Wednesday, February 25, 2015

NEW/old outtake from Kristen & Juliette Binoche's 2014 'Interview' cover shoot + Old now non-scan

* NEW *

* Old one now non-scan *
(from ELLE France September 2014's issue)


Photographed by Driu + Tiago on July 8, 2014 in Paris

"Kristen STEWART & Juliette BINOCHE. Exclusive. Wild. Glamorous." That's a sexy photoshoot!

+ NEW Outtake & Interview in ELLE France


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Scans (GERMAN September 2014 Issue)

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LQ/MQ Digital scans
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Scans (RUSSIAN Septembr 2014 Issue)

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HQ Digital scans
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Behind the scenes

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Interview (GERMAN one)

Note: The interview is the same as the Russian one (below), but the article/translation is slightly different

(Translated from German by VollkommenB & @GingerHenny, thank you ♥)

Oh, là, là

The biography of both woman couldn't be more different from each other: The Grande Dame of Art-house-cinema, JULIETTE BINOCHE, spend time in a catholic boarding school, run off to Paris at 15 and she worked her way up, with help of Jean-Luc Godard & his movie 'The Lovers of Pont-Neuf', to her Oscar for 'The English Patient'. Then KRISTEN STEWART, who was home schooled, made her first film at 9 years old, and since the 'Twilight' saga is holding royal court as the Blockbuster princess in Hollywood. For the movie 'Clouds of Sils Maria' both actresses left their usual hunting grounds and found and reinvented themselves back in the picturesque Mountain huts of Switzerland's Oberengadins.

First it looked like this interview/conversation would not be happening in this issue. Kristen Stewart and Juliette Binoche, we're scheduled to meet up in Paris, but then Stewart missed her flight in LA and the photo shooting, which was supposed to be on Monday, was cancelled. Still, on Tuesday no one did know what was the plan, and suddenly we were told: Kristen is coming after all, she is already on her flight and she has 24 hours. In the evening everybody meets at the studio of the photographers, Kristen surprised us with a new hair cut, "short à la Binoche", she says herself. Later the next morning, both actresses had finally their conversation, a table at the restaurant of the Hotel Bristol at Rue Faubourg Saint Honore was booked for it.

As Kristen Stewart arrives, jeans, white T-shirt, wet hair, the two women hug each other, everybody can see, how close they are since the shoot of Cloudy of Sils Maria in the Swiss mountains. In the movie the Oscar winning actress Juliette Binoche plays the aging diva Maria Enders, Kristen Stewart her assistant and Chloe Grace Moretz the current blockbuster-princess, which was a humoresque homage to Kristen Stewart. When the movie premiered at Cannes (in Germany the movie will be released in late fall) critics were excited, especially by Kristen Stewart, that La Binoche plays brilliantly goes without saying.

