Compilation Print Interview of “Cafe Society” Press Junket in New York : July 12-13,2016

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Category : News

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รวมบทสัมภาษณ์ Kristen จากงาน Cafe Society  Press Junket ที่นิวยอร์ค : July 12-13,2016

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Kristen Stewart on how to work with Woody Allen

The actress talks about working with the legend on “Cafe Society” and her passionate love for “The Lobster.”

Kristen Stewart has two movies out this weekend. One is “Equals,” a sci-fi indie; the other is “Cafe Society,” the new Woody Allen. She thinks that’s weird. “I just figure you’d have to really, really like me to see two movies in one weekend,” she jokes.

We’re talking “Cafe Society,” in which the 26-year-old she plays a young woman in 1930s Hollywood who falls for a young man (Jesse Eisenberg), even though she’s sleeping with his movie mogul uncle (Steve Carell). She chooses the uncle, and the two part ways, only to reconnect much later, when their lives have dramatically changed.

Random question first: What’s your spirit animal? And sorry for putting you on the spot to come up with a funny response.

Kristen : Yeah. I really overthink these things, too. “What does this really mean?” Do you have one?

I decided mine was a walrus, for no reason.

Kristen : Have you seen “The Lobster”?

Yes. We can talk about “The Lobster,” if you’d like.

Kristen : I love that movie so much. I’m going to meet up with the director [Yorgos Lanthimos]. What I thought was trippy — and I don’t know how I would fit into this as an actor — was every line in that movie was a metaphor. Nobody’s really feeling it. He creates an environment that is such a suspended reality. I’ve never seen anyone do that. And then I wonder for the actors what that must have felt like. Because you’re really constructing something. I’ve never really worked like that. 

Woody Allen has his own style, too, but it’s not as extreme as in “The Lobster.” Were you someone who watched all his movies growing up?

Kristen : I haven’t seen all of his movies — not even in the least. The ones I really like are, obviously, “Annie Hall.” My favorite is “Vicky Cristina Barcelona.” I love that movie so much it’s crazy. 

They can be really dark and honest, but in a way that doesn’t feel depressing. It’s just like, “That’s life!”

Kristen : I think he has a casual approach to his anxieties. People who are so overwhelmed and tripped-out about anxieties are actually not that anxiety-ridden. Because the ones that are are like, “I’ve been dealing with this since I was born. I’ve always been thinking these existential, pit-of-the-stomach thoughts that you can’t get past.” That’s interesting to me. Without being really sad or feeling a lot of pain, you’re never going to be happy. Conversely if you’re never happy you’re never going to be in a lot of pain.

Source : Metro US

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Kristen Stewart on Woody Allen, ‘Twilight,’ and Those Boos at Cannes.

Since wrapping The Twilight Saga in 2012, Kristen Stewart has taken an extended sabbatical from studio blockbusters, instead becoming a regular fixture in the independent and foreign film world with such movies as Still Alice and Clouds of Sils Maria. Now, the 26-year-old actress has returned to Hollywood, after a fashion, in Woody Allen’s latest feature, Café Society. In the film, which is set in Tinseltown during the glitzy, glamorous 1930s, Stewart plays Vonnie, a secretary at a talent agency run by bigwig Phil Stern (Steve Carell), who also happens to be her lover. When that tempestuous relationship crashes, Vonnie finds love again in the form of Stern’s young, ambitious nephew Bobby (Jesse Eisenberg) — at least until Phil decides he’s made a horrible mistake by letting her go. With its pointed digs at the superficiality of La La Land — not to mention its jaundiced view of love and the lingering sting of roads not taken — Café Society is most definitely a typical Woody Allen version of an atypical Hollywood love story. (It opens in select theaters starting July 15.) Yahoo Movies spoke with Stewart about her first experience working with the iconic New York director and if she ever sees herself returning to present-day Hollywood.

Yahoo Movies: Almost every actor who has worked with Woody Allen has a memorable story about the first day on set. What’s yours?

Kristen Stewart:  I honestly have the same story as pretty much everyone else. I thought, “He hates me! He absolutely is regretting his decision.” [Laughs] But, then, I was like, “I’m going to prove to this little dude that I can absolutely do this! Maybe I don’t have the demeanor that my character does, but I’ll do it when you f***ing call ‘Action.’” That first day, he would come up to me and say things like, “You look terrible. You’re supposed to be pretty.” But it’s not personal, and he’s not trying to offend. If anything, he knows that it’s funny. He’s not the type of person who likes actors who are totally up their own asses and have massive egos. I feel like it was almost a tool for him to go, “If they can take it, they’re cool. And if they can’t, then f*** it.”

Did it help to have Jesse Eisenberg as your co-star? He’s worked with Allen before, and you both have acted together in movies like Adventureland and American Ultra.

