“Come Swim” will have its World Premiere at Sundance : Jan 19,2017

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Category : News

 Nagoya @ 13:20 JPNLT

 

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** แจ้งมาเพื่อทราบ

ทุกรูป ข่าว เรื่องราว ของ Kristen จะอัพเดตที่ @KSTEWART_THAI twitter

  & @KristenStewartTHAI Facebook เป็นที่แรกตามเวลาจริง

จะมาเพิ่มเติมรายละเอียดที่หน้าเวปนี้ภายหลัง

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“We are the same. We are plain. Plain as day. Plain as a glorious new day.”

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Come Swim ภาพยนตร์สั้น (17.5 นาที) เรื่องแรกที่ Kristen Stewart เขียนบทเอง และ กำกับเอง

ได้รับการคัดเลือกเปิดตัวฉาย World Premiere ที่เทศกาลภาพยนตร์ Sundance 2017 ที่ Lake City , Utah

ในวันที่ 19 มกราคม 2017

This is a diptych of one man’s day, half impressionist and half realist portraits.This short presents two perspectives of one man’s saturated day — an impressionistic portrait of sourcing one’s need and the inability to absorb it. “We are the same. We are plain. Plain as day. Plain as a glorious new day.”

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BTS : รูปเบื้องหลังการกำกับ Come Swim ของ Kristen Stewart

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เธอล้ำหน้าไปอีกหลายก้าว อายุเพียง 26 แต่งานกำกับหนังสั้นเรื่องแรกของเธอ ได้ไปพรีเมียร์ที่ Sundance

Kristen ไป Sundance ครั้งแรก ปี 2004 ด้วยภาพยนตร์เรื่อง SPEAK & Catch That Kid

และเป็น Sundance Queen เพราะมีหนังไปร่วมงานแทบทุกปี 

ในปีนี้ 2017 เธอไปงานนี้ในฐานะ ผู้กำกับ !!

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“Come Swim” เป็นภาพยนตร์เรื่องที่ 10 ของ Kristen ที่ได้ไป Sundance !!!

2004 – Catch That Kid & Speak

2008 – The Yellow Handkerchief & What Just Happened

2009 – Adventureland

2010 – The Runaways & Welcome to The Rileys

2014 -  Camp X-Ray

2016 – Certain Women

2017 – Come Swim ( Director / Screenwriter)

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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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Interview of Kristen about “Billy Lynn’s Long Halftime Walk” with Variety

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Bangkok @ 00:45 BKKLT

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Ang Lee premiered his new movie “Billy Lynn’s Long Halftime Walk” at the New York Film Festival. The drama, based on the 2012 novel about a troop of soldiers coming home from the Iraq War, uses groundbreaking technology that captures images at 120 frames per second. (Most movies are shot at 24 frames per second.)

The result is a screen that erupts with color and texture — but some critics weren’t sure if the process was flattering to the actors. (The cast, including Vin Diesel, Steve Martin, and Garrett Hedlund, are so hyper real, they sometimes look like they’ve landed on “Avatar.”) It turns out, the actors also needed to make adjustments to the way they carried themselves in a scene. In May, sitting down for a cover story with Variety, Kristen Stewart (who plays the title character’s sister) talked about her impressions from the shoot.

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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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Kristen attends “Billy Lynn’s Long Halftime Walk” World Premiere at NYFF : Oct 14,2016

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Bangkok @ 07:15 BKKLT

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Kristen ร่วมงาน World Premiere “Billy Lynn’s Long Halftime Walk”

ที่  AMC Lincoln Square Theater , New York Film Festival : Oct 14,2016

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Kristen with Vin Diesel , Makenzie Leigh , and Garrett Hedlund

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Chris Tucker, Kristen Stewart & Steve Martin

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Interview of Olivier Assayas at the “Personal Shopper” NYFF After Party : Oct 07,2016

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Bangkok @ 22:25 BKKLT

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ผู้กำกับ Olivier Assayas ให้สัมภาษณ์กับ WWD ที่งาน “Personal Shopper” NYFF After Party

จัดขึ้นที่ The Skylark , NYC  : Oct 07,2016 

ซึ่ง Kristen ได้ไปร่วมงานเพียง 5 นาที ก็กลับออกจากงานไป เพราะรู้สึกไม่สบาย

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Around 11:30 p.m. on Friday, Kristen Stewart walked up the stairs at The Skylark to arrive at the New York Film Festival premiere party for “Personal Shopper.” About five minutes later, she walked back down. “I don’t think she’s coming back,” a bystander said. “Might as well have some Champagne!”

Stewart had apparently fallen ill that night. She was well enough to pose for a few pictures, but that was the extent of her appearance at the premiere party, hosted by Moët and The Cinema Society. Among those in attendance were Michael Stipe, Cuba Gooding Jr., Ebon Moss-Bachrach, Josh Lucas and Cinema Society founder Andrew Saffir. Though Stewart wasn’t readily available to speak about her role in “Personal Shopper,” the film’s director, Olivier Assayas, was.

“She’s this young woman who has lost her twin brother from a heart disease that she also has,” Assayas said of Stewart’s character. “She’s facing her own mortality in a certain way and at the same time, she’s trying to reconnect with her brother. She’s a medium.”

Does Assayas believe in mediums? “Yeah, why not?” he said. “There’s no scientific proof of it, but yeah. I’m not sure what medium’s connect with. Maybe they connect with themselves or something like that. But I guess I believe in the illusion.”

As the film’s title suggests, Stewart plays a personal shopper — an unexpected choice on Assayas’ end, but a deliberate one nonetheless. “I wanted that character to have not, like, a stupid job, but a very alienating, frustrating job,” he said. “Because you’re doing something that has only to do with surface and you’re not even doing it for yourself, you’re doing it for someone else. I wanted to have someone who is doing a job and she’s trying to do it well, but also the job generates in her some frustration and anger.”

“Personal Shopper” marks the second time Assayas and Stewart have worked together.“When we were doing ‘Clouds of Sils Maria,’ I did not know [Stewart],”Assayas said. “To me, she was an actress and she happened to be great. But gradually, in the process of making [‘Personal Shopper’], I realized how well we connected and how much we had in common and we built this trust. So ‘Personal Shopper’ is a movie that’s really based on this personal trust. She accepted to do a screenplay, a movie that’s weird. It’s risky and it’s ambitious and I think I trusted her with the part, which basically carried the whole film on her back. It was a bond.”

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Source : WWD

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Kristen attends “Personal Shopper” NYFF Premiere : Oct 07,2016

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Bangkok @ 21:30 BKKLT

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Kristen ร่วมงาน “Personal Shopper” Premiere ที่ New York Film Festival 2016

จัดขึ้นที่ Alice Tully Hall , NYC : Oct 07,2016

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Kristen Stewart with Producer Charles Gillibert  , Director Olivier Assayas

and Jonathan Sehring  (Co-President Sundance Selects and IFC Films)

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Q & A On Stage

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After Party by Moet & Cinema Society

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Kristen สวมชุด tracksuit ผ้าไหมของ CHANEL, สวมเสื้อสีดำตัวในของ Josie by Natori

Hair by Kylee Heat ,  Makeup by Beau Nelson

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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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