Audio: Podcast Kristen’s interview with Josh Horowitz at NYFF

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Audio Kristen ให้สัมภาษณ์ Super Joshy Josh  รายการ ‘Happy Sad and Confused’

โปรโมท Personal Shopper , Certain Women และ Billy Lynn’s Long Halftime Walk

ที่ NYFF , NYC

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 Source :  iTunes

Youtube Thanks to  Korita05

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Kelly Riechardt talks ‘Certain Women’ and mentions Kristen with Vanity Fair

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Bangkok @ 01:23 BKKLT

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How Kristen Stewart, Michelle Williams, and a Broken Truck Came Together for the Remarkable “Certain Women”

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Director Kelly Reichardt takes us inside her latest film, a gripping chamber piece that follows four women.

Certain Women is one of the quieter but more powerful films of the fall. Written and directed by Kelly Reichardt, it tells three tenuously linked stories about four women in present-day Montana. The first focuses on Laura Dern, playing a personal-injury lawyer whose stubborn, possibly violent client (Jared Harris) can’t accept that he doesn’t have a winnable case. The second features Michelle Williams—in her third film with Reichardt, following Wendy and Lucy (2008) and Meek’s Cutoff (2010)—as a yuppie-ish woman building a vacation home and maneuvering to buy some valuable sandstone from an elderly man (Rene Auberjonois), who may or may not be compos mentis. The third (and, to my mind, most moving) story centers on a socially isolated Native American ranch hand, played by newcomer Lily Gladstone, who becomes fixated on a young lawyer (Kristen Stewart); whether that fixation is romantic is, again, not altogether clear.

If the complexity and ambiguity of the film’s emotional transactions lend its ostensibly simple narratives a surprising, sometimes devastating depth, so too does Reichardt’s deceptively casual direction. Certain Women might feel as if it were made in the offhanded vérité style common to many indie films, but the filmmaking is as precise in its way as a Golden Age Hollywood masterwork. Reichardt has a special fondness for long and wordless (or nearly wordless) takes that, to my mind, can only be appreciated on a big theater screen. She deals in a kind of intimate spectacle, if that makes sense. I’d watch her films in IMAX if I could.

Certain Women is based on short stories by Maile Meloy and opened on Friday, October 14. Given the contemporary Western setting, some of its most revealing moments take place in cars. Reichardt and I recently spoke about three of those scenes, her four stars, and about why filming with untrained animals and “shitty, old” trucks makes for great performances.

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Lily Gladstone talks working with Kristen in ‘Certain Women’

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There’s such a sense between you and Kristen Stewart’s character when you’re not around. The absence is felt, which makes the interactions so much more understandable — that experience of thinking about someone who you like and then seeing them, getting this fulfillment just from that. Did you make a point of staying separate while on set so as to create the feeling?

No. Kristen and I, when we shot together, we hung out together as much as we could. It’s really busy, and this was my first time being a lead in a film, so I wasn’t used to so many set hours. But when we had time to hang out, we did. We played pool. We just chilled and talked about art. It’s funny: she had a good friend with her from Ireland, and she was awesome and we just nerded-out about Beckett for a while. God, I’d love to see Kristen jump into that someday. I think she would have so much fun doing a piece like Beckett. It’s kind of her sensibility: she’s really hyperactive in her mind, and she stays in a scene remarkably well. Anyway, that’s how Kristen and I bonded — just hanging out when we could. But we were on set together for a couple of weeks. A lot of the time we spent together was in between takes, just kind of playing sugar-packet football and running lines and commiserating over all the stuff that you do when you’re getting to know somebody.

But going back to the whole idea of separation and everything. [Laughs] Those segments are so incredibly rich, like you said, because you feel somebody’s presence almost more in their absence, like you said, when you have feelings for them. It’s the air that allows the flames to stoke. So while we were filming all that stuff, I actually hadn’t even met Kristen yet. Just the way the schedule worked out, all the stuff we shot on the ranch was before she even got there, and the space in between that was just me. They shot that before Kristen even got to set. I was definitely pulling from pining for somebody I’d had a romance with just the summer before. [Laughs] That’s what started it. There were a lot of little things that we’re all familiar with, but I hadn’t really experienced being in that situation where you respect the boundary somebody else draws, even though it sucks — basically, being told “no.”

