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Stills : Kristen Stewart as ‘Maureen’
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รูปเบื้องหลังกล้องการถ่ายทำ Personal Shopper
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AWARE ANYWHERE : OLIVIER ASSAYAS
ฉายที่ Cannes Film Festival : May 25,2017 ความยาว 52 นาที
ภาพยนตร์สารคดี ชีวิตการสร้างหนังของผู้กำกับชาวฝรั่งเศส Olivier Assayas .. เพียงไม่กี่วันหลังจากที่ Assayas ได้รับรางวัล Best Director : Cannes Film Festival 2014 จากเรื่อง “Clouds of Sils Maria” เขาก็ต้องยกเลิกโปรเจคท์ใหม่เรื่อง “Idol’s Eye” ด้วยปัญหาเรื่องเงินทุนสร้าง และ ในโอกาสนี้เองที่ผู้กำกับ Benoît Bourreau ได้ติดต่อเข้าพบเขา เพื่อขอถ่ายทำการสร้างหนังของเขา ซึ่งในภาพยนตร์สารคดีเรื่อง “Aware,Anywhere – Olivier Assayas” จะรวมบางฉากของหลังกล้องกองถ่ายเรื่อง “Personal Shopper” ซึ่งถ่ายทำที่ ปารีส , ลอนดอน , ปราก , และ โอมาน รวมทั้งได้บอกเล่าเรื่องราว การนำ Personal Shopper มาฉายที่ New York โดยมี Kent Jones ผู้อำนวยการ New York Film Festival และ Kristen Stewart ร่วมเข้าฉากในสารคดีเรื่องนี้ด้วย
Directed by: Benoît Bourreau (France, 2017)
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”Aware, Anywhere – Olivier Assayas” Trailer
(เบื้องหลังกองถ่าย Personal Shopper)
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“Aware,Anywhere – Olivier Assayas” ได้ฉายไปแล้วที่ Cannes Film Festival 2017
จะฉายอีกเมื่อไหร่นั้น ติดตามข้อมูลอัพเดตได้ที่ “Aware, Anywhere – Olivier Assayas” IMDb
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Source : uniFrance Films | TV5 Monde |Institut Francais Israel |TV Program.com
Thanks @radassfvck for the heads up
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คุณ ก้อง ฤทธิ์ดี นักวิจารณ์ชื่อดัง จาก Bangkok Post ได้มีโอกาสสัมภาษณ์ ผู้กำกับ Olivier Assayas ที่มาโปรโมท Personal Shopper ที่สมาคมฝรั่งเศส เมื่อวันที่ 26 เมษายนที่ผ่านมา
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“Kristen is not just another American actress. She’s a remarkable actress, extremely talented, she’s a rich and complex character. Kristen will make her own film — she has a short film in Cannes this year and she’ll go further. She’s very committed and thoughtful. She’s too smart for American cinema.” : Olivier Assayas
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Acclaimed French director says collaborating with the American actress has inspired him to ‘go in different directions’, and he can’t wait to make a third film with Stewart.
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When the French writer-director Olivier Assayas first cast Kristen Stewart in a movie he had only seen a couple of the Twilight movies. Every accolade that has followed that inspired decision – including Stewart’s best supporting actress prize for her role in Clouds of Sils Maria at the 2015 Césars, as the first American actress to win at France’s most prominent film awards – is a pleasant surprise for Assayas.
“I think the collaboration with Kristen has been extremely inspiring for me,” says the 62-year-old art-house director. “I think it’s the way we function together. Kristen inspires me to go in different directions and function in slightly different ways; I suppose I also give her space she doesn’t really have in her other movies.”
The excitement from that 2014 film was enough to convince both to swiftly reunite for Personal Shopper, which premiered at the 2016 Cannes Film Festival, where Assayas shared the best director prize with Cristian Mungiu. “You never really write a movie for an actress – but I certainly had Kristen in mind for this one,” he says.
“This film started pretty much with the idea of this character of a girl who is torn between the very mundane job she does in the fashion industry, and her inner life – she has bigger hopes, dreams and longings. I wanted to make a movie [set in] a world that is increasingly materialistic, where individuals can be easily crushed. A way to protect oneself is sometimes to be more on the spiritual side. There is some healing, some protection somehow, in accepting that we have a complex inner life.”