Juliette Binoche: Wow, you really cut your hair off.
Kristen Stewart: Short, à la Binoche!
JB: Looks great on you! That’s what I thought yesterday, but we were in a hurry then...
KS: ... because I missed my flight, I am sorry.
JB: You don't have to excuse yourself to me. You're the one who has stress for the next 24 hours in Paris.
KS: And now we are going to interview each other?
JB: I don’t really know, who wants to read this.
KS: We just pretend to be back at Sils Maria.
JB: In green meadows, the sun is shining, the clouds are flowing round the mountain tops, we read Nietsche ...
KS: ... and get lost.
JB: We did not get lost!
KS: No, and we never went for a walk.
JB: No, we only played it. Because we are such amazingly talented actresses (both are laughing).
KS: ... and nevertheless we did get lost. You jumped ahead like a mountain goat – and I was tramping behind and whining discontentedly. But I have to confess, it was fun. At least retrospective.
JB: I liked it too. All but the drinking and smoking...
KS: Oh yeah. You really smoked and drunk the whole time!
JB: Now please, don't say it was my idea. The director is to blame for it. He believed, that my character had to chain smoke and secretly to take a shot all the time. Because he thought old actresses would be like that.
KS: Some seem to be like that.
JB: But not me! You know best, that this is not an accurate picture of me.
KS: And yet you were doing it all the time.
JB: This is not fair. It was part of the role. And it was good for the role. Oh no, what am I saying? (laughs)
KS: I'm wondering too!
JB: No, in the beginning I wondered, I thought, all that smoking and drinking is such an old cliche, so Bogart, artists, who need their addictions and are cultivating them...
KS: ...their vice, they need to go on.
JB: Vice you say? I don’t even know the word. (laughs)
KS: It can be interpreted in two ways! Seriously: I think that’s what’s interesting about our roles in Sils Maria. Both let a barrenness take over their lives, both give up a lot and are finding it intriguing, although they know that they have to pay for it. That explains the drinking - which is a way to fill the emptiness of the actress you represent in that movie. As it happens, this is a welcome distractions of many actors to fill the emptiness after their rolls.
JB: Aha.
KS: I don’t drink, promised. JB: I only wanted to tease you. (laughs) And of course you are right: My character goes through hell, she feels bad. And alcohol helps her...
KS: numb herself.
JB: Because she tries to avoid the things that surround her and her life, things inside her, she doesn't want to see.
KS: That’s a dodgy situation: Your character, Maria, got famous because of her role Sigrid – and is supposed to play the counterpart of the aging actress 20 years later.
JB: So the question begs to be asked: Would you, dear Kristen, play my role of the aged actress in 20 years?
KS: Oh, I'm not sure.
JB: What? You would not like to play my role?
KS: If you look at me like that, I can’t deny you anything. But it would feel really strange. Maybe we could change only bodies and get over it right now.
JB: That would be even stranger.
KS: Did I say something stupid again? I didn't mean to offend!
JB: You didn’t!
KS: How could I think that a perfect actress like you...
JB: You did not offend me, all is good!
KS: That’s exactly what’s the movie about: what you think about yourself, and of your roles, and what the others think about you and project on you.
JB: Our daily bread.
KS: Do you remember our first encounter?
JB: Of course I do! You were with the producer and some friends at the terrace of Soho House in Berlin...
KS: ... and suddenly they said: “Juliette Binoche is on her way.”
JB: I was very excited to meet you.
KS: I was really nervous. In the moment, that you entered the terrace, everybody sprang to their feet immediately and I was sitting there alone. Therefore our first encounter felt a little official. I think we instantly started talking about our characters.
JB: I especially remember, that you were a bit fired up, you jiggled your leg the whole time, just like you are doing now!
KS: That’s a tic of mine. (laughs) Besides I only arrived in Berlin briefly before.
JB: That’s right. I had a few days to get used to Berlin and to think about the movie.
KS: I nearly died of excitement.
JB: I also remember, at one of our earlier meetings, that you hit behind the doors, jumped out and frightened the life out of me. After that, that broke the ice.
KS: We spoke a lot. Afterwords I went to my room and was thinking, wtf did I just tell her.
JB: We both talked a lot.
KS: There is something about you, that forces your opposite number to give things away. One just wants to trust you. And later when you're gone one wonders how does she do that. You really have a special gift. Normally I don't open up so easy. When the two of us weren't so busy, I probably call you in the middle of the night to get your advice - maybe that's why I'm so excited that we're going to work together again on a joint project.
JB: I'm looking forward to that as well.
KS: Did you notice how different our past lives are?
JB: Of course, you as a child star, home schooled, first film at 9 years old, Hollywood parents, blockbuster...
KS: ....and your French, catholic boarding school, running of to Paris to theater school at 15, starting your first movie with Godard...
JB: But we both have something in common, we're having that huge passion for acting, people and films and above all for the play itself.
KS: Blockbuster, art house it doesn't matter, I don't care, everything I do is for one person and that's for me. Both of those films are mine.
