New/Old Stills & BTS Photos of Kristen in “Personal Shopper”

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Stills : Kristen Stewart as ‘Maureen’

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รูปเบื้องหลังกล้องการถ่ายทำ Personal Shopper

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Kristen is in the Documentarty “Aware, Anywhere – Olivier Assayas”

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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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Olivier Assayas’s Interview with Bangkok Post

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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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Olivier Assayas talks “Personal Shopper” with China Morning Post

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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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Portraits and Interview of Kristen & Olivier Assayas’ for AP

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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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New Interview of Olivier Assayas with The Nation Thailand

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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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Kristen’s interview about “Personal Shopper” with SBS Movies Australia

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With ‘Personal Shopper’ you give us an insight into that rarefied world of high fashion, and how it works.

There are a very, very small group of people who actually go and shop at Chanel showrooms and those people are the real “other worldly” wealthy people. It’s couture, it’s delicate, handcrafted, really precious one of a kind works of art so you are investing in an artform when you go and buy their stuff.

Chanel does stand separately from most of the others – they are an independently owned company, still, which is the last of the luxury brands. And you feel that. There is a genuine, very compulsive faithfulness to aesthetic and care for that aesthetic. They really do stand apart from the people who do it for farcical reasons. A lot of people want to look like they appreciate an aesthetic and beauty but… Some people look at a sunset and it brings them to tears. Some people don’t look twice. It’s a really human spiritual thing to be moved by an image. So within fashion, those people really stick out because those who don’t have it are there because they want to be popular, they want attention. They want to be looked at in a certain way and it validates them in some way to be looked at. That’s actually very empty. It’s just really easy to tell the difference between the two.

You’re back working with Olivier again. How was it different this time? How did you build on what you’d learned about each other from Sils Maria?

The roles are very different, for one thing. Olivier and I have a great relationship because we really ‘see’ each other. I feel like he really understands me and I don’t really have to explain myself to him. We usually agree. There’s a great, real friendship and a closeness that provides a trust that, like, just puts you in the perfect position to explore a difficult subject and always feel like you’re going to be caught by this safety net if you ever really, truly, fall too hard. And that only got deeper on the second go around.

Also just by nature of the movie, it’s so much more sad and you know, Sils Maria was bittersweet and a little bit tumultuous between those two characters, and there was pain in that, but it wasn’t as deep and as fundamental as the pain in this movie. It didn’t bring into question things that don’t have answers and that’s what this movie is about. It’s really about finding peace in not knowing where we’re going to end up and who are are and whether or not our reality is just our perception or whether it’s something that we share. We’re never going to know that. But it’s worth asking the question. It’s worth being aware of it. For both of us, we found that you need to be so raw in order to address those things. We’re just so close now. We’ve been through so much together now that we have those footholds to base a relationship off of, and we’ll only go deeper.

What was it like to have an iPhone as your co-star in so many scenes? How did you approach that and try to make those scenes interesting?

Oh God, what you can project onto an iPhone and into messages from somebody can sometimes be so one-sided! I was basically playing with my own version of myself. Also I felt like anytime there was going to be a close-up or an insert of the messages, it should feel like a close-up of me. You should feel the tension in my hands. You should feel every typo. Every choice in punctuation should speak volumes, because it is a new language that we’ve all sort of written ourselves. You have a different text voice, whether you capitalise something. Or put a period on it, or put a lot of spaces in between something, it says a lot! This is this sort of new language that’s interesting. That… [motions texting, with intensity]… I mean… [laughs]

Are you a big texter? Ever feel like you need a digital detox?

I’m not constantly reaching for my phone. I have a personal Instagram that allows me to stay connected to people that I don’t see on a regular basis, but I don’t have social media, I don’t have this heavy phone addiction. So I’ve never had to detox from it. There are times I find myself reaching for my phone for no reason and I just literally, go, ‘What are you looking for? Nothing!’. When i notice myself doing that, I realise that i’m actually just bored and that I should occupy my time with something else.

What did you think about the ghost story aspect of the film?

When I read the script, I kind of missed the fact that it was a ghost story, because my character, the way she was written, wasn’t that afraid. There was such fervent curiosity that drove her towards the ghosts that I didn’t find them scary in the script. I thought that there was just like a need for questions to be answered, and that need overpowered any fear-based impulse. Then when we got to make the movie… the unknown is terrifying and I don’t care who you are. That was much more theoretical, that idea of not being afraid. It was something that i could implicate conceptually, but literally, on the day, nobody could face those things and not be literally, physically, shaken by it because it’s like, I mean it is scary! It’s really scary. It’s just that while I was reading it, I didn’t realise that it was such a – quote-unquote – horror movie.

