1. Kristen in der Marie Claire
Das übersetzte Interview findet ihr nach dem *Klick*
2. Kristen auf der Le Monde (Das Interview ist noch nicht raus)
Die Fotos sind toll aber warum zum Teufel ist denn ihre Hose auf..? -.-
3. Neue Stills zu PERSONAL SHOPPER & CAFÉ SOCIETY
4. Kristen auf dem Cover des ILLIMITÉ Magazin (+ Interview)
Bella Ciao?
Made more ‘feminine’ in Woody Allen’s Café Society, is Kristen Stewart saying goodbye to her legendary ability of seducing as an evanescent tomboy? Not likely.
By Anouk Brissac | Photos by Sabrina Lantos
Woody Allen wanted her more feminine than ever. Bare legs under very short skirts at times, covered by a sheath sometimes or with a fur stole over the shoulders. In Café Society, we are far from Bella’s eternal hoodie (Twilight), the gothic princess who turned her into a star – the same she wears like a second skin in her “real life”, prefering grunge rags rather than the razzle-dazzle of a pretty girl. But if Allen managed to turn her into a coquette doll, he’s faced with a reality about the actress: She’s totally indifferent to the noise she creates with her beauty, yet deafening. She imposes, against all dogs and everyone filming, to keep a low profile when it comes to her ability to seduce spectators, in the blink of a mint-colored eye, covered by a dark strand of hair. So yes, when Vonnie appears in Café Society, it’s immediately implied that she will be (once again) the object of every desire. That every man in the story will fall into her arms or into a deep sadness if she doesn’t want them. But quickly, the discreet and passive nature of the actress that we love and are looking for takes the upper hand. And we’re faced again with the tomboy with the worried eyes, this young and awkward look, and that sweet smile that gives Stewart a power which borders on bewitchment, on a spell and even on the pain implied by every attractive slaps. ** [**Loose translation] Even more deafening because of how harmless it is.
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“K-Stew” is the new muse of Mister Woody, who makes her the irresistible bait of Café Society, confirming the legitimacy of the 26 year old megastar in arthouse cinema. Illimité called her in Los Angeles to debrief her. Let’s go Kiki.
ILLIMITE: You’re now with Woody Allen! It’s the ultimate consecration and legitimization, isn’t it?
KS: When I did the audition, my first big challenge was to beat my lack of confidence. I was terrified at the idea of working with such a huge cornerstone, and in his universe which is so singular, with his own “alien” vocabulary. If you can’t understand his codes, it’s over. I auditioned without having read the script, without knowing what the film was about. I was just given a piece of paper with some dialogue. But you know, a Woody Allen film is so well-written, so smart…
ILLIMITE: Did he doll you up, like “the new shiny toy”?
KS: His film are like a genuine form of luxury craftsmanship, he’s like a master craftsman. On set, he brings you into his world. He does everything in his power for you to be at ease, to have fun, so much that at the end of the day, you don’t feel like you were working.
ILLIMITE: I would like to come back on what you said: you still audition for roles?!
KS: Yes! My character, Vonnie, you can’t get farther away from the character I’ve played in the past. She’s soft, bubbly, she has qualities that I don’t naturally give off. I imagine he wanted to see if I was capable of playing them. You know, I don’t mind having to audition. It’s rare but I wouldn’t mind if I was asked to do them more often. I like to prove to myself that I earned what I have. And it gives you confidence to know that you were picked after being judged on your own right.
ILLIMITE: It’s true than Vonnie is happyy and ingenuous, she twirls around in short skirts with a bow in her hair. It will be a change for the public that knows you as mysterious and quiet..
KS: Again, it’s so well-written that I didn’t have much to do to get into those skirts. I worked on my Californian accent and tried to stay as natural as possible, not “cartoonish”. And mainly, I had Jesse (Eisenberg) as a partner, with whom i’ve already done a few films (Adventureland in 2008 and American Ultra in 2015). We’re friends, we saw each other grow up on three different sets. It’s funny by the way, to see the evolution of the three couples we formed, from young innocent teens, to two people who are faced with the harsh reality of life and bad sentimental choices. Between us, it’s easy. We can get vert nerdy together. So, i’m at ease with him. I’m not ashamed of anything, it’s THE partner with whom I can relax.