JB: (laughs)
KS: I have to admit, that it may look from the outside that I could do whatever I want because of the lucky strike that gave me the Blockbuster series. And you know what? It is exactly like that, it's great I can do whatever the fuck I want (regarding to art house movies and Blockbusters). I'm very privileged.
JB: You certainly are.
KS: I never beg for a part, I'm lucky that I can get projects made and don't have to fight like most actors, which is not the usual thing. I imagine that huge map, full of streets and different paths and I only have to decide which way I want to take. I know how very lucky I am. And to get to the end, I love making Blockbusters. I love when a wide audience can enjoy the movie, when I reach them. And most of all it's fun. Your son probably loved it that you were part of the Godzillla movie.
JB: Absolutely, and so am I. Though, I could never explain to myself why there were so many people on that set. I feel more pressure when doing such a huge production because of the budget. In the end it's all the same, the camera, the director, the few lines you have to're right, I enjoy like you that happy excitement only a Blockbuster can offer to the actor and the audience. The expectations are different.
KS: Expectations are a whole other subject. People expect probably, that you give me suggestions.
JB: What kind of suggestions are that supposed to be?
KS: Something worldly, wise. Don't you have anything ready? Best of all absurd.
JB: Don't let your kids play with your Oscar, the gold plaid goes off.
KS: (shrieks)
JB: That's all I can give you, but you don't need any tips.
KS: You give the best tips none verbally. I notice how I learn by watching you and I'm not saying that to flatter you.
JB: It doesn't make sense to give children suggestions. One shows them in daily live and they take what makes sense to them.
KS: I recognized that during the filming.
JB: What?
KS: You push me to give more, to better myself. On certain days, I didn't feel it but then I was standing there and thought like, wow, I want to be better because of her. You manipulated me to a great performance.
JB: (laughs)
KS: This is fantastic and I love you for it.
JB: To act together is like painting a picture together.
KS: Well said.
JB: I wanted to talk in pictures. (laughs)
KS: one pays attention to the symbolism.
JB: The metaphor.
KS: Summarized.
JB: ...One plays every scene together it's like a rollercoaster. One never knows before your in a scene what will happen, sometimes one loses ones grip, sometimes you have to jump, you keep one thing, catch a new thing, that's how you tell a good director. He lets his actors act he lets them find themselves, that's why I loved the role of Maria. She's an aging falling star. The dynamic that I found was that I was the star and I was fading away.
KS: Juliette!
JB: Only kidding I'm allowed. (laughs)
KS: I'm so happy we found each other and that we like each other. Otherwise it would be terrible.
JB: I also worked with people I didn't like.
KS: And tell me more.
JB: It's possible, you build your barriers, the worst is she people disappoint you or drive you so nuts that you can on,y cry in your dressing room, afterwards it becomes even worse when you have to open up in front of the audience and the cameras but even then, you can do it.
KS: There are actors who claim that they invented something outside of their selves but I don't believe in that. When we didn't like each other this would have been a different film. It's hard for me to claim that every role is just another version of yourself but in some way I believe that. You have to have a wild imagination, change many circumstances, go to extremes and even them bring a piece of yourself to your performance. Everything else is bullshit.
JB: That's true.
KS: One would only lie to the audience. It feels real, when there is a bond of to people in front of the camera, to be able to feel their emotions, then it isn't acting and the audience would react differently when those two people only recite the text. I think one can feel our bond in our performance in Sils Maria. Do you too, find it strange to watch that film now? There are parts in the movie, where certain scenes on the screen seem to match a 100% with my memory of that time. Like when childhood pictures overlap the actual memory, but not this time. Here they are identical. This could be very practical in a later time. (laughs) That's why it's difficult for me to watch that movie.
JB: Because the characters are a part of us?
KS: At some point, I realized, that after all those articles and opinion about me, all those foreign specifications are to a certain core true. Of course there are things which don't apply to me and it hurts, and yet, every picture that the outside world put over me, there is a nuance that fits. One doesn't know who one is in their own totality. How should others? I get often asked, what I think about the public opinion of me...
JB: ...what do you answer?
KS: I ask...which opinion, which of the thousand different opinions? But back to the movie. Is it easy or difficult for you to see us on the big screen?
JB: Easy. Though it's as difficult as looking in the morning into the mirror. (laughs) No, we made a beautiful movie. Beautiful and strong.
KS: Do you think it is a woman film?
JB: Well, woman are the lead.
KS: I dint like that distinction "woman film" it weakens the movie and "strong woman film" is even worst.
JB: Then lets agree, that it is a very special movie, it is for me.
KS: I like that.

