Wednesday, December 7, 2016
Tuesday, December 6, 2016
Press Kit (includes an interview with Kristen)
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"Come Swim" runs for 17 1/2 minutes and will premiere at the
Sundance Film Festival on January 19.
Source SLS Films Thanks to Gossipgyal
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Translation by and with thanks AdoringKS
KRISTEN STEWART : Full-headed actress.
The hero of Olivier Assayas’ new movie, Personal Shopper, is surely one of the actress the most… How to say it ? Interesting ? Pretty ? Smart ? Honest ? Sincere ? Friendly ? Annoying ? Smiling ? There it is. Mostly. Details following.
Next ! At the Cannes Film Festival, interviews keep on coming and we never in which state will be the day’s victim. Tired, stressed, not caring, pro, wild ? Kristen Stewart, here to present Personal Shopper by Olivier Assayas, has a red carpet long resume [to see at the bottom of the transcript] does entire hours of promotion always with a smile on her face. She is annoying. Available, focused, relevant, friendly. Knowing that, we’d ask her to get a drink. Yes, both of us, why ? But no, once we’re done, she turns the page, does something else, closes the door. Never mind.
Since when are you an actor ?
I started when I was 9, and now I’m 26.
When you look at your already long career, what color is it ?
It’s ongoing. I’m always enthusiastic, ready to move on. I had the chance to find what I wanted to do really young, when at my age people are only starting to think about a job or a career.
You never wanted to do something else ?
I grew up in Los Angeles. My parents are in the industry too, on TV and in movies, and I always wanted to be a part of that. At first it was just being here without doing anything. At 12, I shot Panic Room. I was hooked. Upset even. I didn’t really understand what was going on inside me, but I was sure it was for me. Movies are sometimes works of distraction, but they also can explain the world. Some can push to react instinctively, others make you think. I’m surfing from one to the other.
Is it easy to build a career ? Do you let the events come to you or do you take charge ?
I am someone impulsive. I never think about what it means to “build a career”, nor what might be good for me. Nobody can develop a theory about my choices and above all not me. I have cravings, needs, but I’m never afraid of the future. And I’m really grateful of everything that’s happening. For example, Personal Shopper’s screening can go terribly wrong tonight, there can be whistles, it won’t change what I lived when we made that movie. That’s something that nobody can take away from me. Building a career, it’s at first being understood and recognized for what you’ve done, and then to be seen by others directors that will want to work with you. A movie is a sharing with the public and the industry.
So the experiment of shooting a movie is more important than the movie itself ?
No, not at all. The two are inextricably linked. The movie goes toward the public, but filming, it’s what I live. Then, we have to listen and assume the critics. I have no problem whatsoever with speeches, enthusiastics or negatives about a film. It’s the lack of warmth and indifference that bothers me.
You say that you’re intuitive. Why do you choose a project : for the director, the story or the character ?
A little of everything. If it has at least two out of three, I’m going for it. Sometimes, a script attracts me for no reason, but I know that if I’m doing it, I will understand why. That interests me. Even if it’s a new director, I’m taking the risk. It’s always worth it; when you feel a little tingling, you have to go for it.
Do you put The Twilight Saga, Into the Wild and Personal Shopper on the same level ?
In any case, it’s the same job. What changes in the end, it’s when you talk about it during promotion. Here, you answer question and see how different the reception is.
Being impulsive, does it also integrate the fact that you will choose wrong and act in bad movies ?
Yes and it doesn’t bother me at all.
It doesn’t mean that you make bad choices.
I know. Everything is subjective. The movie that you won’t find good, I’m gonna love it and will be happy about the work I did. It’s the same principle of the art between the actor and receptor of the movie in the large sense. But I won’t quote any titles.
But being wrong is a part of the game. Yours at least.
Errors are enriching experiences. If you work sincerely, you can’t cry wolf and say that a movie is bad just because others are saying so. You have to keep on being proud. Even if the result is far from what I’ve been hoping for, it doesn’t call into question what I felt when I said yes. If you are afraid of reactions, if you wait for the result to express yourself, then you will accomplish nothing. At one point, you have to realize that you’re doing it for yourself. Look at it with your own eyes, not from everyone else, and always think for yourself.