He really goes for some effective scares

I know, right?! But to be honest, I still find the scarier parts of that movie are when you can see someone suddenly aware of the fact that we’ll never know where we are or who we are necessarily. Those moments where Maureen starts reeling, and things become incredibly uncertain? Those are debilitating, anxiety-inducing, physically stifling thoughts. I know that feeling. I was like, ‘God, I’m so happy I’m not in one of those places, I’m so happy that I’m not um, in that right now’. Because I’ve had moments like that where I’ve been racked with absolute physical manifestations of anxiety, and it was just like, the only way to get out of that is to go for a run or to physically get yourself moving and really exert your physicality and get yourself out of your brain. Because you’re never going to find the answer. Again, it’s finding peace in the not knowing and finding an appreciation for whatever it is that connects us, and i know it is something invisible, it’s worthwhile because it makes you feel less alone. And that’s really what we’re all hoping to do anyway.

On the subject of physicality, I notice you’ve made Maureen intensely tactile. She’s always gripping at belts, and scrunching up these beautiful pieces of jewellery as she inspects them. How did you work that in as a Maureen mannerism? Why does she do that?

I think Maureen’s attracted to things that she’s ashamed to be attracted to. So she’s aggressive with them. These really delicate necklaces, she’s so taken by them but she’s feeling guilty about it, so she almost wants to harm them. Do you know what i mean?

Not personally, but sure.

Because she’s not the most self-assured person and she has so many aspects of herself that don’t typically go together, finding a balance in that is kind of the struggle of the movie. There’s one side of her that’s purely animalistic and very feminine and really just embodies… She’s like a tigress. She’s like a really sensual, immediate, impulsive animal, but there are also other times where she’s so moored by thought and those defences go up immediately. And those defences are very hard and very masculine and androgynous because she misses her brother. She’s half a person and she’s trying to emulate him. It’s like there was a strength that he had that she doesn’t have without him, and she’s trying to do an impression of him in order to feel strong and it’s just not her. It’s sad to watch that kind of thing, it’s clearly just somebody that’s trying to hide.

You’ve played a lot of celebrity assistant roles lately, with this, Sils Maria, and also recently, in the Woody Allen film. Are you referencing relationships that you have with people who work with you?

Yeah, it’s funny role reversal. I know that job inside out. But I don’t have a personal shopper. That’s not a very common job. [Grabs at blazer] These clothes that we wear to press conferences and red carpets and stuff, they’re all lent to us. I don’t have people going out and buying opulent elaborate pieces for me for my own collection, it’s an interaction with that artform which is temporary and within the context of promoting a movie.

Some celebrities seem to use fashion as an escape, or a bit of armour, for want of a better word. You seem really connected to the clothes you wear, though.

Absolutely, I think when clothes really can do their job, they’re the opposite of armour, they can make you feel like you don’t want to hide, and you’re the true version of yourself in the right outfit.

Some people don’t have much interest in it, and some people don’t have very defied taste. A lot of actors really just don’t care, so they hire people that do, to help them. But me? I really like it. The reason I’m not ashamed of that is because it’s coming from a really true place. I don’t find it to be superficial at all. I think that when I put on the right garment I feel like a truer version of myself. I feel there are stories to tell with clothes, and when you find people that feel the same way, it’s really fun to work with them.

I think it’s pretty obvious when there’s the opposite of that – it’s obvious when people are drawn to that world because they want attention. I don’t want to look good because I want everyone to stare at me; I want to look good because I want to feel like myself. It’s about feeling like you, and clothes can help you achieve that.

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Source :  SBS Australia

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Interview of Kristen for ‘Personal Shopper’ with Whimn Australia

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Who would have thought that Kristen Stewart could be as outspoken as she has been of late? Naturally shy, she was like a deer in headlights during her Twilight years and since leaving the franchise has deflected questions regarding Bella Thorne and her relationship with Robert Pattinson.

But while promoting her latest – French – film Personal Shopper she has opened up, most notably hosting Saturday Night Live, where, she hilariously dissed Donald Trump for his comments on the Pattinson break-up and declared, “I’m so gay”.

The now openly bisexual Stewart, who is regularly photographed with her Victoria’s Secret Angel girlfriend Stella Maxwell, admits her confidence has been raised by her work and ultimate friendship with the French director Olivier Assayas.