ILLIMITE: It’s harder because you have no technique to hold onto if you mess up. You’ve always said you never took acting classes, never worked with a coach and liked impro better…
KS: I’m not against it, it’s just that until now, none of my roles have required the help of a coach. If i got one that would need me to access emotional zones that I’ve never explored, I would think about it. But even rehearsing too much bothers me. They destroy what I can give when the camera is rolling, the vertigo of that first take. They kill the reality, the moment, then we fall into a rehearsal of life, and then I don’t think about how everything is “fake”. To be coaches, it’s like doing a therapy. You end up knowing yourself so much that you’re faced with a situation, you know which buttons to push to get the right reaction. This intentional aspect of things bothers me. I need to tremble with fear, with stress, with energy, not to be well-prepared, ready and confident. Is that unprofessional? No, that’s how I’ve built my career so it’s working for me. For now at least! (Laughing)
ILLIMITE: Café Society shows the cruelty in Hollywood, the celebrity, the star system, the downsite of your job that you’ve publicly criticized. Already, in Sils Maria by Olivier Assaya, as the assistant of a celebrity, you were basically already telling them “Fuck You!”…
KS: I’m not saying ‘Fuck you’ to celebrity. I love my job, and yes, I’m not fond of what’s on the side but you know, movies and what we say in them, it’s fiction… It’s fake.
ILLIMTE: True but even then. RP and you became international stars with Twilight. The saga over, he is playing a crazy limo driver in Maps to the Stars while you’re doing Sils Maria and soon, we’ll see you in Personal Shopper with Assayas again, where you’ll be again at the service of a celebrity. You don’t think it says anything to people?
KS: Maybe those characters done by another actress wouldn’t have seemed so relevant, this is true. If a director wants to talk about that, then yes, it means something that he’s giving these roles to people who know what it means to begin with, who really lived in it. Olivier and Woody Allen got that…
ILLIMITE: After Twilight, these type of directors, did you realize you wanted to get closer to them and work with them in order to erase the impact that Bella Swan had?
KS: I’ve never done anything with this goal in mind, even If i’m aware that this aspect of things is really strong. In my choices, there’s also the “life” aspect. Even if a film is not that good, if it allows me to feel something, I go for it, without necessarily caring to see if i’m going to be in a masterpiece. There is no strategy or cautious choices in my career.
ILLIMITE: But it’s important to be supported by the intelligentsia...
KS: I’m aware it’s cool to be associated to these type of directors. As an American Actress, to be able to work away from home, it’s a real chance. There is a real difference with the United Stated. It’s the fact that you take risks and you’re motivated. Like Olivier, they don’t sell their souls. In france, people don’t make films for money or to become famous, they do it because they are passionate, they’re full of it, because it’s needed and uncompromising.
ILLIMITE: Thanks on her behalf. She repays you in spades since Cannes selected Café Society and Personal Shopper…
KS: It’s my favorite red carpet in the whole world. You know why? Because you don’t have to talk to anybody and nobody talks to you, you don’t walk the stairs alone but with the whole cast and the director. You watch the movie and as in the room, you can feel all the prestigious ghosts from the past, even if everybody hates the film, it goes well. It’s great.
CAFE SOCIETY out on May 11th in France and opening the Cannes Film Festival.
Sources:
1. Marie Claire Fotos & Interview via www.itsoktobeyou.org
2. Le Monde Fotos via twitter
3. Cafe Society Stills / Personal Shopper Stills
4. Illimité via kristenstewartdailynews
Nach dem Klick gibt's noch das komplette Marie Claire Interview (engl. Übersetzung)
MARIE CLAIRE INTERVIEW: 2016, the year of Kristen Stewart with five movies announced including Woody Allen’s new one, opening the Cannes Film Festival. Choices that say who the American actress and Chanel muse is. A young woman who – from look to sexuality – masters the codes of her time and knows how to plays with them without limiting herself by doing so.