Kristen : Jesse’s a very calming presence for me, [because] I can get worked up and overly analytical. And that first day, he definitely told me, “It’s kind of normal. That’s [Allen’s] way.” I’m so lucky he was in this movie with me, because I never feel embarrassed around him. And since I was playing somebody who isn’t like how I am personally, I was allowed to mess everything up [in front of him] and not feel embarrassed about it.

Vonnie has to choose between two very different men in the film, both of whom are eager to marry her. Was it simply a reality of the era she had to end up with one of them, as opposed to pursuing her own path?

Kristen : I never thought that Vonnie felt she had to do something. The way I saw it and felt it and played it — although I hate that word, because you don’t “play” anything, you just do it — is that she genuinely fell in love with two people. During that time period, if you weren’t married by a certain age, you were not considered a success — you were a failure. But I think Vonnie isn’t super-driven by those details. Maybe it’s hard for you to see why she likes Bobby, but she does. And Phil brings out a different side of her than Bobby. That’s life. It’s OK to have different loves in your life. And that’s a modern notion, It’s a new thing for women to be allowed to say.

The movie takes place when Hollywood was at its most glamorous, but also tries to puncture that glamour a little bit. In fact, Vonnie functions as the voice of the modern viewer at times, pointing out how all the luxurious trappings are ephemeral.  

Kristen : I think there’s been a massive shift in how the public views famous people. They used to [exist] in an untouchable, elevated fantasy. I think people at the time were aware of that, but it was OK because it was fun and felt good. But if that was the most coveted position to be in, people will do anything to get there and that’s totally dark and the opposite of what the [fantasy] is supposed to be. There’s some sordid stuff that went on [back then]. Now, it’s different because there’s no veneer. People are aware that human beings are human beings.

Both Café Society and Olivier Assayas’s thriller Personal Shopper, which you also star in, premiered at this year’s Cannes Film Festival, where the latter made headlines for being booed by the press audience. Was that a strange experience?

Kristen : Yeah, totally. We go [to Cannes] in a bubble of happiness, knowing we made the movie we wanted to make, and it’s definitely a more fun experience when other people agree with you. [Laughs] But Personal Shopper is a movie you can’t have an immediate reaction to. If we’ve done our job right, it’s one of those movies where, after its over, you sit in your car with your friend and don’t talk about it right away. People always want to be the one who is allowed to express the first opinion, and when everyone [booed], maybe they were [really saying], “I don’t know how I feel about this!” Or, who knows, maybe they all genuinely hated it. But over the course of that week, [the reaction] changed. It was one of those movies people needed to think about a little bit. 

You’ve worked with three very different filmmakers recently: Woody Allen, Olivier Assayas, and Drake Doremus, who directed the sci-fi film Equals. Their films are nothing alike, but did you notice any similarities in their directing styles?

Kristen : One thing they all share is that if they see you walking toward something, it doesn’t matter to them how you get there. They want to see your process, and once you arrive, you kind of look over your shoulder and go, “Oh my god —you’ve put me here!” And they’re like, “No, you’ve walked there yourself.” And that’s a great feeling. But style-wise, they’re very different. Woody doesn’t discuss a whole lot. All of the work is in the script, then he gives it to you straight up and wants you to own it. Drake is all about process and doesn’t care about dialogue at all. He’s very meditative; With him, it’s not about structuring scenes, it’s about falling into something, dusting it off, and realizing what it is. Olivier is able to do both at the the same time. He’s a nutcase. When I read Personal Shopper, I was like, “You wrote that?” It’s a crazy movie.

You’ve made a very conscious decision to pursue smaller movies since the Twilight franchise wrapped up. Do you ever see yourself returning to the big-budget realm again?

Kristen : I would love to be inspired by a big budget movie enough to sign on to it. I’m waiting! My approach is to invest time in things that are really unrelated to the size of it. It’s what’s inside of it [that counts]. The Twilight thing started off small and then got bigger, but [what was inside it] was always the same.

If they ever rebooted Twilight, would you consider coming back in some way?

Kristen : To be honest, we kind of told that story. We made five of them, so maybe not! [Laughs]

Source : Yahoo!

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INTERVIEW: Kristen Stewart talks ‘Cafe Society’ and a Directorial Project

Whenever you sit down to talk with a big movie star, there’s some degree of preconceived notions that come along with the territory. Rightly or wrongly, you have in your head the personalities you’ve seen put forward on-screen and in the media, so there’s a person already somewhat formed before the conversation even begins. In the case of Kristen Stewart, I was delighted to find that regardless of how she’s portrayed in the media, in person she’s casual, expressive, funny, and most of all, real.