What memories do you have of filming Clouds of Sils Maria and Personal Shopper/i> with Olivier Assayas ?
It’s quite simple, we agreed upon Sils Maria that we would work together again. Olivier is a smart man, not at all pretentious and really funny. He’s a geek that loves surprises and so do I. I’m not an actress that prepares intensely for a role. I love flowing into a project, and Olivier lets you do your thing. Then rectifying. I love working like that.
Sils Maria was a movie about Juilette Binoche. Personal Shopper is a movie about Kristen Stewart. Do you agree on this ?
Absolutely. It’s like nothing is preconceived, even if Olivier thought about it, of course. I always felt that he could see something in me that nobody ever did. I feel really well directed, without having “done” my job. I love when I react differently from what I saw or thought. When I watch myself react a surprisingly different way, I have the impression to learn more about myself. And that’s what happen on this movie.
Who is Maureen, the heroine ? Is she close to you ? Is she someone you love or hate ?
I feel for her. I want to protect her. I know what loneliness can be like, the feeling not to be recognized, to be in the shadows, to have to accept everything from people. When you watch the movie, you want to know what will happen to her in two years, hoping that she will be okay. There will come a time when she will have a life that satisfies her. She doesn’t know if the perception she has of things comes from her loneliness, but life resists her. I rarely felt something as just and strong towards a character. Maureen simply asks herself how to live, how she will take her life in her own hands. Big questions everybody asks themselves. Not always, of course, but often. Sometimes, I’d rather think about my friends and go have a drink, but sometimes we have to confronts ourselves to these questions without falling in the abyss of depression. Nothing is ever impossible. I feel for her because Maureen is in the dark. And it’s a little scary.
She’s always moving around to escape reality. Are you like that ?
I’m an active person. Maureen tries to distracts herself from herself, but she can’t do it. She thinks but is sometimes an animal and is paralized by the idea of being a part of humanity.
What spectactor are you ?
I love good movies.
It’s a good answer. But like anyone else, no ?
I’m not very cinephile, not like Olivier who has seen everything. That guy is crazy !
Did he give you movies to watch ?
I’m sorry but I don’t like going there. I haven’t seen a ton of movies; I know that’s bad, I have to get on to it. Still, to answer the question, I really love Jacques Audiard. And it is not necessarily a call for anything.
You’d rather go see expos, listening to music, read ?
I like to read. I also write. I have directed my first short film [Come Swim, the portrait of a man overwhelmed by grief that she finished shooting in August NDRL]. I hope to do a feature film one day. This one is quite experimental. It’s probably not the best way to break through this industry…
With Twilight, you became a blockbuster star, with Sils Maria and Personal Shopper you’re in cinematography. Is it different ?
I have the same approach. There was supposed to be only one Twilight movie, and it wasn’t a blockbuster. But frankly, I went all in. As for Olivier’s movies, I was surprised to received a Cesar [actress in a supporting role NDRL] for Sils Maria, because it’s not a prize-movie. In the States you only win when you shave your head and look extremely sick. But I am proud to be on that list. This prize doesn’t really mean anything to the american public, but I know what it means ro people I really respect like Sean Penn. I am recognized in that family and I am happy about it.
Do you feel that you are becoming a better actress with time ?
I am not necessarily a better actress, but I am more relaxed. I know more what I want, understand better how I work, I am capable to get the best of each experience without being selfish. Maybe it’s being better. I don’t know. I never regret anything and I am more self-confident. I am proud to be a part of movies, but I am not sure to have created something. It’s not necessarily an actress’ role either.