Kristen Stewart knows what she wants: to not be bored and for no one to fuck with her. She don’t say it that way, but still said it. As her romance with the singer Soko fills the columns of the tabloids, she’s in a very alert mood. It’s 10am in Los Angeles, 7pm in Paris, the voice of the very beautiful Chanel muse turns the phone call into some bumpy ride. A rough journey, that’s worth the effort. Kristen Stewart is rock’n’roll. Smart, clear-headed, wild, she acts like she breathes. In the short film ‘Once and Forever’, real-fake shooting done in 2015 by Karl Lagerfeld, she was a young bratty actress portraying Gabrielle Chanel. Muse of the fashion designer since already two years, Kristen has the (pretty) world at her feet. Woody Allen gave her the main feminine role in ‘Café Society’, which will open the Cannes Film Festival. Olivier Assayas shot her in ‘Personal Shopper’, two years after ‘Clouds of Sils Maria’, which led her, big first, to win the César for Best Supporting Actress. Twilight is far behind. The baby star has become an American figure that we love, an arty muse who plays the game. Her own.
Café Society, Woody Allen’s latest, will open the Cannes Film Festival. Did you dream of working with him?
K: The idea of working with Woody Allen was intimidating. During the auditions, I doubted about my own legitimacy. At the end, I was really glad, I felt anchored, rooted. He is deeply intelligent, his off-the-wall way of approaching things… he instills depth in moments of pure comedy, this strange lightness is truly impressive. I was lucky.
Is there a place on earth where no one knows you?
K: It’s strange because it’s me saying it, but if I try to be objective I can tell you: ‘Damn, no, nowhere.’ Meeting people who don’t care, who have other priorities, is really nice. I’m not super-shy or reserved, but I’m not the most outgoing person. Feeling constantly scrutinized.. Facing this, I developed a crazy acuity. It can make me completely paranoid, like: ‘I swear to God they’re listening what I say.’
Your life is defined by your job…
K: Yes! My life is distorted by my job, it’s weird, because it’s related to the job itself. As actors, we must be completely “spontaneous” and “directed” in circumstances that are themselves under control. Planning spontaneity is, by nature, a contradicton. I live a bit in the same way. I like to live in the moment, but I also have to protect myself. In my life, not jostle the schedule is an effort but it allows me to know spontaneous moments. It takes a bit of an organization. Sometimes you just say: ‘Fuck it!’ You make silly stuff, and it’s ok. At the end of the day, the moments you experienced are yours. I don’t care about my image in general, as long as I can live my life. I don’t care who consumes it.
What do you love about celebrity?
K: Being an actor, creates ultra-strong bonds with people that, sometimes, you just met. Celebrity leads me to share this to a very large scale. We make movies to get closer to others, understand each other. I’m lucky, I love what I do, I make incredible encounters.
What do you hate about celebrity?
K: Waste time talking about it. (She laughs.) It’s like that all the time, like now, we’re on the phone for eight minutes now, we only talked about it. There’s not much to say, and nobody wants to hear you complain about a job many people dream of doing.
It’s been said that your team on photoshoots is incredibly cool and efficient.
K: For never having directed a movie, I do not have employees to fire.
It happens nevertheless that actors fire their agent, their publicist…
K: I work with the same team since I was 12 years old. The same stylist, the same publicist, the same agent, I have no manager. We’re like family, we’re doing a good job. It happened to me, on set while filming, to be photographed by people (that had nothing to do there), my staff protect me, they got these son of a bitch fired.
You grew up with three brothers. Does your mother told you: ‘Kristen, you’re beautiful’?