In conjunction with this week’s release of Woody Allen‘s latest film Cafe Society, Awards Circuit was given the opportunity to chat with Stewart. Moving from one wildly topic to another, she had plenty to say. The highlights can be found below:

Stewart values authenticity and she never appears to be putting up any shields or putting on a performance.  It was just her, sitting on a couch, answering questions about Allen, Cafe Society, and what excites her about the world of acting/filmmaking.

Stewart starts by saying:

“I don’t like draw this huge, there’s not that much of a divide between like my life as mine, and then my job. Like, I don’t go to work, do you know what I mean? Yeah. So, usually, I could, if I looked back at choices and things I was drawn to and experiences that seemed to be the most, not fulfilling, but the ones that seemed to be the most worth, the ones that really got me going, I can in retrospect pinpoint why, and it’s always coming from something personal. I’m never trying to hide behind characters, like I don’t want to hide.

A lot of actors say they can hide behind this person and it makes me feel better, and if it’s just me I can’t open myself up to like, whatever. All I want to do is become visible! I definitely don’t want any degree of separation.

So, if I’m playing a character that’s different to me, I can get rid of my default settings and personality traits in prep, and then ultimately that is a version of me. And then, the way I choose is that if I’m drawn to someone and dying to have this conversation and it goes on for like an hour, we should probably explore why we’re still talking about this script. So it’s literally just this gut feeling of wanting more from that, as opposed to just the experience of reading it.”

On if she’s ever thought about working with Allen and his way of writing so well for women

“I never really thought about it until it came. I mean, I like his movies a lot, but I didn’t insert myself into that equation until it was in front of me. Yeah, I feel like he has this casual approach to things that feel really poignant and even in the way he shoots, he never overtly discusses or directs anything. Once you’ve said your lines you’re done, and I feel like when you watch his movies you get the same feeling. All of a sudden a moment passes you by and maybe it’s seemingly normal, someone said something off the cuff, but then it’s like “oof”. That to me is truer to life than some drama in movies, which is so focused. So that was cool.”

She continues to go on about his directing style and his notorious lack of engagement/praise

“I know! It’s so straightforward. It’s weird. I am totally guilty of that, because it’s how directors typically treat actors. It’s just something you’ve become accustomed to. But, recently, working with Olivier Assayas, it’s…ughh! I hate that fucking default setting of needing assurance, because it’s a distraction. It totally doesn’t offend me anymore.

If Woody came in and said “that was great, but I fell asleep halfway through that take”, I’d be like “ok, faster, got it”, you know? It’s not personal, he’s not, the idea that he has to protect your sort of little precious ego to get the right performance is not something that he wastes his time doing. But, because of that, he says things that are so blunt and so straightforward, since you’re putting yourself out there as an actor in the first place, most people are sensitive. I definitely talked to every actor who came in with a small part, and they all said the same thing. “Is he saying anything to you?” I’m like “dude, if it’s moving quickly and he’s not saying anything to you, it’s going really well”.

Discussing her preparation for certain characters and certain roles:

“I honestly think, to be a good actor, it’s not like a skill. You don’t like learn how to like, it’s not a skill. If you have a good imagination and are invested in something you care about, anyone can sort of pretend and then derive lessons and shit. Yeah, so I don’t have a particular process, it totally changed with every movie. For this one, I needed to sort of shed my sort of, like again, my “isms” and find hers. Then again, they’re still mine, and they would be mine if I was there, you know what I mean? So, I have no way of really answering that because for every single movie, I go out and I find my way in.”

Finishing up a bit with a few words on her impending directorial début and her dream project:

“Yeah! I want so badly, and I’m not alone in this, but I have it so bad for East of Eden. How do you do that? It’s a tough one, and also I think Ron Howard has that, so that’s great. I’m directing a short that I wrote in three weeks! I wrote it like three years ago and I’ve been thinking about it forever, and I never stopped to take a second, and then I realized that I’d never stop to do it unless I just stopped taking jobs. So, I did that and I’m like elated. I can’t believe I’m here right now!”

Source : Awards Circuit

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Kristen Stewart On Her Acting Process: There’s One Thing She’ll Never Do

The “Cafe Society” star doesn’t just like relating to her character, she finds it essential to her entire process.

At 26, Kristen Stewart is already a veteran of the industry. She’s been acting since the tender age of eight, spotted by an agent while performing in her elementary school’s holiday play, and since then has juggled massive franchises and prestige work alike. After all that, she still resists talking about her performances in the bland industry lingo that so many performers adopt with their rising profiles.

For example, don’t ask her what it’s like to play her roles. Or, rather, don’t use the word “play.”

“‘Play’ sounds like ‘lie’ to me, and I’m just trying to do the opposite,” Stewart recently told IndieWire. She’d already slipped up once during the conversation, when referring to her Cesar Award-winning role in Olivier Assayas’ “Clouds of Sils Maria.”