Also, getting to know somebody in their absence, almost. So I’d had a romance earlier in the year that I definitely hadn’t worked out of my system, that I was definitely still processing as we were filming, and it only really came up a couple of times because it was a very different romance and connection than the rancher and Beth have, so I didn’t want to fully draw from my own experience — but I definitely know what you mean, missing them in their absence. It wouldn’t have come through without Kelly’s edit. [Laughs] A lot of those moments, Kelly would say, “This is a day where you just saw Beth last night and it’s gone well, and you’re thinking about her.” So it changes the pace at which you move and do your work. But my favorite one that I think really shows it is when the rancher is washing the dishes particularly — it’s just that anticipation, and it’s Kelly’s words. She said, “Anything can happen!” [Laughs] Long story short, all that stuff was shot before I met Kristen, we hung out as much as we could, and she’s great.

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อ่านบทสัมภาษณ์ทั้งหมดได้ที่  The Film Stage

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Kristen’s interview with The Playlist for ‘Certain Women’ #NYFF

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Bangkok @ 19:44 BKKLT

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We had the chance to sit down with Stewart just ahead of the screening of “Certain Women” at the New York Film Festival. Unguarded and amped to discuss working with Reichardt, she shared insight on how the film gets at a truth of life that is never changing and the specificity of the director’s rebel storytelling.

Ben Kinglsey has described actors as hunters, searching for the necessity, the connection, the truth. Can you talk about the “hunt” on this film?

KS : The biggest thing about this part was really just being — and not showing anything, not intentionally trying to make you feel anything. Kelly Reichardt creates such a full, whole environment. It was all really natural. I mean you’re always trying to find your way into a world so you can live inside of it. When you try to “display” stuff, it’s really not honest. Usually, it’s when you are not trying to display things that you accidentally reveal stuff. And you can only do that if you found your way naturally in to any environment. For this, I also just really wanted to put myself in a car. The work that I put into this film was primarily this long drive to Montana from LA.

What I really love about Kelly’s movies is that they focus on these moments that occur in-between the moments that we are used to highlighting in film. There’s nothing redundant and derivative about her movies. They’re all mediative. She commands that you stop thinking until it’s over. I get so absorbed by her work. Other people really like to package and deliver stories and make sure that you can consume them in this weird way that they want you to. Hers aren’t like that.

And it’s interesting that you bring up Kelly’s focus on the in-between moments of life and this want to place yourself in a car. Aside from your character literally driving for four hours each way to teach her class, each of the central characters in the film is shown in her car getting from place to place. And it’s not treated as transition. It’s treated as meat on the bone.

KS : Totally. It’s trippy, right? All three women are up against something. They are each struggling, really grinding against something that is immovable. None of them are self-aggrandizing. Most “women’s stories” are like, “Oh, I have to overcome this case and it’s a big deal and it’s fucking moral and it’s the only right thing to do.” Honestly, it’s just too much. I think it is much more courageous to focus on small things that happen in life that aren’t necessarily what you’d make a movie about. That’s bold. These grinds that these women are on, sort of seemingly for naught, all wanting something they can not have, are hard to watch and really relatable.

Absolutely.

KS : The other thing too, is also their not wanting to be part of an institution. There is the fight against the typical dynamic of a marriage. There’s the fight against the fact that women are not necessarily heard bureaucratically and that things don’t make sense and it’s illogical and fucking frustrating — and that you’re not going to change that. Then in Lily [Gladstone’s] character, she wants a friend and the attention of someone who has no idea that she even exists. And in my case, she wants to feel valid and that just isn’t going to happen. So, it’s these small, tiny little stories that I’m really blown away by how [Kelly] put them together.

And without a sense of urgency for resolution.

KS : Yeah. Not at all. It’s a slow grind. It’s fucking exhausting.

It feels almost like if we were to squint off into the horizon, that the story of these women are stilling going on — beyond the frame.

KS : Totally. They don’t resolve. Exactly. It’s not like the narrative is going to wrap itself up. That’s a truth of life that is not changing.

I think of what David Foster Wallace wrote concerning the next wave of rebel storytellers. That they’ll likely be the ones that “treat old, untrendy, human troubles and emotions in life with reverence and conviction.”

