to incessant requests from everyone, and in this whirlwind, Maria Enders has an anchor: Her assistant. The character played by Kristen allows her to have some kind of family and gives her a mirror. At least her assistant is looking at her, gives her back that image of a more glorious time. Even better, she's an intermediary between herself and the rest of the world. In fact, Maria Enders finds herself in total dependance of Valentine, who is young, who has an active sex life - unlike her - who knows how to make decisions and pushes her to make her own.
ELLE: Kristen, we have the feeling that you had a lot of fun when you constructed this character who takes over and looks over the star.. This assistant, is she familiar to you or is she foreign?
KRISTEN STEWART: There's no foreign character. Each role comes from within yourself and your own personal experience, but the assistant even more so than the others. I know this world so well... This dynamic fusion that can explode in the air! I've come across those kind of relationship, and I know what it's like for a star to be isolated and to borrow an assistant as a friend like you would a car. It's very complicated, the lines gets blurred, everything gets mixed up, work, friendship, love, when you need the other to remind yourself of who you are. The assistant becomes the owner of all of your secrets, the one who knows the most intimate parts of your life. The film is the confrontation between two women at different stages of their lives. One is at the point where the price she has to pay for her art destabilizes her completely. Even if it's worth it.
JULIETTE: Among the thousand of reasons why I chose to do this film, there is this one: "Sils maria" finally shows what it costs an actor to play a role. It's not that frequent in cinema. How it marks you. The hesitations and the back and forth between agreement and refusal, those are not whims, but reasons of life and death, even if it can seem excessive for someone from the outside. To act, you sometime have to move mountains, get close to some kind of vulnerability and the fears you usually try to avoid. We're all built on fragile bases and, when you act, you go down very deep within yourself. The loss of all your landmarks make you humble. It hurts and it's very physical, the body has to adapt itself. Not forgetting that, when you're an actress, you're looked at through a magnifying glass. When you reach a certain age, all the transformations of your body and face are perceived. Until you reach the point where you stop caring. When you stop trying to be perfect.
ELLE: "Sils Maria" is also a film about fame. Today, stars are always followed by paparazzi and every action is discussed. Juliette, Kristen, is this a familliar situation for you or not?
JULIETTE: (Laughs) I have no idea what you're talking about. Do you know anything about that, Kristen?
KRISTEN: Websites create fictions that are being consummed and renewed every minute. It's crazy! I really don't understand in what way it is interesting or funny to read false things about people you don't even know. Well, yeah, I understand that it's a business and that people earn a lot of money because of it. Stars are turned into products that you can sell online. I'm not saying that we should all go back to the Middle Ages, you find awesome things online. But Jesus, it would be so great if there was a way to stop all these inventions that you feed the readers like gooses, just for dough. I don't even think that the readers themselves enjoy being treated like farmyard animals.
ELLE: What makes it possible for you to escape it?
KRISTEN: What's being shown in the film: Go outside, get some fresh air, walk in the mountains...
ELLE: Is it the same thing to be an actress in Europe and in the US?
KRISTEN: I don't think the way we work depends on where we come from. We're both very different, like two people can be. But we work for the same reasons.
JULIETTE: On the other hand, American directors don't work like our European or Asian colleagues. Kristen you really think that a European shoot works the same way as one for an American blockbuster? Olivier is very influences by Asian directors. I've thought a lot about "Voyage du ballon rouge" by Hou Hsiao-hsien when shooting the film. He improvises a lot, can leave us with no text, we don't rehearse...
KRISTEN: And we only realize afterwards that he tricked us so we could move forward. We tell him: "Look, I found this rock, it's awesome!". In reality, just like "Little Thumblng", he is the one who scattered it.
ELLE: Kristen, you've said in the past that your parents pushed you to become an actress, because as a kid, you were hyperactive with ADD. Is it true?
KRISTEN: What? No way! Did you read that on my Wikipedia page? On the contrary, I was very calm as a kid. I grew up on sets and I used to idealize my parents. My mother was a screenwriter and my father was an assistant director at Fox. My parents tried everything to stop me from working in this world. At 8, I couldn't be a decorator or a chief cameraman, but an actress, yes! At 13, I had an epiphany. I realized what giving life to a character meant. Immediately, I became the most pretentious in my class. For me, it was like jumping into an empty space. I fully get that this kind of sentiment can be seen as ridiculous.. And yet, that's what I feel.
ELLE: What did you discover by working with each other?
KRISTEN: Juliette reveals to others their own talent. It's disarming. You can't fake it with her. You can't lie to her. This sincerity is the most beautiful gift that you can give to another actor. More than anyone else, she made me think.