So what do you call whatever it is the ubiquitous star does whenever she surfaces in another movie? She has no clear answer. “When you ‘play’ something, it’s like you’re constructing something and you’re trying to manipulate other people into feeling a certain way,” she said. “I never want to feel like I’m forcing something, because that means I’m kind of failing.”

To hear Stewart tell it, that perspective often places her at odds with her peers on a set. “Most people are concentrating on their role and trying to immerse themselves and whatever,” she said. “I don’t want to lose myself, I don’t want to fall, I don’t want to hide. I want to be seen. “

In other words, if Stewart’s name immediately calls to mind a certain physicality or emotional presence irrespective of the project she’s in, that’s by design. Detractors may claim that she always plays the same part. But that’s the point. The part is her.

“I don’t feel like I can be anything other than who I am,” she said. “A lot of actors are like, ‘Oh, that’s not me, I would never, that’s not me, that’s a character,’ but that’s your interpretation of that environment and that circumstance, so who the hell else is it but you?”

“A Certain Emptiness”

Stewart’s latest role continues her recent pattern of working with heralded directors who seem eager to embrace her attitude and process. In Woody Allen’s “Café Society,” which opened Cannes earlier this year and is now hitting theaters before making its online debut on Amazon, Stewart plays been-there-done-that secretary Vonnie.

Set during the golden age of ’30s era Hollywood, Vonnie stands out to Jesse Eisenberg’s wide-eyed LA transplant Bobby Dorfman because she refuses to fall under Tinseltown’s spell (or does she?). For Stewart, the character’s disposition mirrored her own feelings about the entertainment industry. “She has this weird thing that she’s aware of a certain emptiness, but still attracted to what’s on top,” Stewart said.

Although Vonnie initially shuns the glitz and glamour of Hollywood, she does eventually give into it. Stewart gets that, too. “It’s not the most integrity-filled business, but it draws really interesting people and you have fun,” Stewart said. “Those are not bad things. There’s a duality to her that’s reassuring. You don’t have to feel one way about something.”

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Working With Woody

For many actors, landing a leading role in a Woody Allen picture is a big, career-changing break. But Stewart made some rather heady claims that she was able to work around the potentially daunting assignment by distancing herself from its potential ramifications. Although Stewart is an admirer of Allen’s work, she said she was never interested in imagining herself in any of his films, past or present.

“I never inserted myself into the idea of his work, as a fan of it,” she said. “It’s not something I was saying before I worked with him — ‘I’m just dying to work with Woody Allen someday.’ It wasn’t like this huge, epic realization of that.” But the more she talks, the echoes of some lingering anxiety bubble to the surface. “I’m still surprised that it worked out so well,” she said.

Another surprise? Allen made her audition for the role, something the in-demand performer hasn’t done very often.

Stewart said that the process was one she took pleasure in, an actorly exercise for an actress who clearly eschews other similarly traditional pursuits.

“People view not having to audition as a huge accomplishment – and it is, obviously it is – but there’s worth in it,” Stewart said. “There’s something intrinsic, there’s something if it’s the right fit for someone. You feel drawn to a person or drawn to a material, and there’s a reason for that.”

Taking the Prestige Route

If there’s been one guiding force throughout Stewart’s varied career, it’s that need to be drawn to projects and people. Since her big screen breakthrough at age ten in David Fincher’s “Panic Room,” Stewart has navigated a wide variety of projects, from the star-making power of “The Twilight Saga” to festival offerings like “Camp X-Ray” and “Welcome to the Rileys,” all the way up to awards players like “Still Alice” and critical darlings like “Clouds of Sils Maria.”

The trajectory suggests the markings of a clear-cut career strategy: Popular young actress escapes the shadow of a YA blockbuster by tackling more serious roles. But she claims it wasn’t a premeditated shift.

“I know if I step outside of it and look, I can go, ‘Oh, it really seems like I did that on purpose,’” she said. “Of course I want to make good movies and I want to work with good people. I totally recognize that it seems like I tried to sort of prestige-up my career. I take that as a compliment. But I didn’t do it on purpose.”

It’s hard to discern the full truth of that statement — or to separate it from the broader agendas of agents, studios, publicists and the rest of the Hollywood machine whose jobs rely on their ability to steer and manage careers — but Stewart radiates such a zen vibe when discussing her work that one can easily get swept up in her laidback perspective on it.

“When I feel really good about it, I open my eyes and the scene is done and I’m just like, ‘Cool. Well, I don’t know what the fuck just happened, but I don’t take any credit for it,’” she said. “It just happened.”

Source : Indiwire

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How Kristen Stewart rewrote her own fairytale ending

In an age of celebrity narratives, the Kristen Stewart story has proved to be an enduring best-seller. Call up Kristen Stewart on Google right now and there is a string of little “news” items with pictures of her holding hands with women in public, with accompanying texts saying she just doesn’t care any more, she’s going to be just who she wants.