KS : Absolutely. That occurs a lot in literature. It just doesn’t occur in entertainment. That’s always been some of the best aspects of good books. Yeah, I really love being part of the film industry. I don’t love being part of the entertainment industry. This film is entertainment by nature of the mode through which its presented. I mean for some people it will be entertainment — but, not for everyone. And that’s ok. It’s really meditative and authentic. Each of Kelly’s films are also unique to her. Her perspective is really visible in the work and they don’t feel like anyone else’s. It’s rare.

Did you have to adjust your process to the stillness of this world?

KS : Yes. I realize that as I’m getting a little bit older, I’m having less reliance on nerves. [Using nerves] almost makes you feel better in a way because it feels like you’re working really hard, but in truth, it’s distracting, and it’s not what you really need. I used to come at everything like “argh!” — full force. On this especially, I had to really drop all of my — I’ve played a lot of characters that the best way to serve them was to really allow myself to be them and not necessarily change a whole lot.

But recently, there have been a few parts that I’ve played that really need their own particular set of idiosyncrasies and it would have been a disservice to have brought too much of myself to it. In this case, [the character] Beth is nothing like me. Like really nothing like me. She’s precious. And there is something really remote about her. I’m so not her and that was interesting. I had to get rid of all my stuff. I had to get rid of all my stuff that’s really identifiable at this point. It sounds kind of weird, but it’s true. The stillness was a really interesting thing. It really says a lot about Kelly. And, if I fucked up a line, she’d be like, “Oh, it’s actually this.” She’s very much in love with her lines.

I was actually wondering how much of it actually appears on the page.

KS : All of it. Every fucking word. It’s shocking. The script is beautiful. If I ever started paraphrasing, she really wanted it the way the words were on the page.

She’s painting.

KS : She’s painting, man. She’s very composed. She’d not the kind of filmmaker that goes, “Ok, we’re going to take it off six, we’re going to throw it on a shoulder and find it. Let’s just play around and dance.” Kelly’s like, “No. We’re going to compose a shot and then we are going to shoot a scene.” It’s cool. Especially because with most indie directors nowadays, it really is the Sundance look. It’s like, American independent film: throw it on someone’s shoulder and find it. She’s not that. She’s really composed, but somehow still makes it not look like that. It still feels so absolutely natural.

“Certain Women” opens in select theaters this Friday.

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Source : The Playlist

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Interview : Lily Gladstone & Director Kelly Reichardt Talk ‘Certain Women’ & mention Kristen at NYFF Premiere

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Bangkok @ 15:00 BKKLT

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The seventh feature by Kelly Reichardt, “Certain Women” is a triptych of subtly intersecting lives in Montana.

Adapting short stories by Maile Meloy, the film follows a lawyer (Laura Dern) navigating an increasingly volatile relationship with a disgruntled client; a couple (Michelle Williams and James Le Gros) in a marriage laden with micro-aggression and doubt, trying to persuade an old man (Rene Auberjonois) to sell his unused sandstone; and a young ranch hand (Lily Gladstone) fixated on a new-in-town night school teacher (Kristen Stewart).

Congratulations on the film. You deliver such a powerful and nuanced performance. Can you speak a little bit about how you got involved and what attracted you to it?

Lily Gladstone: Yes, nobody says no to Kelly Reichardt when she comes knocking. I was in the rancher situation a little bit when I got asked to audition. I was house sitting for a ranch. I’m shoveling snow and chopping wood and stuff like that and then went into town and checked my email and had this audition notice. It came through a lot of circles that I already had established in casting, specifically, I’m an ethnically specific actor. It doesn’t play as much in the film, but it’s definitely in there and it got my foot in the door, but Native American casting director, Rene Haynes, she’s known for that and she knows me well and Mark Bennett called her, she called me and then Kelly has told me since then that … When I read the script I just didn’t think of it as an audition, I said, “I’m going to start preparing for this role,” because I didn’t know anybody else who could play it. I just loved it so much immediately. Picked my jaw up off the floor that I was even auditioning for this piece and went and got a Carhart jacket, got my flannels, which is in the final scene, my audition clothes are basically what I’m wearing. Especially, that pink flannel. That was what I got cast in and that’s what is in that last scene. Yes. Kelly said I was the first tape that she saw after being really nervous she wasn’t going to find who she needed for the role easily anyways and producers pulled me out of the pile and showed it to her first and that was it.

