Interview : Kelly Reichardt on how she got to Kristen Stewart for “Certain Women”

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Kelly Reichardt on how she got to Kristen Stewart

The writer/director reveals how she landed the Hollywood megastar for her new film Certain Women.

To mere mortals watching from the sidelines, all directors and actors whose films make it into cinemas have achieved a flicker of immortality. But behind-the-scenes personal icons are tiered according to mainstream appeal.

Kelly Reichardt works resolutely outside of the Hollywood system, making integrity-fuelled art, and so money and industry reach are not her currency. Meanwhile, despite an ongoing foray into fascinating indie projects, Kristen Stewart’s post-Twilight glow is like a lighthouse beckoning all comers. So how did the former sidestep the crowds around the latter in order to cast her as Elizabeth Travis in Certain Women?

“Some friends of mine made a film with Kristen, Still Alice, so they gave the script [for Certain Women] to her. Her response was, ‘If it happens, let me know, and I’ll come do this’, but right up until the day she arrived on set, we were like, ‘Is Kristen Stewart really going to show up?’ And then there she was. It was like, ‘Oh hey, here you are.’”

“I had worked with Dakota Fanning and with Jesse Eisenberg [on 2014’s Night Moves] and they are two of her closest friends, so they put in a good word. I had had really fun experiences with both Dakota and Jesse, so I think because of that Kristen was game for it. But she was completely unperturbed by the size of the part. She’s not the lead. She plays a supporting part in the movie, and she made so much of that character.”

“She let Lily Gladstone’s character set the pace and be the focus. She was so generous – a really generous actor, I thought. She helped give it some shape, because Lily’s a really different kind of actor, really intuitive and Kristen, likewise, is an intuitive actor, but she’s also been doing it a long time and she’s a technical actress. I thought that it played well in terms of who the two characters are. She had a barbecue for the crew on the day off and was just totally easy and not at all demanding.”

“I loved her in The Runaways, that’s really what I loved Kristen in most. It’s an imperfect movie but all the women in it are really… I loved the real Runaways so I really did not want a movie of The Runaways, but she’s really good in it!”

Source : Little White Lies

 

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New Stills of Kristen as ‘Beth’ in “Certain Women”

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Osaka @ 21:44 JPNLT


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ภาพของ Kristen ในบทบาท Beth เรื่อง Certain Women

จากนักกฏหมาย มาเป็นคุณครูสอนภาคผู้ใหญ่นอกเมือง Livingston , Montana.

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Source : @LFRFilms  Via  @KStewartBR
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Interview of Kelly Reichardt Talks ‘Certain Women’ and mentions Kristen

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Brisbane @ 21:36 BNELT

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Kelly Reichardt Talks Creating ‘Certain Women,’ Casting Kristen Stewart & More

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First things first, how did you get this great cast?

“.. with Kristen, she was attached for a very long time. She was in my friend’s movie “Still Alice” and it just went from there.”

Kristen is a pretty big name for a Kelly Reichardt movie.

“At first I was worried she’d be too big of a name for the story I was just trying to tell, but she played “small” beautifully and really let that story be Lily’s [Lily Gladstone].”

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Compilation Videos : Interviews of Kristen from NYFF 2016 : Oct 2016

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Brisbane @ 20:17 BNELT

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วีดีโอ สัมภาษณ์ Kristen งาน Certain Women Premiere NYFF และ “An Evening With .. Kristen Stewart”

ที่ New York Film Festival : Oct 2016

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“Certain Women’ cast interview with FilmLinc


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Kelly Reichardt On ‘Certain Women’ And The Subtle Brilliance Of Kristen Stewart’s Acting.

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Bangkok @ 15:37 BKKLT

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Kelly Reichardt On ‘Certain Women’ And The Subtle Brilliance Of Kristen Stewart’s Acting.

“There’s no such thing as making a film without stress”

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The films of Kelly Reichardt tend to be small and minimalist, but they aim for the jugular, and they don’t miss. They’re gently told stories about people with fragile, ordinary shells that through the progress of story and circumstance end up cracking, revealing extraordinary inner lives. Reichardt’s steadiness and grace as a storyteller, seen in films like Old JoyWendy and Lucy, and Night Moves, have earned her a spot among the giants of American independent cinema. Her films are always set out West—in Oregon, mainly—even though Reichardt herself was born in Miami and has made her permanent home in New York City for more than a decade.  

Her latest movie, the quietly powerful Certain Women, took Reichardt and her crew to small-town Montana, where she endeavored to tell a triptych of character studies based on the short stories of Maile Meloy. In the first of these stories, Laura Dern plays a lawyer dealing with a very low-key hostage situation (everything in Reichardt’s films feels low-key, even when it’s not). In the second act, Michelle Williams, who has worked with Reichardt on Wendy and Lucy and the Western Meek’s Cutoff, plays a wife and mother trying to build a country home while her marriage unravels. And finally, newcomer Lily Gladstone stars as a shy rancher who falls for her introverted night school teacher played by Kristen Stewart, who was born to be in a Kelly Reichardt film.

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Kelly Reichardt Talks ‘Certain Women’, Working with Kristen Stewart

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Bangkok @ 13:34 BKKLT

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ผู้กำกับ Kelly Reichardt ให้สัมภาษณ์กับ Zimbio เกี่ยวกับ “Certain Women”

พูดถึงการร่วมงานกับ Kristen ซึ่งเธอกังวลว่า ด้วยความมีชื่อเสียงของ Kristen นั้น

จะมากเกินไปสำหรับบทของ Beth ในเรื่องนี้ แต่เธอกลับประทับใจในการแสดงของ Kristen

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

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

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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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Compilation Video Interviews of Kristen from “Certain Women” Premiere : Oct 03,2016

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Bangkok @ 10:25 BKKLT

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รวมวีดีโอสัมภาษณ์ Kristen จากงาน Certain Women Premiere NYFF : Oct 03,2016

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Interview : Behind the Velvet Rope
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