Clearly, that does not include being a person who can ever walk to the corner shop without being bothered. Woody Allen, who directed her in his new film Cafe Society, jokes in Cannes that he can’t stand hearing actors “kvetching about privacy and paparazzi” because nobody should complain about being able to get a good table in a restaurant. Next day, Stewart snaps back.

“He’s 80 years old. He was famous in a very different time,” she says sharply. “We have entirely different answers to that question because we have had entirely different experiences with fame and the way we consume the reality show that is the entertainment industry. It’s been turned into something that it never was and I’ve been cast as a character that is fully developed by everyone but me. And I have a part in that, for sure.”

“People’s impressions of me are not wrong; you can have a cumulative impression of me based on pictures or interviews or movies or whatever and that is not wrong. That is, you know, a genuine impression of me. But you cannot deny that the booming industry that motivates these stories is not about anything but money.”

A moment’s break, please, to consider Woody Allen’s recent experience of notoriety: whatever he has or hasn’t done, fame hasn’t exactly been a picnic in the park for him, either. Stewart, however, shoots from the hip; actually, it’s the way she talks about fame that marks her out as a new breed of celebrity, perhaps the only example of that breed, who is indeed who she wants to be and says what she wants to say. Even more remarkably, she has become that person while under the spotlight. There was nowhere else to do it; her Twilight years began almost a decade ago, but she is still only 26.

Not that her relationship with fame was ever comfortable. Stewart was not a confident teenager; she says now that she suffered from crippling anxiety. “I don’t mean in relation to any pressures of my job. Just when you lay your head down at night on the pillow you are thinking, ‘What’s going to happen? Do I have any control over it?’ And contending with having a physical self and not being able to get away from that, the relentlessness of having a mind as well, not having a break from that. It is really overwhelming.”

Now that she says it, you remember how she used to look as if she was trying to escape from her own skin. There is a bit of footage somewhere on YouTube where she is on stage promoting The Runaways with her co-star Dakota Fanning; while Fanning is cool and almost uncannily poised, as if she had been born to stand on podiums, Stewart – who has been acting since she was nine years old, so actually was pretty much born to it – wriggles uncomfortably, as if she has crumbs under her clothes. She doesn’t wriggle now.

And whereas she used to be hesitant and snippy in interviews, she no longer shares the common actors’ view that doing publicity is the penalty you pay for creative rewards. “When you are staying true to yourself and true to your art there isn’t a dark side, because there is not one question that can throw you if you are coming from a very honest place,” she says. “I think what used to alienate me and make me feel put on the spot now, actually just alienates the person asking. Because we just don’t share the same values so I don’t care about that person. And so it doesn’t affect me.”

Her film choices since Twilight went dark show the same gritty determination to plough her own furrow. At the Cannes Film Festival, we meet to discuss her roles in Cafe Society and in Personal Shopper, a kind of cerebral ghost story by French director Olivier Assayas, who will go on to win the festival’s prize as best director. Other recent films have included the misfiring thriller American Ultra and the much stranger, oddly intriguing Equals, where she played an apparatchik in a world where emotions are forbidden.

We have yet to see her in Certain Women, which along with Personal Shopper is showing in this year’s Melbourne International Film Festival. It is directed by Meek’s Cutoff director Kelly Reichardt and stars Stewart as a young lawyer in the Midwest who strikes up a relationship with a lonely woman ranch hand. In Ang Lee’s forthcoming Billy Lynn’s Long Halftime Walk, she plays the wife of a damaged Iraq War veteran; next up, she is supposed to be making a film about the murderer Lizzie Borden. It’s all interesting stuff, with none of it – with the possible exception of the Ang Lee – likely to set cash registers jangling. That isn’t Stewart’s concern.

Admittedly, Cafe Society is classic Allen: a romantic comedy set in Hollywood’s heyday, where the art deco houses look like sets from The Gay Divorcee and glamorous people drink martinis until dawn. Stewart plays Vonnie, a sunnily free-spirited agent’s assistant who befriends an awkward naif – the usual Allen alter-ego, played here by Jesse Eisenberg – who falls hopelessly in love with her.

“Vonnie’s mannerisms and demeanour are pretty outside my immediate personality traits,” says Stewart, “but I don’t feel like I’m that far from the character … I think for a story that’s told in the context of that era, it is really forward and really cool and really modern that she can really indulge in unconventional relationships and not feel bad about it. How do I relate to that? In so many ways, I think we can all relate to that.”

That Stewart should leap at the opportunity to work with Allen and her old pal Eisenberg is not so surprising; what is more surprising is that she auditioned for the part, putting herself on tape and presenting for a full read.