Most of your scenes are with Kristen Stewart. Can you speak about collaborating with her?

LG: Yes, Kristen’s wonderful. Working with her, she’s one of the most generous, present people so it comes though in the scene work. I do this too and she definitely does, but she loves the work and she loves digesting everything in a scene so much and she will just do it over and over again for the love of it. Even when it’s not her coverage, she’s so invested and so there and working with her was just like every other experience I’ve had working with people who are just so talented and just genuinely good people. It was fun.

The scene where your character drives four hours to talk to Kristen’s character is a heartbreaking scene to watch. Can you speak about playing that out?

LG: I got two takes. There were several times during filming where I was bringing a lot to a scene but Kelly would stop me and say, “You do get that moment but you don’t get it yet.” She’d pull me back from choices I would be making earlier in the time line. Then before we shot it she just said, “All right, this is it, this is where you let it go but don’t do it too much.” That’s the only direction we got. We got it in two takes, she used the first one. It was there. I mean, we’d shot everything right before it in the time line. It was there.

Can you speak about what attracted you to these three women?

Kelly Reichardt: Maile Meloy’s story is really what pulled me in. All the women are complex and they’re really set in their environments. A lot of the scenes took place outside and had small life processes, and those are things that I’m drawn to, and so those things were appealing.

I thought Laura Dern was so fun to w atch. Can you speak about directing her?

KR: Yeah. Laura’s really fun to watch. She’s really a good comedic actress and then can take it to another place really quickly. She’s super super precise and you can tell she’s been on film sets all her life because she’s really aware of how the camera’s working and how the frame’s working and even how the cut’s going to work, I think. She’s a filmmaker, really, and so it was super exciting working with her.

I thought it was quite a stunning performance from Lily as well. Can you speak about discovering her a little bit? Obviously she’s been around, done some work before, but bringing her to this project.

KR: Yeah. She has been in other films, but she felt like a gift from the film gods. She sent us a tape and she had done the scene herself. It was just a huge relief. I found her around the same time I found the location, and the actual rancher of the location we used reminded me in some ways of Lily, and so it all kind of really worked together.

Lastly, Kristen, can you tell me how it was collaborating with her and what you admire about her?

** KR: She’s so game. When I met her, she’s a leg shaking, fast talking, really wound up person, and then the camera turns on and she gets super mellow and slow, and she lays back and really responds to things. She’s a really good listener when she’s in a scene and she’s completely willing to let a scene be someone else’s. I thought she was an incredibly generous actor and really super nuanced. She blew me away sometimes.

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Source : theknockturnal.com

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Video : Kristen on “Today Show” for “Certain Women” : Oct 10 & 12,2016

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Bangkok @ 23:53 BKKLT

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วีดีโอ Kristen ร่วมรายการ Today Show : Oct 10,2016

ซึ่งเธอได้ไป อัดเทปรายการล่วงหน้า เมื่อวันที่ 4 ตุลาคม ที่ นิวยอร์ค

Kristen พูดถึง Certain Women , เรื่องตัดผมสั้นทำสีผม

พูดถึง Come Swim หนังสั้นเรื่องแรกที่เธอเขียนบทและกำกับเอง

พร้อมกับบอกว่า เธอมีความสุขที่ได้ทำในสิ่งที่อยากทำ และ ไม่มีเคยมีความสุขมากไปกว่านี้

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Video : What Drew Kristen Stewart And Laura Dern To ‘Certain Women’

ออกอากาศ Oct 12,2016

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Quotes of Kristen from “An Evening with Kristen Stewart” Tribute Dinner : Oct 05,2016

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Bangkok @ 05:00 BKKLT

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รวบรวม Quotes ของ Kristen จากงาน  “An Evening With .. Kristen Stewart”

พูดถึงภาพยนตร์ 3 เรื่องของเธอ ที่ได้มาฉายในเทศกาลภาพยนตร์ NYFF ปีนี้

Certain Women , Personal Shopper และ Billy Lynn’s Long Halftime Walk

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ใครที่ไม่ถนัดฟังภาษาอังกฤษ อ่านน่าจะจับใจความ เข้าใจได้มากกว่า

ต้องขอโทษจริงๆ ที่ระยะหลังนี้ ไม่มีเวลามาแปลไทยให้ทุกบท ทุกตอนเหมือนเมื่อก่อนแล้ว

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Compilation Interviews of Kristen at NYFF “An Evening With” Tribute Dinner : Oct 05,2016

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Bangkok @ 04:41 BKKLT

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วีดีโอสัมภาษณ์ Kristen บนพรมแดงจากงาน “An Evening With .. Kristen Stewart”

Lehren Hollywood : Kristen เป็นพวก บ้าทำงานไม่ลืมหูลืมตา ?