K: Yes, all the time! Constantly! We were so close when I was little, we still are. We were like buddies, the only girls in the family, she’d take me everywhere. Very young, I found myself with adults, and I think it’s very important to be like that with children. To leave them a margin of impliation and interaction, as if they were already what you want them to be. I was her buddy. Yes, her fucking darling little girl!
When you look at yourself in the mirror what do you see?
K: Honestly, man, when I was little… I know there’s nothing more annoying than actors or people considered seductive swaying bullshit like, “I was so ugly”, but let me tell you: I was like my brother until I was 14 years old. Terribly worried about it, really weird, totally gangling, clumsy, they took me for a boy. Constantly. The first time they put a microphone on me, the audio engineer put tape on my chest – don’t do a weird story of it, I was 10 years old. He pressed hard, saying: ‘Hey, you’re a tough kid, you’re all right son?’ And I answered, with a little voice: ‘Of course not, stop.’ (She laughs.) And it was like that absolutely all the time. At one point, I liked to be treated as someone of my kind. But do I love myself? Funny question. I’m happy, I’m very lucky, am healthy and I am aware of all of this.
You were apparently a tomboy. You used to fight as a child?
K: No, I never really fought, in the sense that I haven’t received or given punch. But being the youngest, I was really in the competition, to excess. Sometimes, I’m embarrassing myself, I go too hard and people say to me: ‘Calm down.’ But fighting, no! I don’t want to hurt people.
When you were 20, you played the game of the feminine woman with long hair. Why did you cut them?
K: I cut my hair for a movie, Equals, which will come out soon. It takes place in a dystopian reality, where all beings are genetically modified to be equal and watch over the group. They share the same curiosity. We all have the same appearance. I love having long hair, but I feel good with short hair, as if I was no longer hiding behind a veil. It’s a new version of myself.
Long hair send a message, the message of femininity.
K: Everyone loves long hair. Result: everybody looks the same. Our generation is shaping a new way of being oneself, detached from these outdated conventions that dictate what is valuing and what we should look like. So many girls would be devastated, terrified if we cut their hair: “Oh my god, I’m no longer pretty!” But yes, you are! It’s changing, very quickly by the way, the acceptance of this ambiguous nature. More and more, people are viewed as individuals. It’s cool, and quite easy actually. People who don’t allow themselves to look like what they really want to be, because of what people might think of them, make me feel sorry for them. This is crap, just awful.
My question may seem superficial to you, but have you noticed a difference in people’s look at you?
K: Ever since I have short hair, yes, there are people who don’t look at me anymore. Assholes like: ‘I don’t like you that much anymore!’. At first, when I was out without those long hair, I felt it: ‘Wow, the experience is slightly different.’
What’s worse, for you, at Hollywood: being a woman, being black or being gay?
K: I don’t have extensive experience in this, I don’t have much to say about this.
What do you have to say to the group of men governing Hollywood?
K: Nothing, except: ‘Keep doing good movies, we try to do the same!’ I’m fully aware of how lucky I am, the number of opportunities in my hands. For me, being a woman in the film industry is not stressful, even if, it’s true, the roles for us are less numerous. I can’t ignore that there’s a real struggle on this subject but, to be honest, I don’t have that in mind at the moment, I work a lot, it works well, and I am delighted.
So you’re not following Jennifer Lawrence, who goes to war against income disparity between actors and actresses?
K: No, right now, I’m working on small movies in which we are like a family, all on the same level.
Is there a moment in your life when you did not feel free?
K: In life, you’re often your worst enemy. We’re all prisoners of ourselves in one way or another, growing and find out who we are, that’s the goal right? I really appreciate aging. With everyday passing, I feel more free, more close to what I want to be, it’s increasingly easy. I look at myself and I say: It’s ok dude, relax.
Do you like yourself?
K: Watching people around you is a good way to measure your own worth. My friends and people I work with are exceptional. My work is my life, my life is my work. So yes, I look at these amazing people around me. I’m in their lives because they are great. Conversly, if they’re there, there’s a reason, I have to be pretty cool.