“I really appreciate auditioning for something,” she says. “It just sort of validates your place in film, rather than the obvious, ‘OK, I can get your movie some money’. It’s so hard to get a movie made; if filmmakers have to alter their choices in order to do that … well, it happens a lot. I don’t want to be that altered choice.”

Personal Shopper is the second film she has made with French director Olivier Assayas; she had already auditioned, in a sense, playing Juliette Binoche’s personal assistant in Clouds of Sils Maria.

“I think that, right now, Kristen is one of the most exciting actresses,” says Assayas. “I’m not sure where her boundaries are. When I made Clouds of Sils Maria with her, that part was not written for her and it was kind of a one-dimensional character. I was kind of frustrated because I kept thinking, ‘Oh my God, I can push her further and further – and one day I should try’. Personal Shopper is my shot at that. And I still don’t see where she stops.”

Assayas is well-known in France for making complex dramas in which personal stories and political contexts play against each other. In Personal Shopper, he uses the vocabulary of horror movies – ghosts, dark corridors, quivering music – to explore bereavement. Stewart’s Maureen – whose job shopping for busy rich people gives the film its name – is grieving for her dead twin brother at a point where she believes she starts to see his ghost. Then she starts receiving texts, seemingly from the beyond.

For much of the film Stewart is alone on screen, waiting for signs and wrestling with her own hope, fear and lingering scepticism.

“What Kristen had to do was incredibly complex, because she had to invent her own pacing and her own dynamics and I can’t really help her with that,” says Assayas. “When it’s a dialogue scene, I can cut. I can accelerate, I can extend, I can fix it. Here a lot of the scenes were totally dependent on her own defining of the truthfulness of every action.”

Both these characters – all her characters – come from somewhere near Stewart’s surface. “That’s kind of the goal,” she says. “I know a lot of actors like to hide behind characters so they can explore subjects more freely, but I feel the opposite of that. I feel as soon as I feel revealed and visible, that is when I am actually conveying something worthwhile. Vonnie was definitely in there somewhere: I wasn’t faking it.”

Maureen in Personal Shopper was closer to home; she recalled Stewart’s own past anxieties.

“I play somebody who is flitting back and forth between being someone so stuck in her own head, so shut down, that she can’t be remotely physical; she’s so stifled and debilitated by those thoughts that her body literally atrophies. I know that feeling. And I know how to stop it from ruining your life. So when I looked at Maureen I really felt for her and I wanted to press fast forward, because I know that while it lasts longer for some people, it’s kind of temporary. I think that there is a light at the end of the tunnel for her and at some point she is just going to say, ‘God, I really fell into a hole there!’.”

Maureen has another side, however, expressed in shopping. Assayas says he chose to make the character a shopper because he wanted to make a film about “a very modern character”. Of course, as Stewart acknowledges, there is some fun to be had in casting her in these roles – as an actor’s PA in Clouds of Sils Maria and a personal shopper here – where she can snap about “these cockroaches” of the press or agonise about finding her client the right shoes, “the more apparent superficialities of what I’m so entrenched in”. It’s ironic amusement. For Assayas, however, there is a larger point to be made.

“I wanted to make a movie about someone immersed in modern life,” he says. “To me what defines modern life is the tension between the demented materialism of the modern world and the longings we can have for something more spiritual and abstract. And I think the fashion industry – and the kind of stupid jobs the fashion industry can generate like the personal shopper – are the epitome of materialism. This is the epitome of an alienated job in our modern society. Like all those jobs that have to do with media, it is not fulfilling. How could it be? It is always about frustration. Although, in a way, the person being shopped for is the more alienated of the two.”

Stewart doesn’t have a shopper, but she has worked for years with the same stylist. Unsurprisingly, she takes a more benign view of that side of her world than Assayas does; for her, it is at least potentially about beauty and sensuality.

“You know it’s a whole job, it’s like hair and make-up and clothes. I actually have a lot of fun with that. You can either hide behind stuff like that or you can actually let it highlight who you are. Some stylists want to reshape you, but when they are good at what they do, they really see you. And if you put on the right garment, it really helps you to stand proudly and you feel you have a context. It’s like you’re not lying.”

It may well be Maureen’s salvation that she is able to immerse herself, as Assayas has said, in the look of things, in the present moment, in things that aren’t about too much thinking. “The base of it in Personal Shopper is that you have someone who is really attracted to beauty, but so self-hating that she feels guilty about it,” says Stewart. “There is a really shameful quality to wanting to be pretty and liking pretty things. Because she doesn’t really like herself, she finds it farcical. Fashion can be a really gorgeous art and there is nothing wrong with appreciating beauty; it is part of what makes us human, it is a version of spiritualism. But it is so f—ing obvious when people are doing it for different reasons and she is not sure where she lies with that.”