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Tara Swennen interviews with Vanity Fair & mentions Kristen.

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Bangkok @  21:40 BKKLT

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Kristen Stewart’s Stylist, Tara Swennen, Thanks Hillary Clinton for Bringing Back the Power Suit.

Sharp tailoring is key.

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Kristen Stewart has been making the red-carpet rounds to promote her latest film “Certain Women”  and her style has getting several honorable mentions.

At  the New York Film Festival on Monday night Stewart wore a sleek, unbuttoned Sandro suit paired with a burgundy lip and slicked back, bleach-blonde hair. The suit seems to be her look of the moment, since she also wore a black suit jacket (sans pants) just hours earlier.

“I do think power suits are making a comeback! Thank you, Hillary [Clinton]!”  Stewart’s stylist  Tara Swennen told VF.com over e-mail.  “I think whenever anyone wears a suit—male or female—it gives them a sense of power, an embodiment of strength. Sharp tailoring has that effect with Kristen.”

Swennen, who’s been working with Stewart for 11 years, also revealed that it was Stewart’s idea to opt out of wearing a shirt underneath the double-breasted jacket.

“Kristen has always been a high/low girl—She can pair Chanel with a pair of Vans no problem—I think that’s what makes her so cool and relatable. It’s one of my favorite things about her!”

Stewart was notably absent from this week’s Chanel show in Paris, an event that she typically attends as one of the faces of the brand. While she had other press obligations in New York, she made a point of praising the fashion house during an interview with W saying,

“I know it sounds silly, but telling a story with a garment, putting it in the right environment, walking it the fuck around correctly—it’s beautiful to me. And also these people, they’re really fucking smart. Everyone that works at Chanel and all the costume designers I find to be beautiful artists are some of the coolest people I’ve ever met.”

While Stewart is one of fashion’s muses of the moment, she’s still exposed to some of the darker corners of the industry, and is unapologetic about calling them out.

“I also acknowledge and fucking disdain the other aspect that that world attracts, which is fucking blatant . . . not just superficiality, but, like, mean people. Fucking really aggressive c—ts! I’m sorry. Really aggressive people,” she said. “People who would walk over your dead body. So those people are not artists. But that’s why fashion gets a bad rap. But it’s a pretty diverse world, I have found.”

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Source : Vanity Fair

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“An Evening With..” – Kristen is honored at New York Film Festival : Oct 05,2016

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Bangkok @ 07:15 BKKLT

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เป็นธรรมเนียมของงานเทศกาลภาพยนตร์ New York Film Festival ทุกปี

นักแสดงที่มีผลงานการแสดงโดดเด่น ได้รับการกล่าวขวัญชื่นชมจะได้รับเกียรติ

ได้รับเลือกมา เป็นแขกรับเชิญพิเศษ ในค่ำคืน “An Evening With ..”

ซึ่งในปีนี้ นักแสดงที่ได้รับเลือกคือ Kristen Stewart และ Adam Driver

และ ในปีนี้ ภาพยนตร์ของ Kristen ยังได้รับเลือกมาฉายในงานนี้ ถึง 3 เรื่อง

Certain Women , Personal Shopper และ Billy Lynn’s Long Halftime Walk

งานจัดขึ้นที่  Stanley H. Kaplan Penthouse at Lincoln Center , NYC.

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นับตั้งแต่ New York Film Festival จัดงาน “An Evening With..”  ขึ้นมา

มีนักแสดงที่ได้รับเลือกในปีก่อนๆ เช่น Cate Blanchett, Nicole Kidman, Kate Winslet,

ที่สำคัญยิ่งคือ Kristen Stewart เป็นนักแสดงที่มีอายุน้อยที่สุดที่ได้รับเกียรตินี้

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Official Video

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