It's 11.45 am and the PR person reminds Kristen Stewart of her flight at 1.45pm.

KS: Oh I must pack.
JB: if you miss your flight, then we see each other tonight. (laughs)
KS: That would be great. Though it would be nice if I wouldn't once miss my flight. (both laughing) I'm afraid I must hurry, but we see each other soon in South Africa...

Interview (RUSSIAN one)

Note: The interview is the same as the German one (above), but the article/translation is slightly different

(Translated from Russian by @OCD_ward, thank you)

Seems like it was impossible to mesh aristocratic French actress, famous for her role in The English Patient, and American golden girl, famous because of her role in Twilight Saga. But French director Olivier Assayas managed to film them together. And it turned out to be so great, that critics in Cannes almost choked with delight. A woman with severe temper, Binoche, and flighty girl, Stewart, coalesced both in the movie and in real life. They’re not close enough for Kristen to call her new BFF at night, but close enough to ask her opinion and tell silly jokes without restraint. Even with witnesses during the interview.

J: Wow, your hair is so short!
K: A la Binoche. I’m trying to be more like you.
J: It suits you.
K: So, I’m supposed to interview you? Or we both supposed to interview each other? Listen, what if we imagine that we’re still on the set of Sils Maria?
J: Walking along the emerald meadows, sun is shining and fluffy clouds above us, we read Nietzsche..
K: …And we got lost!
J: No, we’re not!
K: No, but we weren’t there during filming either.
J: Ok, but we were pretending. It’s just we’re such incredible actresses (Both laugh)
K: You were skipping ahead of me like a mountain deer, and I was dragging my feet behind and complaining. It was awesome.
J: If only we didn’t have all these cigarettes and alcohol.
K: Right, you were always smoking and drinking.
J: But it wasn’t my idea! It’s all director’s fault. Olivier always was like, smoke just one or two. Or, drink just one glass, pleeeeeease! He thought that every aged actress behaves that way. But not me!
K: Still you smoked like a chimney and drunk non stop (Laughs)
J: It’s just a part of the act. Cigarettes and alcohol is such an old cliché. They cultivate talented people’s…
K: …weaknesses and vices, and an artist needs them to move forward.
J: Did you just say ‘vice’? Never heard this word used with this meaning.
K: It has a lot of meanings, from vice president to behavior. (Laughs) But seriously, I love that about our characters: they both live in a certain miserliness, closeness, and drunkenness helps to fill the void. By the way, after filming lots of our colleagues feel the emptiness and dive into bottle. This cliché is not far from the truth.
J: Are you serious? How do you know? (Laughs)
K: I don’t drink! I swear!
J: Ok, I just wanted to irritate you (Laughs). You’re right, my character goes through all the circles of Hell, and it’s hard. And alcohol helps her…
K: …To forget.
J: Yes, she doesn’t want to believe in everything that goes around and inside of her.
K: In whole it’s a very complicated internal drama: your character, Maria, became famous because of her role of young and charming, ambitious Sigrid, and 20 years later she should play her exact opposite – tired and aged actress.
J: And here’s the question: would you, dear Kristen, play my character, battered, old drunk, in your 24?
K: Umm… I’m not sure.
J: What? Wouldn’t want to?
K: When you look at me like that, I can’t say “no” (Laughs). But you have to agree, it’d be weird. If only we’d trade bodies.
J: Excuse me?!
K: Did I say something stupid again?
J: It’s nothing, forget it.
K: My god, how did I get to the point, where I imagined myself to be someone like you? You’re prefect! I’m so far behind. By the way, the movie is based on this: how a person sees themselves and their roles, and how other people see them. Do you remember our first meeting, Juliette?
J: You were hanging with your producer and a couple of friends at the terrace at Soho House in Berlin.
K: And suddenly: “Juliette Binoche is coming”.
J: By the way, I was extremely nervous before our meeting.
K: Really? I think I was nervous way more than you. When you walked in everyone jumped to their feet and I just froze and stayed in my place, alone. It was somewhat a formal meeting. I think we started to talk about our characters right away.
J: And I remember how you swung your leg the whole time then, just like you’re doing now.
K: It’s a tic of mine. (Laughs) It was right after I came to Berlin.
J: Right. Unlike you, I had a few days of acclimatization.
K: I almost died from the anxiety, and you say “leg”. By the way, did you get the chance to google me before our meeting?
J: Of course.
K: And?
J: I read a couple of your interviews, and decided that I like you. Besides, I saw On The Road, but refrained from Twilight.
K: Pfft… Admit it, you watched all parts and loved it.
J: I’m sorry, no. But in truth, it was because of Twilight I learned about you: the first time I saw you was on the poster in my daughter’s bedroom. It was such a shock (Kristen laughs). And at that meeting in Berlin you were hiding behind the door and scared me to death. But the ice has been broken.
K: And we talked a lot that day, and after our meeting I though, “Shit, there’s so much I didn’t tell this woman!” There’s something about you, Juliette, that makes a person open up right away. You’re easy to trust. How do you do that? This is a real gift. If we both weren’t so busy, I’d probably call you at night to ask for your advice in anything. Listen, did you think about how different our biographies are?
J: You’re a kid-movie star, schooled at home, first movie at the age of 9, Hollywood parents, blockbusters etc.
K: And you’re a sophisticated French woman, Catholic boarding school, which you decided to quit at 15 for work in Paris theatre, so you could play in Godar’s movie later.
