Friday, July 11, 2014

Kristen on the cover of Studio CinéLive (France) - NEW Portraits from Cannes & Interview

Kristen en couverture de Studio CinéLive (France) - NOUVEAUX Portraits de Cannes & Interview
Out in France on Wednesday July 16 (July/August 2014 issue) - Sort en France mercredi 16 juillet (Numéro Juillet/Août 2014)
Love the white/pink.. very very pretty issue with a STUNNING cover picture! :) - J'aime le blanc/rose.. très très jolie numéro avec une SUPERBE photo en couverture! :)

@SheDoesEpicShit, @thawra611 & @SomeLostBliss have translated the article & editorial. Thank you.

Part 1
She has bitten vampires and is now free in her own skin. We (finally) got the chance to meet the real Kristen Stewart, whose whole character, media persona and potiental is the catalyst in 'Sils Maria' by Olivier Assayas. Tell me in which film you act, I will tell you who you are...

Kristen Stewart goes through a metamorphosis with Assayas.
What does it mean to be a rebel in 2014? In this amazing formated industry that Hollywood turned into, we sometimes have the strange feeling of hitting a semantic bug. The rebels are substitutes for "beautiful again" (The pun only works in French), as in, young actresses who have their careers all mapped out, and whose ambition is mainly to be pretty. Each film is a chance to be on the forefront. And when they decide to step out of their comfort zone, they only do things already prepared beforehand, like a well-managed business.

At 24, Kristen Stewart is not that girl. When we met her at the last Cannes Film Festival to talk about 'Sils Maria' by Olivier Assayas, her way of speaking freely quickly destroyed that impression of her being a moody teenager from the Twilight era as well as that idea of her being a stuck-up person, which she in fact, isn't. "Okay, I do happen to say 'Fuck' sometimes during interviews. It might not be something I should do when I'm being interviewed but it's not a provocation. It's like breathing." Actors who are always showing off piss her off. "I want to tell them: 'Guys, you're so transparent... Can you not just be normal? You're not in a movie. Here, it's real life!" You can't pretend with a girl who has seen her fair share of fake people. Even before her first role, at the age of 10 in 'The Safety of Objects' (Ambitious dissection of a wealthy American family by the director Rose Troche), she grows up on sets, between her mother, a screenwriter and her father, an assistant director. Also, when she meets Juliette Binoche for 'Sils Maria', the natural and the energy of the woman she's going to spent two months filming and forming a tight bond speaks to her immediately. If Olivier Assayas' film tells a lot of things about the world of cinema, for Kristen Stewart, it is a real mise en abyme.

In 'Sils Maria', Kristen Stewart plays the role of the young assistant, at once, an attentive adivser and sometimes an involuntary rival of the big actress who is putting everything into question played by Juliette Binoche. Stewart plays with an undeniable spontaneity, close to who she is. An approach more real that she enjoyed finding again in Binoche. "Juliette is never faking anything. For her, it would be a lack of respect for the film. In that way, we're very similar. You never know where's she going to go.. She's crazy, I love her." Stewart takes pleasure in watching her. She's inexhaustible on the matter and the amazing energy that is shown by the French actress. "Juliette always speaks, speaks, speaks, speaks, speaks, thinks about the text while analyzing every aspect. Then she manages to put everything into practice, while with other actors I've worked with, even if they take everything in, you never feel like they got anything out of it during filming. Whereas Juliette is very much the cerebral type, while she's capable of processing the whole preparation. Generally, it's two way of doing things that don't go well together. Personally, I don't rehearse my lines. I only read them again ten minutes before shooting a scene. I feel like if I knew them by heart, it would take away the experience that I would get from the scene."

On top of the particular relationship that unite Binoche and Stewart in 'Sils Maria', there's also a last woman role, that puts into light the common perception that the public can have of her. The young Chloë Moretz that Assayas didn't cast for no reason, plays Jo-Ann Ellis, a rising star in Hollywood, star of blockbusters and tabloids, who jumps at the opportunity of working with the big actress, played by Binoche, to turn her career in a new direction. At the turning point of a debating scene in which we see Jo-Ann play a mutant, Kristen Stewart tries to convince Juliette Binoche of the value of this interpretation. Roughly, Jo-Ann might play a mutant but she still has to compose with a big range of human emotions. A speech that Stewart could have also told to defend her iconic role of Bella, the girl in love with vampires.