In Personal Shopper, a the grief-tinted supernatural drama, Stewart plays a fashion shopper who also happens to be a medium waiting for a signal from her recently deceased twin brother. An American in Paris, her character, Maureen, would go through a series of genre-based situations that, in the hands of Assayas, turn out to be consistently refreshing.
With apologies to the Twilight set, Clouds of Sils Maria and Personal Shopper are now commonly regarded by film critics as the films which made the mega-popular Stewart a bona fide movie star. The irony that she plays a celebrity assistant in both films is not lost on Assayas.
“I’ve been lucky to be the one filmmaker who was able to say to Kristen, ‘It’s okay to be yourself in the film. You don’t have to pretend you’re some other character. It’s a movie that tries to capture something of real life. So I’m not interested in your market value, I’m not interested in your fame. I’m interested in you as a person.’
“It’s a way to present Kristen stripped of that layer of celebrity and to allow the viewer to see her as she is, as a person, and somehow to be closer to her,” he says.
Stewart isn’t the first actress to have starred in two Assayas films: the others are Virginie Ledoyen (1994’s Cold Water, 1998’s Late August, Early September); Maggie Cheung Man-yuk (1996’s Irma Vep, 2004’s Clean ), to whom Assayas was married between 1998 and 2001; and Juliette Binoche (2008’s Summer Hours , Clouds of Sils Maria).
Incidentally, that list could also include Mia Hansen-Løve, Assayas’ wife since 2009. Although she has appeared in small parts in Late August, Early September and 2000’s Sentimental Destinies, Hansen-Løve has rapidly become one of France’s best directing talents with her first five features, including the engrossing middle-age drama Things to Come (2016).
“When we first got together, she was not a director, and she hardly was an actress,” says Assayas with a big chuckle. “I’ve seen her evolve from a would-be filmmaker to a filmmaker to a great filmmaker. It’s been a fascinating process. … It’s a surprise how fast it has happened.”
The sudden rise of Hansen-Løve is mirrored in the acclaim that Assayas and Stewart have received for their collaborations: the two are already talked of as one of the most interesting auteur-muse pairings working today. “I’ve been very privileged in the sense of working with great actresses,” says the director.
“Usually, after two movies, we ended up becoming friends; we don’t necessarily have to work again because we’ve already covered a lot of ground. With Kristen it’s a bit different: we’re not exactly friends. We very dearly love each other, but it’s not like we hang out together. We’re from very different generations, and we live in two cities that are very far apart. But something happened when we’re together on the set. So now, I really do want to make another movie with Kristen.”
While his next project with the actress remains an idea that’s still “too abstract right now”, Assayas is having a hard enough time picking between two projects for his next directing gig: one is a “very French”, as-yet-untitled film for which he’s about to finish writing and hopes to shoot in the autumn; the other is Idol’s Eye, a true-crime thriller set in 1970s Chicago that, while slated to star Robert Pattinson and Rachel Weisz, was abruptly called off in 2014 after the production lost its financing.
“Now it’s kind of happening again,” Assayas says of the project, which has reportedly replaced Robert De Niro with Sylvester Stallone for the leading role of mobster Tony Accardo. “But I’m keeping my fingers crossed because this movie has fallen apart once already.”
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Source : scmp.com
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Brisbane
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“I’ve really allowed myself to really freely and with no regard to the effect of others live my life,” … “There was just a time where I realized that the things you do and say when you have so many people looking at you, they do affect others. So I’m really proud of it. But at the same time, I hate that it’s such a big deal. It’s a fact of life right now but it’s like, whatever. To me, it’s not personally that big of a deal but I know that it can be to others.” : Kristen Stewart
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In the disheveled backroom of an East Village restaurant, Kristen Stewart is sarcastically motivating the French director Olivier Assayas for a photo shoot.“You’re in America now, dude,” Stewart jokes. “We’ve got to sell the s— out of this movie.” Stewart, a blockbuster veteran at 26, is well acquainted with the demands of movie promotion. But with Assayas, she has found a freedom from such concerns. She and the director have forged an unlikely but formidable bond that has resulted in two highly acclaimed movies, both made in Europe, far outside of Hollywood jurisdiction.
They’re an odd pair: She, a rebel A-lister from Los Angeles who has become one of the movie’s most exciting and uncompromising actors; he, a demure Parisian whose layered, cerebral films teeter between reality and fiction.
What makes them click? They chuckle.