J: Still we have something in common. Passion for cinema, people, but above all – for acting. It’s this fire inside of you that drew me in. Everyone’s searching themselves in something, and passion helps us to overcome the ever present difficulties. I wouldn’t be sitting here if I didn’t feel this passion now, 30 years later. It leads us through life.
K: Two flames that grow stronger when united. Ew, no, it sounds kinda dirty. But you’re right, this passion drives us, won’t leave us alone.
J: I find it funny that people think strong feelings can be overcome while you’re doing only art-house movies. Of course, give me the freedom, and I’d do art-house only. But the success of these movies is an incredible luck. So you have to learn how to juggle, to experience the whole range of feelings in every movie.
K: I also hate when people say, one role for yourself, one – for audience. Bullshit.
J: I agree.
K: Everything I do, I do for myself. Blockbuster, art-house or Chanel commercial – it doesn’t matter. It could seem that after a successful movie I can allow myself anything. And you know what? I can! It’s incredible: I can do anything I fucking want. Yes, I’m in this unconscionably privileged position. And I’m not ashamed.
J: Good.
K: I never have to beg for a role, I can get any role with a snap of my fingers, and I don’t have to fight and struggle on my way up, like some other actors. I imagine a huge map with lots of streets and roads, and the only thing I have to do – is choose, where do I want to stay. Every door is open for me. I had a conscienceless amount of luck in my life. And it’s enough to understand: I love to play in blockbusters because I know, everyone’d watch them, they attracts people, they’re easy to take and they’re enjoyable. I bet your son was delighted when he learned, that you’d be in Godzilla.
J: He was. Though I’ll never understand what do all these people do at the sets of high-budget movies. After all everything is the same: camera, director, a couple of words or sentences said by someone. But you’re right: I enjoy all the anxiety, that only blockbusters can cause. The expectations are completely different.
K: Expectation is a whole other topic. The readers will definitely want to hear some of your advices. Tell me wise things. Do you have something ready?
J: Don’t let your kids play with an Oscar, the gold comes off.
K: (Shrieks with laughter) You’re so wise! I often noted it during the filming. You urged me to learn to give more of myself to the role. And I was like, wow, she’s just standing here, beside me, and I already want to be better. Than myself, of course.
J: (Laughs) You fox!
K: I swear! That’s why I love you.
J: To play together is like to make a painting together. I’d even want to speak in paintings.
K: Well said. To play every scene together is like…
J: …roller coaster. You can’t tell for sure how it will be, until you’re together in one cabin. Sometimes you can loose footing, or suddenly you need to jump, or someone has to catch someone. That’s how I always know a good director: he always lets actors to find themselves. That’s why Maria’s character interested me, she’s a dying star. But the conclusion is: you’re the star, and I’m dying.
K: Juliette!
J: I’m kidding. I’m allowed to. (Laughs)
K: Damn you. I’m so glad we found each other.
J: Likewise. I already had to work with people I didn’t like.
K: How was it?
J: Tolerable. You have to put a wall around yourself. The worse is when people disappoint you. Or drive you crazy so much that you can burst into tears in the dressing room. It’s very difficult to stay in front of the camera after that, forgetting the hurt.
K: There are actors and actresses that try to make an impression that they and every character they play are two different persons. Like, they wear the character at the set, then take it off and walk away. I don’t believe it. I believe that actor/actress plays a new version of themselves in every role. You can have wild imagination, change scenery, go from one extreme to another, it doesn’t matter, after all you’re playing a part of yourself. Everything else is bullshit.
J: You speak wisely.
K: If two people in front of the camera have a connection, they feel the emotions, they don’t just pretend. Everything is real. And this way the onlooker will feel it too. Like it was between us in Sils Maria. Tell me, does everything seem weird to you too, when you watch the movie?
J: What do you mean?
K: There are some scenes that transfer the exact same things that I remember about that time. It’s like with your memories that stratify on childhood drawings. But here it’s not the same. Here the memories are identical. Because of that it’s very difficult for me to watch the movie. And the critics… Sometimes they’re dead on, but a lot of comments are empty, hurtful and doesn’t have anything to do with reality. No one knows what the movie is really like. And exactly how can they have a right comprehension about it? People often ask me what do I think about public opinion.
J: And you?
K: I answer with question: which one from a thousand of opinions? But still, was it hard for you to look at us on screen?
J: Not harder than looking in the mirror every morning. (Laughs) Why do you worry so much? We did an amazing movie! Beautiful and powerful.
K: But is it a chick-flick?
J: At least the lead roles are played by chicks.
K: I hate the term “chick-flick”, it degrades and simplifies everything. And “powerful chick-flick” sounds even worse.
J: Then lets agree that the movie is special.
K: That I like.

(Press Secretary walks in and asks to wrap it up, because Kristen has a plane to catch at 1.15 pm. It’s 11.45 am.)

K: Oh, I have to pack and dash to the airport.
J: Suit yourself. But if you miss your flight, we can meet tonight (Laughs)
K: Sounds great. But it’s even greater to never miss your flight. And we’ll meet soon enough anyway – in South Africa for our new project.
J: Hush! It’s a secret!

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