Where does Kristen Stewart lie with that? All over the place, probably. We see her on the red carpet in Chanel, looking like a space-age Coppelia, her eyelids black as a panda’s; next thing, we see her in pap shots with her girlfriend Alicia Cargile​ wearing a plain T-shirt and cut-offs, happy in her skin at last. There is a woman in her life; there have been men, notably her Twilight co-star Robert Pattinson; she feels no need either to fudge the truth or define herself as one thing or another. As an actress, she is quoted as saying in today’s celebrity news, she thrives on ambiguity.

It’s a good line, pumping the story along for another day. At one time, the Kristen Stewart narrative seemed destined to culminate in a fairytale ending, rather after the style of the Twilight saga. Thanks to the strength of its lead character, it’s now turned into an arthouse indie in which Stewart, however reluctantly, shares authorship.

“I think what defines Kristen is her sense of freedom,” says Assayas. “She’s a rebel. She’s someone who doesn’t want to be put in a box the way most Hollywood stars are put in boxes. She goes for her instincts and that is something very few American actors can do. No one else of her generation, I would say. She is unique.”

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Source :  Sydney Morning Herald

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Kristen Stewart smiles again.

She just dyed her hair blonde and plays a bright woman in the latest Woody Allen film. The actress wants to end the mysterious aura that surrounds and conditions her. Will she achieve it?

To Woody Allen the Twilight actress seems young, bright and seductive. Far from the darkness and mystery that surrounds her, that’s how he sees her in his new film, Cafe Society. However, Kristen Stewart (Los Angeles, 1990) cannot escape form the label international independent film queen. Proved by, among others, the fact of having been the first American artist to win a French Cesar, in the latest Cannes Film Festival. But Allen and the second film she has shoot with Olivier Assayas, Personal Shopper, are intended to be her definitive reinvention. Stewart, who began working in Hollywood at nine, has learned to speak honestly, even though shyness still shows up in her non-verbal language she can’t stop moving her legs, plays with her rings and hardly look into the eyes. But, yes, she answers bluntly.

Cafe Society is your third film with Jesse Eisenberg. Is he your fetish actor?

Yes, indeed, we had just finished American Ultra, when we started with Woody Allen. I didn’t have time to miss him. Jesse and I are friends. We have our own language, conversations that most people will not be interested in because we are too analytical, dark, esoteric…Also, in Cafe Society I play a seductive and vulnerable woman, and with him I was not ashamed. Jesse is easy, there are only a few people with whom I feel so comfortable.

You have said that the most curious parts are those that teach you something about yourself. What did you learn this time?

I thought about the different types of love. It was liberating and revealing. I admire the ability of my character to value time and hang onto it. Parts like this open your mind.

Woody Allen has said that when he saw you he imagines you as “a young woman with white socks living in the countryside”.

In the audition he said to me, “I think you’re a great actress, you would be perfect for the role, it will be fine if you get this cheerful quality outside. I need to see that you can be funny, spontaneous, impulsive…The film will only work if you are captivating:. I auditioned, a cold reading, and left convinced that he will not call me. But he called.

At Sundance, after Certain Women was screened, you spoke out on women situation in Hollywood.

The only way to change something is talking about it and making decisions to launch women into a position of power. Although, the more you talk, the more you move away from yourself. I shouldn’t celebrate “how well women were doing in Sundance”. I should talked about the film.

You convey the image of a strong woman. Are you?

I am concerned about people having a wrong impression of me. Sometimes it’s kind of like a comic book that has been sold. It is a false story that has been fueled by an industry that is obsessed with money.

Are you still affected when you read things about yourself?

It used to affect me. Now I look to the other side.

Your character in Cafe Society says she would rather be a normal size person, be a good actress rather than see her face on huge posters.

I don’t think celebrities are huge anymore. We have been stripped down. Hollywood used to be dazzling and almost untouchable. The stars were on another level. But it is obvious that we are fragile now.

Is that good?

Yes it is. Yellow press sometimes tells truths; others the don’t. But you have to focus on what matters to you, because there is enough stupidity in the world.

Source : elpais.com

Translation Spanish – English by  @Uchiland Via Team Kristen Site

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Kristen Stewart talks new films and oversharing: ‘It actually tortures me a little bit’

It’s Kristen Stewart week in L.A. — and why shouldn’t it be?

The 26-year-old Woodland Hills native has grown into one of cinema’s most respected actresses in recent years, and not because of (nor in spite of) the massive success she had with the “Twilight” movie series. Since that franchise finished in 2012, Stewart has aced a run of demanding performances in little-seen but highly praised indies “On the Road,” “Camp X-Ray,” “Clouds of Sils Maria” and “Still Alice.”