At this idea, a smile lights up her face. "You are absolutely right. Playing a vampire or a mutant might be a convention, but it's not more stupid than any other convention. I know that there's a habit of looking down at blockbusters. Those that I did, I didn't do them because of the reasons people might think of. I didn't do them because they could have helped my career or because I wanted to become a big star of cinema. I really loved those stories. When I signed on for the first 'Twilight', I was completely OBSESSED! I'm American, I've been surrounded by blockbusters. I love them. But I still want them to mean something."

Hollywood loves to put people into categories. Stewart knows it, accepts it, even if "No one wants to be put into boxes. Evidently, it's annoying to always be perceived as the girl from 'Twilight', but it's what I was when I signed on to do this saga." As long as her vampiric adventure was (Five films during five years), the career of Stewart isn't summarized by a saga of Fascination - Tentation - Hesitation - Revelation (French names of the Twilight Saga books).


Part 2 (Just the quotes)
"I always say that I can't do something if that thing doesn't scare me. Because I know that there is here, something to explore. I was barely done with the shooting of On The Road, that I had to chain with the last Twilight. And I was not ready to go back at all. My spirit was still there... I didn't have the time to leave the character of Marylou behind me."

"What I love in my job is, that I get to meet people who reveal parts of me that I didn't know yet. Calculation isn't my cup of tea. I never think about where a movie can get me or how it will be taken, if it's dangerous for me or not, how it can shape my image in the media... When you think like that, in the end, you never do anything for you. You spend your time thinking about what others expect. I think it would make me do a absolutely horrible work!"

• (On Maria & Valentine): "They're obsessed with each other because they can't define this relationship that makes them mutually dependent. I've never seen anyone make a movie on that subject. On a set, you're often isolated from the rest of the crew. They're not allowed to talk to you. It's not pleasant. You're very lonely. It's so weird that sometimes you have to hire a friend."

• (About projecting herself in her 40s): "I never think about that!" She laughs. "For me, ageing is winning strength but it doesn't take out anything of who you are. If I ever get old and ugly, well, I'll do something else, that's all."

Note: For the Ruth thing.. they write that Kristen wanted to share more about her experience doing 'Clouds of Sils Maria' but Ruth cut it short 10 minutes before the scheduled end (at Cannes) & questionned Kristen being on the cover of this magazine. So after Cannes they asked for a phone interview & got it after many negociations.


Young Americans

All things come to those who wait.
Yes, I will tell all the good I think about Kristen Stewart today. You read that well. Yes, the one still wondering how Twilight, this vampire-homo-pecto-catho-idiot managed to mark the audience that much. Yes, the one who never managed to watch two scenes in a row with Taylor Lautner, Bebert Pattinson or the diaphanous evanescent Kristen Stewart trying not to chuckle, desperately looking for a thunder of interest and intelligence in this picture story transparent and foggy. In every sense of the word.

And, and, Robert finally said it (without saying it but said it) that Twilight and its sequels prodigiously bored him. He went away to learn the job with David Cronenberg, going from Teen Awards to Cannes competition. Not bad. The audience doesn't follow him in his auteur cinema desires, like we decrypt it in the box-office page of the month. Then, there is Kristen Stewart that we wanted to honour next to Channing Tatum in this summer edition. Funny and fascinating to see the path of these two. Those who, a few years ago, were labelled under prefabricated baby stars who wouldn't survive 2 years in Hollywood. Cheap celebrity. Looking at their respective path, we can tell ourselves that they've been less stupid than they showed. Or what they wanted to show.

Kristen Stewart went, in two years from Twilight to Olivier Assayas. Channing Tatum, in less than 3 years, from GI Joe to Soderbergh. The stupid one in the story isn't always who we think he/she is. Stewart simply irradiates presence and fineness in Sils Maria and Tatum is undeniably handsome et really funny in 22 Jump Street. One is made to measure for auteur cinema, the other one having fun in 'Hollywoodian dirty jokes.' When one is going to shoot with Gleen Close & Julianne Moore, the other one is already announced in the new Coen's movie. Seeing this entire generation of baby stars tripping over their 'career carpets' once puberty ended, we tell ourselves that these two understood the thing. To last you need to use your head and legs.
Les scans sont en assez bonne qualité pour que vous puissiez lire l'interview & l'éditorial sans problème. :)

Source - Scans: #1 #2 #3