Monday, December 5, 2016
Kristen's directed and written short film 'Come Swim' will have it's World Premiere at Sundance on 19 January
Come Swim / U.S.A. (Director and screenwriter: Kristen Stewart) — This is a diptych of one man’s day, half impressionist and half realist portraits.This short presents two perspectives of one man’s saturated day — an impressionistic portrait of sourcing one’s need and the inability to absorb it. “We are the same. We are plain. Plain as day. Plain as a glorious new day.”
The Sundance Film Festival runs from 19 - 29 January in 2017.
For more details on the festival check out their site.
"Come Swim" will premiere at Sundance on 19 January and runs for 17 1/2 mins.
Sunday, December 4, 2016
Or watch it at the source here.
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Source 1 2 YT robstenru Full Interview DM Korita05
Friday, December 2, 2016
Thursday, December 1, 2016
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NME The track is lifted from the Stones’ upcoming album of blues covers, ‘Blue & Lonesome’, out tomorrow (December 2).
Daily Mail Speaking about working with the iconic British rockers, Kristen revealed it didn't take much for her to come onboard with the unique musical project.
She said: 'It didn't take much more than a few words to get me amped on the idea. The Stones.
'A 65 mustang. Alone in Los Angeles. And the shoot was just as dreamy as the idea. We tore LA apart in a day and we had one hell of a sound track.'
Source 1 2 3 4 5
Wednesday, November 30, 2016
Tuesday, November 29, 2016
The film’s story is pretty straightforward, following Alwyn as a young Iraq War vet who returns home on a U.S. victory tour while suffering from PTSD flashbacks. But its the technology behind Billy Lynn that made it such a unique experience for the entire cast and crew of the film. Lee shot the movie in 3D at 4K resolution and 120 frames per second, giving the film a hyperrealistic look with astonishing clarity.
Since this camera equipment was totally groundbreaking, it meant Lee and his actors had to learn how to make a movie in a whole new way. As shocking and unusual as that experience may seem for a first-time actor, Alwyn says it became the norm for him. “Because I had never done anything before,” Alwyn told me, “it was probably stranger for other people coming in who had to unlearn what making a normal movie was like with normal size cameras.” I sat down with the 25-year-old Alwyn to discuss preparing for the role at a two-week-long boot camp and what it was like working with a cast including Kristen Stewart, Steve Martin, Vin Diesel, Chris Tucker, and Garrett Hedlund.
This is a really unique project to have as your first film. What’s the experience been like so far, making this then doing your first junket and first film premiere?
Yeah. Today is my first press day ever. It’s a little surreal, doesn’t feel quite real. But it’s fun and exciting, the whole journey of it over the last year and a half has been quite like, unusual and strange just because – having never done a film before and being at school last year. Everything came about so quickly, it’s been a bit of a whirlwind. It’s been a lot of fun and it’s been a lot of hard work.
What were your expectations going into your first film and how were they changed by the project?
I don’t think I had any expectations. I just feel very lucky to work with people I did, with a director like Ang, let alone be the lead character. So to be able to do that and so early in a strange circumstance and be part of a project that’s trying to push boundaries, as all of his films do, is amazing.
Since Ang shot in 4K and 120 FPS, I’ve read the other actors say how the cameras were so close to them while filming. Did you know when you got the job that making this would be such an intense and intimate experience?
When we were doing some screen tests, he was explaining and either I didn’t understand or really listen. I was just like, “OK I just want to get the part, let’s focus on that.” Because I had never done anything before, it was probably stranger for other people coming in who had to unlearn what making a normal movie was like with normal size cameras, rather than these huge things that were right in your face. Whereas, for me that became the norm. I had no frame of reference of what it was normally like. In some ways, it was probably weirder for them.
How did Ang direct you in those scenes?
He might do a wide shot of me and you, and then if it was going to film you or me [in a close-up], the cameras were just so big it would be there in my face. He’d be over there, just a voice, and I’d be looking. I have a piece of tape there [points across the room] and a piece of tape there and just have to imagine.
We just did a Q&A downstairs and Kristen was saying you would just use the memory of the wide shot when you have the eye contact and you just have to hold onto it and then kind of hear it in the voice behind the camera, put the pieces together, and have it clearly in your head when the camera came close. It was unusual. Took some getting used to, definitely.