She’s got two more opening locally Friday, Drake Doremus’ dystopian romance “Equals” and Woody Allen’s latest, the highly sophisticated, 1930s love story “Cafe Society.” Additionally, she’s made strong impressions in the upcoming “Certain Women” and “Personal Shopper” at recent major film festivals, and she’ll also appear in double Oscar-winner Ang Lee’s anticipated “Billy Lynn’s Long Halftime Walk” later this year.

This weekend’s two releases show Stewart tackling love and other problems in ways that “Twilight’s” vampire-smitten Bella Swan could hardly have imagined.

“Equals” takes place in a post-apocalyptic future where the “civilized” survivors have built a peaceful, technically advanced society predicated on the notion that feelings are a disease that need to be medically — or, failing that, more harshly — suppressed. As in “1984” and “THX 1138” before it, rebellion emerges when co-workers Nia (Stewart) and Silas (“X-Men” and “Mad Max: Fury Road’s” Nicholas Hoult) can’t help but act on their attraction to each other.

Doremus, who specializes in partially nonscripted, intimate emotional dramas such as “Like Crazy,” put his leads through a unique “getting to know you” process for his first foray into sci-fi-tinged, um, intimate emotional drama.

“The rules of the game were, initially, just say hello to each other,” Stewart explains. “He wanted us to have the physical memory of saying hello to each other 365 times. Our characters had been seeing each other in an office every day for a year and hadn’t had a conversation yet, hadn’t addressed each other in any way other than hello.”

“But after a year of that, you know a person. I don’t know his date of birth or where he’s from, but I have a sense of this man. By the end of that hour, I felt like I’d seen him in this office for a year, and I had this curiosity and a feel for his reactions.”

That was just the meet-and-greet.

“The next game was, you can speak and it doesn’t matter what you’re saying, as long as every word is honest,” she reports. “And then the next game was, you don’t have to, but if you want to say something, it has to be the opposite of the truth, it has to be a lie. That really introduces yourself to how you lie and when you don’t know you’re lying.”

Sounds like an essential actor’s tool. Especially when playing someone who has to hide her feelings from virtually everyone. Stewart is unconvinced that it worked for her, though.“Hiding and stifling emotions for presentation’s sake is something I’ve had to do a lot,” she admits. “It’s so not unique. Anyone who’s had to go to work with any baggage, sadness or anything, does it. Some people are the type who would rather not share. I am, like, such an oversharer that it actually tortures me a little bit. I need people to be on my page and it connects us. Maybe that sounds selfish, but that part is easy for me because I know what it feels like.”

“I thought I was hiding it very well,” she says of working on “Equals’” futuristic Japanese locations. “I’ve seen the movie a couple of times now and I’m like, wow, I am literally not hiding a damn thing! What happens to my face when I don’t want to show things is I just go hard, like a knot. I thought I was just expressionless, but really I looked like, unnngh, I’m f-ing dying!”

She’s being unnecessarily tough on herself. Especially so if you consider “Cafe Society,” a movie that repeatedly showcases Stewart’s expertise at displaying a rainbow of conflicting emotions, many of them being suppressed, on her Vittorio Storaro-lit face.

Stewart plays Vonnie in the Allen film, an ambitious but winningly down-to-earth assistant to Steve Carell’s Phil, a high-powered Hollywood agent. When Phil’s nephew Bobby (Jesse Eisenberg, who’s previously starred with Stewart in “American Ultra” and “Adventureland”) comes out from New York to try the movie industry, she shows him around L.A. and captures his heart. He touches part of hers too, but when things don’t work out, he returns home to run a hot Manhattan nightclub.

Their lives proceed, separately and more-or-less satisfactorily, until the night Vonnie walks into Bobby’s club.

“Vonnie is so tonally different from me,” says Stewart, whose own love life, at least by how it’s been reported, has had its share of face-knotting drama. “She made the story possible because of how inviting her energy is. For there to be no guilt or shame surrounding her motives or ultimate decisions is a pretty forward way of telling a young woman’s story in the late ’30s. Falling in love with two men at the same time, one of which is very much older, breaking up a marriage. … It’s really off-the-grid in terms of conventionality.”

“What I think it celebrates is appreciation of momentary experience, and not always knowing how something is going to turn out but not throwing it away because you can’t identify and own it. She allows him and herself to have both, sort of, and there’s this melancholic, reflective gray that’s like, I feel everything about that. There are only a couple of people that I’m not embarrassed around, and Jesse’s one of them, so I could be ultimately feminine and ultimately just buoyant. And there’s something casual about it, not everything is so dire. If you can candidly look at something, it becomes more poignant.”

As for Stewart’s impressive professional blossoming, is it a casual or an unngh kind of thing?

“Genuine impulse and allowing yourself to be around people that encourage that,” she says without hesitation. Or angst. But with dead seriousness.

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Source : Santa Cruz Sentinel
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All Via  @Korita05
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