“I’m not sure,” says Assayas. Stewart nods. “That’s the main question,” she says. “I don’t know. We like each other.”
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ผู้กำกับ Olivier Assayas ให้สัมภาษณ์ กับ The Nation Thailand เมื่อคราวมาโปรโมท Personal Shopper ที่สมาคมฝรั่งเศส เมื่อวันที่ 26 เมษายนที่ผ่านมา
In a country where films like “Fast & Furious 8” and “Guardians of the Galaxy Vol 2” tend to dominate the big screen, it came as a welcome surprise to see that the film which won last year’s Best Director prize at the Cannes Film Festival, had finally come to Bangkok.
Making the arrival of “Personal Shopper” even more special was the fact that its director, renowned French filmmaker Olivier Assayas, had come to Bangkok for a special screening at Alliance Francaise the day before the film opened at Thailand’s cinemas.
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What to you, makes Kristen such a great screen presence?
I think she’s incredibly gifted. I think also she has this completely fascinating relationship with the camera. It’s something beyond her own talents. She has it. It’s something that’s obvious. It’s something that struck me the first time I saw her onscreen in Sean Penn’s film, “Into the Wild.” She stands out. There is something that happens when she’s onscreen that’s beyond analyzing. What’s exciting about her is the mixture she has of animal instinct and deep technical knowledge of what she’s doing.
Do you encounter that much?
It’s very rare to have a combination of the two. You have great, very technical actresses, you have intuitive actresses, but actresses who have both, who know how to use their instinct to control in very nuanced ways what they do, it’s pretty unique.
What about for “Personal Shopper,” specifically?
In terms of a movie like this one, which deals with the supernatural, with the invisible, I thought it was really important to have an actress that’s as grounded and real as Kristen. The thing is, Kristen brings everything back to something very human, simple, obvious, and she connects that with the audience.
Are you guys going to work together again?
I would make another film with her tomorrow. I just don’t have the subject yet, but I’m sure I will find it. I think there’s really space for us to make another film. I would love it to happen.
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Source : am New York
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In writer/director Olivier Assayas’s new film, “Personal Shopper,” Kristen Stewart basically plays the title character, a high-fashion personal shopper to the stars who is also a spiritual medium. So at the press roundtable, thanks to IFC Films, I asked Kristen Stewart, who herself is a hugely successful star most famously known for her work in the “Twilight” franchise, if she has her own personal shopper or if she’d ever hire one. Stewart says she doesn’t and further explains why…
“I guess certain celebrities would have that. People that are like extraordinarily rich and strange. But I like clothes.”
Ya, I don’t see her as the kind of celeb either. One of the things I’ve always liked about Kristen Stewart, at least my impression of her, from my having covered several of her press junkets, is that what others may consider to be a big deal, she doesn’t necessarily see it the same way.
But Kristen Stewart fully understood when she took on this role that her character did think of this as a big deal in terms of desiring or envying certain fashion style or expensive clothes.
“I like that she was like at once really attracted to something she also felt partially or potentially empty. There’s a vanity surrounding wanting to look good in clothes, this self-obsessed thing that you have to have in order to be like ‘O my god I can imagine myself in that, I want to feel that.’ So I know that feeling of ‘No, I should be the one wearing that.’ But at the same time, that’s absurd. I don’t want to be the person that thinks like that. So I have less trouble navigating that because I have access and choice which is the luckiest thing in the world. Whereas she is in a position where she’s attracted to something and servicing this thing but so much smaller and kind of resents it but at the same time she’s aggrandizing it.”
Director Olivier Assayas also chimed in, stating that Kristen’s character in this movie is the kind of person who works for people who do a lot of representation, who do a lot of red carpet stuff and since you can’t be on the red carpet wearing the same outfit every single time, they hire somebody who helps get different fancy clothes for them.
And when asked if she got to keep some of the dresses she wore in this film, Kristen Stewart only said she kept one, the dress with the harness. Frankly, I saw “Personal Shopper” only once and a while ago, so I’m not able to recall which specific dress she was referring to. But “Personal Shopper” is more than just fashion, dresses and clothes, it’s also a very unique, very different kind of a ghost story. Not the ghost-busting action type and not the Demi Moore-Patrick Swayze molding clay romance type either, but this one is very internal and very intimate. Find out for yourself when “Personal Shopper” hits theaters near you, March 10.
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Source : Rama Screen
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Category : News
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Kristen Stewart is a proud member of the LGBT community.