Some of those close-up shots are really emotional scenes for Billy. Was it hard to perform that with such an unusual filmmaking technique?
Some of them, yeah. But in some ways I would like those scenes more. You kind of know where you are when you’re grounded in a deeper emotion, something deeper to hold onto, if that makes sense. There are a few intense scenes.
Did you do much research about American soldiers and their experiences during the Iraq War?
We did. I was cast and about four days later I had to leave and start boot camp. We did two weeks of boot camp in Atlanta. Seven of us did it, seven of the boys did it for two weeks. There was no contact to the outside world and it was run by these people who had served [as] Navy SEALs. It was just the most intense, tough thing I have ever, ever done until making the film, which was intense in its own way.
It really pushed us physically and mentally. It was really tough, but also incredibly useful and eye-opening. They were all very generous when they spoke to us about their own experiences and what they had gone through and had done. It wasn’t just about learning the tactics and how to use the weapons. It was putting us together as a group and a unit and trying to bond us as a bunch of boys, which was important for the story and important for the film.
Brotherhood is such an essential part of the story. Did you spend a lot of time with the rest of the Bravo Squad outside of the boot camp to create those bonds onscreen?
Yeah, because we were there from the beginning of the film until the end. Everyone else kind of dropped in and out for 1-3 weeks here and there, but we were literally there for Boot Camp until the end in Morocco.
This cast is full of so many acclaimed actors. Did they give you any advice for making your first film?
I don’t think there was any soundbite of great wisdom, but I didn’t ask for one. Maybe I should have. They were all – I think the fact that they had all done it so much and were so supportive. I was lucky that I really got on with them. Just being on set with them, they made it very comfortable. I spoke to Kristen a lot, she was in the same boat. This whole thing was an experiment so she couldn’t answer most of the questions I asked her in terms of making the film. But I would ask her a lot about, “Is this normal? What’s going on here?” I was trying to soak up what I could.
Ang told a story before the press screening about a scene he couldn’t use. It was supposed to be a cold Thanksgiving Day, but since you shot it on a hot day the camera kept picking up the sweat on your face. What was that like from an acting perspective, knowing you couldn’t hide those minute details the camera picked up?
On one hand, I’ve only done this film, but you’re trying to do the same in any film or any performance, theater or TV – you’re trying to be honest and truthful and in the moment. But I think because of the clarity of the image, anything that’s pushed or forced will come through. Because it sees so clearly into your eyes, you need to have the thoughts there and the layers there otherwise it will be seen in a way a lower resolution maybe doesn’t pick up. Just because it’s so much more focused and intense and all-seeing.
Both the war sequences and the halftime show are pretty intense in psychological and emotional ways. What sequence was the most challenging for you to film?
I loved filming those bits. They were just a lot of fun. They were really intense, but in some ways because – I mean, they built this halftime show for us. When you’re in Morocco running around in the heat with the weapons on, the more of that that is created, the less you have to do. The size of those moments kind of lend themselves to jumping into it. I really love those bits. I love some of the quieter scenes too. I really like the scenes I have with Kristen.
What was it like to watch the final film projected on the big screen at 120 FPS?
It was a trip. I’m not used to it, and I guess maybe you never get used to it. But I do watch it at times thinking, “I like that or I would have changed that. I wouldn’t have done that or I know what scene is coming next. Oh, they’ve cut that bit out.” It’s strange to detach yourself from it, or detach yourself sometimes from the experience behind it. Like, “Oh I remember that day and what we were doing, that’s when that happened.” It’s very strange. I think it will take a few viewings. The more you see it, the more you’ll be able to hopefully have some more perspective on it.
How do you think this experience of working with Ang will inform the rest of your work and how you approach other roles?
I was just so lucky to work with him for this film. Obviously it’s such a great character in such a great cast that I just want to continue doing that and find projects that I’m passionate about.
Billy Lynn’s Long Halftime Walk is now playing.