JULIETTE: Kristen is not afraid of her grey areas. During every take, she's like an animal on the look-out that wants to know what's hidden behind the door. She barely needs any time to remember her lines and she throws herself with confidence into the scene. It's paradoxical: It's like she's hanging from the summit of a hill, and is totally at ease. And Kristen writes poetry.
ELLE: Is it true?
KRISTEN: Yes. In fact, I think we should all do a collective reading to finish the interview! Juliette had an extraordinary assistant on set. One morning, right before the shoot, all three of us, we acted crazy in the Alpes. We were dancing like cats, we were singing. Ten minutes before hearing "Action!", we had a blast.
TeamKristenSite untagged the photo a bit.MQ Scans @Meryl_B_89 Digital Scans @AdoringKS
Translation @SomeLostBliss Thank you.
Kristen is behind actress/ model Caroline De Maigret who co-stars
in 'Clouds of Sils Maria' (on the right).
in 'Clouds of Sils Maria' (on the right).
Click photos for larger view.
If you can, please do donate to the Amyotrophic Lateral Sclerosis (ALS) [or "Lou Gehrig's Disease"] cause here.
Also known as Motor Neurone Disease (MND) in some countries.
Original Source YT Lindsey Byrnes
Thursday, August 21, 2014
Q: How did you approach your character, Maria, the big actress that you're playing? It's a role that you already know...
J: it was exhilarating to play this role, like a hide and seek game. I don't think I am as moody as Maria, but one of the common points that I have with her is that I love to throw myself into roles. And this role was a challenge. The love story that she has to interpret in the play and that she repeats with her assistant [Played by Kristen Stewart] is troubling, because it's two different ways of acting, we never know if the feelings between her and her assistant are real or not. It's a theme that I got to explore in "Copie Conforme" by Abbas Kiarostami: two strangers that meet each other for he first time and have to pretend to be married. (...) The films "Sils Maria" has a lot of different themes, but the one that appeals to me the most is the transformation of my character because of the confrontation with the younger actress played by CGM, who plays the role that she played twenty years before. Maria can't act like she used to, she can't hold on to the past, she has to reach a new level, she's confronted to her fear of change and she can only achieve that by accepting her difference.
Q: Kristen Stewart is mesmerizing and really throws everything back to you. Is it a beautiful encounter for you?
J: I saw her in "On The Road" by Walter Salles. She has a natural sensuality and an unparalleled sensitivity. At one point, Olivier hesitated, because he wanted to give her the role of the young actress and Kristen refused, she wanted to play the assistant. At first, she was a bit scared, but with time, she found her place. With Olivier, we shared a complicity by watching her blossom. Kristen has a huge potential, a stroke of genius, a capacity to read a text three times and know it by heart. We loved playing together, we had a lot of fun, because I was playing the star and she was the assistant. We're going to film another movie together in the film in a totally different register, a comedy by Steven Shainberg: The Big Shoe.
Scans and translation thanks to @SomeLostBliss
Wednesday, August 20, 2014
'Camp X-Ray' will screen in official selection at the Deauville American Film Festival (France) + new still
Click on still for larger view.
THR In official selection but out of competition are Kristen Stewart-starrer Camp X-Ray...
The Deauville American Film Festival in France runs from September 5- 14.
The schedule is not yet available. We will post it here when it does.
listen to ‘Guy Pearce on "working his way through the Twilight cast" - 2DayFM Breakfast ’ on Audioboo
From approx. 1:00min
Or listen to the interview at the source.
Or listen to the interview at the source.
MORETZ: Cannes was like, ‘Whoa!’ I had never experienced anything like that before and that red carpet was the most terrifying experience of my life. Alone, I was like, this is terrifying and I look to my right and ‘Oh, hey Juliette Binoche,’ and they are like, ‘Oh hey Kristen Stewart; oh, hey Olivier Assayas,’ and I was like, oh okay, right, whatever. And I was so jet lagged and there were all these cameras and the movie was happening and I was so confused, I didn’t know what was going on and it was an amazing experience. It was like a whirlwind but I will honestly never forget that moment, like walking the carpet up the steps, having the eight minute standing ovation we had. God it was crazy. And it was my first Cannes ever.
Q: It’s always important, the first Cannes. (laughter)
MORETZ: Yeah, it’s a big milestone. It’s a really big milestone for an actor’s career. I am very, very proud of the movie.
Q: Do you know people like Elle or Dakota Fanning, because you are joining their club now.
MORETZ: Kind of; I think we are all in the same club in a sense that we have all enjoyed each other’s club. I don’t know them very well but Elle from what I know is a very sweet girl and I have met her a couple of times and she’s very nice. Dakota is a good friend of Kristen’s (Stewart). I love Kristen. (laughter)
Source via @KstewAngel Thank you.