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Kristen Stewart Talks Getting Naked in “Personal Shopper”
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E! News’ Marc Malkin caught up with the actress while promoting her latest film Personal Shopper, and when asked about the viral Saturday Night Live moment in which she joked about being “like, so gay,” Kristen Stewart explained her thought process going into it.
“Honestly, I think it was just funny,” she shared. “Not to diminish the point because I think that saying things so bluntly is absolutely important, but at the same time, the only reason I haven’t ever done that is because there is an ambiguity to that and I wanted things to be really real for me.”
“But honestly, it just worked for the joke,” Stewart, 26, continued, adding that the confession was like a “smack” as she clapped her hands together.
Kristen clarified, “It wasn’t like, ‘Let’s do this thing that’s going to be so important.’ I just thought it was like a nice, light… and also yeah, I’m so utterly proud that I’ve had so many people be like, ‘Thank you,’ and I’m like, ‘No, thank you.’ It’s kind of mutual, full circle.”
Stewart also discussed stripping down to her birthday suit for nude scenes in the upcoming drama, an experience she called “empowering.” She told us, “I didn’t feel encumbered at all. Quite the opposite actually.”
She added, “Those [scenes] for me were really empowering, not because I was taking my clothes off, but just because I was getting to the most primal part of that [character], finally, someone who’s really closed off. So then I felt like they were the most revealing, but also the most empowering scenes.”
Source : E! Online
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In real life, Kristen is an actress that fashion houses clamor to style, but there’s this interesting tension when she wears their expensive dresses because you know there’s a part of her that would rather put on a hoodie and tennis shoes.
Yeah, and you see it. You feel it, you sense it. The character is inspired by her because she has this androgyny, a masculine and feminine side, and she’s completely herself and comfortable on both sides. I think that’s part of what makes her fairly unique because, as you say, she’s this fashion muse but she’s also a rebel. There is something genuinely rebellious about Kristen. She has this kind of punk-rock energy to her.
Do you remember the very first time you met Kristen?
I remember very vividly the first few times I met her. The first time I met her, I went to visit Robert Pattinson in London and they were together at the time. I just remember this girl who came in and out of the room where we were having a conversation, and I was looking at her, like, Who is that? And then she was friends with my producer Charles Gillibert who produced On the Road, the Walter Salles movie, and I saw her in social situations in Paris. It’s totally impossible to connect with anyone at parties like that, but just watching her move and how she functioned, I thought she had something that was just so raw, so authentic, and so cinematic. I always felt there was more to her than whatever I had seen in the movies. To me, that’s the key to really having the desire of working with an actress. I did not know her, but I had the fantasy of her.
The next time we really met was when she had read the screenplay for Clouds of Sils Maria and she wanted to do it. When I wrote Clouds of Sils Maria, I wrote it for Juliette Binoche, and she had this American assistant who was a no-nonsense, really grounded young girl. It could have been another actress — Kristen was certainly top of my list because I thought she was a great actress and I was curious to work with her — but I think I really discovered Kristen when we were making Clouds of Sils Maria. I realized that every single tiny thing I gave her to do, she would invent something: She would make it interesting, she would make it sexy, she would make it weird. It ended up being a bit frustrating because her character in Clouds of Sils Maria is written as less multilayered than Juliette Binoche’s character, and so to me the question stayed with me, “What would happen if I gave her a bigger part?”
Not every actor is the same in real life as they appear onscreen, but to know Kristen through her roles is to get a strong sense of what she’s actually like. She has a very grounded center, both as a character and as herself.
Yeah, that’s true, but that’s truth starting at a certain point. I think that for some reason, a lot of people had a very wrong notion of Kristen being distant and aloof, when in real life she’s the most simple, likeable, generous person. What I was happy about in Clouds of Sils Maria is that I kind of encouraged her to let this fun part of her come across, and Juliette was incredibly generous about that in many ways. There were a couple of scenes where Juliette would say, “You know what? Kristen, Olivier, why don’t we make this more funny? We don’t see these characters laughing enough.” I think a lot of people who love Kristen were really happy to see her laugh and be funny in those scenes in the same way that she can be funny in real life.