They’d first made 2014’s Clouds of Sils Maria, and for her portrayal as an assistant to Juliette Binoche’s theatre diva, she became the first American to win the French Cesar for best actress. Again mining the celebrity realm in Personal Shopper, an unlikely ghost story, she’s buying Parisian fashion for a haughty celebrity while suffering an existential crisis as her twin brother has just died—and she manages to communicate with him via text. The film allowed the intense 27-year-old to examine her own existence.

“With Olivier I learnt things about being female that were new to me, these ideas that can keep you up at night,” Stewart admits. “I’m less moored by anxiety than I was when I was 17 when I had my first debilitating existential thoughts. Sometimes you feel like there is no way out of it, but there is.”

Speaking at her usual rapid-fire pace and in her stream-of-consciousness manner, Stewart admits she’s changed. She’s less restrained and cares less about what people think of her.

“I have an awareness that lack of control leads people to a truer perception of you. I think I’ve really wished for that and found more of it in doing so. I’m not afraid. If I don’t know the answer to something I just say, ‘I don’t know’ instead of feeling obliged to give an answer. I’ve figured out how to communicate better. That obviously comes from just getting older.”

Does she meditate, given she’s been through so much?

“A lot of people have suggested meditation to me. I really have trouble sleeping and apparently it can be really helpful. But I’m not good at self-manipulation. I like feeling scattered, I really like feeling overwhelmed. Feeling relaxed all the time isn’t necessarily the way to feel creative. The only reason I have the ability to cope is because I’m quite f..king grounded.”

On screen she’s particularly courageous and nude scenes are not a problem. “There’s a strength in feeling stripped down in every sense,” she says. “I know as an actor I want to feel seen, I want to feel accepted and understood. The scene in Personal Shopper was exhilarating; it was not difficult to be naked. I’m not the most modest person, I’m not that precious and I don’t have the shame the character has.”

Stewart has learnt to deal with criticism too. “Not everyone’s going to like you. I prefer to feel love and hate rather than indifference. So I’m fine with it.”

Not everybody has loved Personal Shopper. Yet Stewart adores it. She loves working in Europe and she loves being away from the Hollywood controls. Still it was difficult.

“Olivier wanted to accelerate making the movie so I filmed it before Café Society. I was doing 16 hour days 7-day weeks and was working for Chanel at the same time, doing a photoshoot or flying to Rome for a show on Sundays. Oh man, I’ve never felt so good feeling so bad!”

She likewise put herself through the mill when filming her ambitious directing debut, the 17-minute short Come Swim that debuted in Sundance. “I’m a bit of a masochist. I don’t make things easy for myself.”

She is close to her dad and to her heavily tattooed mum who often dyes her hair jet black as Kristen had done earlier this year.

“My mum definitely carves her own way. The Aussies are very gregarious. I tend to be, I can be, but it’s more difficult for me to pull it out [of me]. I’m getting better at it.”

She reportedly lives between her house in the very cool Los Angeles suburb of Los Feliz and a Malibu beach pad she bought with her mum. She’s not publicising the locations.

“There are people who have driven up to my house and ogled. It’s f..king scary actually.”

“Everybody has an idea of who I am because of the reality show that all of us celebrities are by default involved with.

Social media is as much a hindrance as a help, though she loves to text. “I’m obsessed with formatting my messages and punctuating them perfectly and conveying something specifically. I have a private Instagram. Personally I have social media but I don’t have a public anything.”

Of course it’s probably more difficult to be famous than it ever has been.

“Celebrities are so perforated, the holes are gaping. I think it’s really obvious that we’re breakable.”

Is that a good thing?

“Yeah actually I think it is-when it’s truthful and not just the whole tabloid thing. You have to focus on what really matters to you, as there’s a lot of bullshit in that world. You just have to look away.”

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Source : Whimn Australia

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Kristen Talks about “Personal Shopper” with the Sydney Morning Herald

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“Why I’m finally in my happy place, personally and professionally.” : Kristen Stewart
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“I’ve found a way to live my life and not feel like I’m hiding at all,” .. “And that’s pretty apparent for anyone who cares – not that everyone does. But if you had been tracking it in any way, it’s more apparent. I’m more relaxed than I used to be.”

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Video : Costume designer Jürgen Doering talks his involvement in ‘Personal Shopper’

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As part of the ‘Fashion and Cinema’ initiative, costume designer Jürgen Doering talks with Joana Granero about his involvement in the film “Personal Shopper” 

(Jürgen Doering เลือกเสื้อผ้าให้กับ Kristen ในบทของ Maureen เขาทำงานร่วมกับ Olivier Assayas มาแล้ว 5 ครั้ง)

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Source : showstudio.com

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