What has been fascinating in working with Kristen is that, in a way, it’s strangely similar to the way I functioned with Maggie Cheung. Like with Maggie, I wrote Irma Vep for her where she was playing an archetype, and then once I had done that, I had the desire to give her a part which was more layered, more like the real-life Maggie. I think it’s a bit similar with Kristen where I gave her this kind of one-dimensional part in Sils Maria and it generated the desire to write something more human, more complex, and closer to her in many ways with Personal Shopper. But the thing is that, even when I was making Personal Shopper, I had the feeling like I was experimenting: “Where are her limits? How far can she go?” The answer is, “I don’t know.” I haven’t really seen the limits yet and so I hope we have the opportunity of working again together.
Personal Shopper is terrific, yet it was booed at Cannes. Do you think that’s because you and Kristen had just come off this major moment with Clouds of Sils Maria, and the French press was trying to cut you down to size?
Yeah, you never know. Cannes can be tough, so you have to be psychologically prepared. Anything can happen in Cannes, especially with movies where you take risks. Cannes is not that risk-friendly, you know, and I like to take risks with my films — I never go for the obvious next step. I think that for some reason, the tension in Cannes can be a bit hysteric, a bit excessive. People overreact. I have a long history with that specific festival and it’s been very good to me, so I’m never going to say anything bad about Cannes, but Personal Shopper is not tailor-made for Cannes, I’ll put it that way.
The Cannes jury liked it, though.
For some reason, I was more surprised that the reaction to Clouds of Sils Maria there was a tiny bit more minimal than what I would’ve imagined. The film was very successful all over the world, but I thought the reaction in Cannes would’ve been stronger. I mean, in terms of getting a prize, I would have bet on Clouds of Sils Maria as opposed to Personal Shopper, but then the crazy thing is that we got a prize for Personal Shopper.
You were supposed to shoot a different movie right before this and it was shut down right before you began. I wonder if somehow you were able to channel that sense of interruption into the character of Maureen, who is shell-shocked after this important part of her, her brother, has been ripped away.
Yeah, I suppose I did. The mourning aspect of it maybe had to do with that. It was a very violent experience, because it kind of never happens, to have a movie shut down right before the shoot. The sets were built, the costumes were there, the actors were there, the trucks were loaded with the equipment. What can I say? The film was literally happening and then all of a sudden, the financier pulled the plug … which is crazy, because he had more money to lose by doing that than by actually making the film. So I was in shock and I came back to Paris and the question was, “What am I going to do? What’s my next move?”
And I decided that the only way to get over it was to start from scratch, not to try to revise the other project. I always have a couple notes scribbled here or there about movies I eventually would love to make, but here, I just wanted to start from the blank page. Yeah, that moment was kind of defined for me by mourning but I suppose that the energy I found was positive, and connected to Kristen. And I wrote it real fast. I came back to Paris in November and I had a finished screenplay by February and if I could have shot it by June, I would’ve been ultra-happy, but I had to wait until Kristen was done with the Woody Allen film [Café Society].
Does it give you pleasure to watch some of the most tense scenes of the film with an audience, to feel how they’re responding to it?
I think it’s more striking with comedy, actually. I’m not exactly a comedy director, but once in a while I make a movie that can have funny elements and it’s really great to hear the audience react — to have them actually laughing is thrilling, it’s exciting. With scenes that are scary, you can’t see the audience reacting so you don’t exactly have an instrument to measure it. Also, in terms of editing and making the film, it’s very difficult to fine-tune those shots, those things, because after a while you don’t react the same way yourself, you know? You’ve watched those shots a million times in the editing room and after a while, you don’t get the same thrill. So you have to assume how the audience will react. It’s a very good question that’s hard to answer.
Maureen is repulsed by this false world of celebrity, but at the same time, there’s a real allure to those clothes she puts on, almost as though she’s donning a new identity. Do you have the same push-pull relationship to fame?
I’m very ambivalent about a lot of things in the modern world. We live in an extremely materialistic world and that’s frustrating but at the same time, there is something very vital about it. I am not puritan in that sense, to put it that way. I set the story within the fashion world, which is like the most material version of whatever the material world is about, but simultaneously, there is something artistic about it. My mother was a fashion designer, so I suppose that whenever I’m dealing with the fashion industry, I have that influence. The art world is the same way: We can be freaked out by the art world and the way it has become spoiled by industry, but at the same time, we do see the beauty of it. We can be fascinated or excited by art beyond what is very superficial about it. I think I have, in that sense, a very dialectic form of mind. I’m always interested by the way that opposites blend.
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Source : Vulture
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