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Kristen Stewart 2010-2020 | Your online source for Kristen Stewart
► NOVEMBER 24 – Appearing on Jimmy Kimmel Live ► NOVEMBER 25 – Happiest Season released in the US ► NOVEMBER 26 – Happiest Season released in the UK

Kristen appeared on the Late Late Show with James Corden alongside Ben McKenzie and Mark Ronson (April 21st)

HD video previews

Watch the full interview

LLSJC: Kristen [04.21.2015] by korita05

and clips from backstage

Kristen Backstage and Photo Booth by korita05

– Special thanks to the Source


Listen to Kristen’s audio podcast with KCRU where she promotes Clouds of Sils Maria. She also talks about Patti Smith, poetry, directing and her tattoos

Click here to listen


We talked in the deserted courtyard of the Los Angeles County of Museum of Art during a screening of “Clouds of Sils Maria,” with her reps at one table nearby, her stiletto heels and smartphone on another. She admits that all actresses limit the amount of time they spend wearing high heels–she’s wearing flats.

You had gone to Cannes with both “On the Road” and “Clouds of Sils Maria.” For which you won the César. What was that like? Not something you were expecting?
No. Those Frenchies [laughs] don’t like to pass accolades that are not their own. I was really shocked. Even Juliette was like, “Hey, it’s really cool that you got nominated. It’s insane that you got nominated, actually.” If you look at it, she looks more shocked. When they said my name, literally she screamed into my ear so loudly I had no idea what was going on. I didn’t even hear my name be called. I was like, “Wait, what?” She was like, “You won! You won!” She was so shocked, that that’s how I gauged my reaction. “Wow, this must be a really big deal, because Juliette cannot believe this.”

You deserved it. This is my kind of movie. But I respect your past choices too. There’s a modus operandi there — something you’re looking for — and it’s not comfort.
That’s always quite difficult to find. You could find a through line there… I’ve been lucky enough to play characters that really stick out as people that are telling unique stories. I read a lot. I get sent a lot of scripts that are very surface, things that we’ve seen before, and, recently, really incredibly talented people have called me to help them make their movies. But those things really do stick out, and I’ve been lucky enough to jump on them.

In other words, there’s an enormous pile. You’re wading through it, a lot of it’s dreck, and the ones you’ve done are the ones that have popped out at you as the smarter thing. What’s wrong with the stuff you’re getting sent, for the most part?
Probably just that they’re fairly archaic, boring, previously consumed ideas of what a woman can be in a mass-consumed story. I’ve done a lot of independent, smaller things recently that usually don’t lack interesting stories to tell about women.

You have lined up some impressive projects. I feel a maturity coming across now. I know you valued the “Twilight” franchise and the freedom it gave you — what they call “fuck-you money.” So you’re able to say, “I’ll do a Kelly Reichardt movie.” Can you give me a sense of what you’ve learned from these directors you’ve worked with in the last year?
I’ve been lucky enough, at a really young age, to work with people who affirm what I believe in, every catalyst that has existed for me. Everything that’s ever kicked me in the ass and gone, “That’s what you should be doing these movies for.” It’s always been a director; it’s always been somebody who’s telling a story who, subliminally, infuses a project with this honor that is just impossible to deny and disrespect. Therefore, you just give everything that you can to it.

Would David Fincher qualify with “Panic Room” ?
Absolutely. That was my second movie, and it starts there.

And Jon Favreau with “Zathura?” I discovered you in those two films.
Yeah. Those are two really great directors I worked with at a really young age. I’ve been shaped by every step that I’ve taken to the point that I’m in now. I mean, a whole lot of it has to do with luck, because I happen to have worked with these people who are incredibly influential, and in the right ways, but, at this point, I’ve carved out and identify very distinctly what I get out of what I do and why I do it, and it’s so easy to identify with or discard people who are with that or against it.

Read more from the interview at the Source


Here is the full interview of Kristen’s appearance on the Conan O’Brien Show last night (April 8th) – she talked about Clouds of Sils Maria, winning her César Award, and appearing in Jenny Lewis’ music video.

Kristen [04.08.2015] by korita05

you can also watch a HD clip from the show HERE

and photos from the show

Events & Appearances – 2015 – April 8th – Appearing on the Conan O’Brien Show




When we spoke last October during the New York Film Festival, Kristen Stewart had not yet become the first American female actor to ever win a Cesar — France’s equivalent of the Oscar — for Olivier Assayas’ “Clouds of Sils Maria.” But she was still ecstatic about it. In the film she plays Valentine, the harried but cucumber cool personal assistant of Maria Enders, a Juliette Binoche-like superstar played by Juliette Binoche. That allowed her to mock the film industry and the gossip machine from a safe remove. The two actresses paired together to talk about their rapport, and, in Binoche’s case, to whip out one hell of a laugh.

Juliette, your breakthrough, 1985’s “Rendez-vous,” was written by Assayas, and you reunited for his 2008 film “Summer Hours.” You instigated this project. What was your original concept?

Juliette Binoche: I wanted him to deal with the feminine. I didn’t know exactly what it would be, but I was imagining these characters exchanging roles. I talked about Bergman. I said, “C’mon, you love Bergman! You made a book of interviews [from 2008]!” And I was a little frustrated on “Summer Hours,” as an actress. I thought he was shy and hiding. I said, “I was missing you!”

Kristen Stewart: It’s like, “I want to know you!”

JB: “I want to know you,” yeah! And he said to me, “Give me two weeks and I’ll tell you whether I like it or not.” Then he called me and said, “I have the subject.” A year and a half later he gave me the script

It’s pretty honest about what goes on in the life of a middle-aged actress. What was your reaction to it?

JB: I was shocked! I didn’t expect it to be that way at all. I was provoking him [big, hearty laugh] and I got slapped back!

Read more at the Source


The 24-year-old, who recently became the first American actress to win France’s equivalent of the Oscar for ‘Clouds of Sils Maria,’ asks, “Why aren’t we [as a society] mentioning the fact that it’s so crazy that there are so many people that are so full of it? And why are we consuming them en masse?”
“I’ve never, ever been like, ‘One day, I’m gonna win an Oscar,'” Kristen Stewart told me on Friday when we met up on the campus of Santa Monica College. The 24-year-old, who has been acting since the age of nine, says her dreams have always centered on the work, not the reward. “Truly, my ‘one day’ was always, ‘I’m gonna be a director! One day, I’m gonna direct movies!'”

Most of the reason Stewart possesses this attitude is her understanding — gleaned from her 15 years of experience and from her parents, who are also employed in the industry — that the work is what matters, not the money, celebrity or accolades, all of which have fleeting value. But, she lets on, part of it is also a defense mechanism: “I’ve taken so much shit that I’m just like, ‘I’m not the winner!’ I’m not gonna be let down when I don’t get the pat on the back I’m totally used to the kick in the ass.”

Therefore, Stewart was as surprised as anyone on Feb. 20 when, from her seat in Paris at the 40th César Awards — France’s Oscars — she heard her name called as the winner of the best supporting actress prize for her performance as a movie star’s assistant in Olivier Assayas’ Clouds of Sils Maria, making her the first American actress ever to take home a César. (The film, which has brought Stewart some of the best reviews of her career, premiered at Cannes last May, went on to screen at the Toronto, New York and AFI film fests and will finally open stateside on April 10.)

Read more at the Source


– Via – Source


Photoshoots & Portraits – 2014 – New York Film Festival

A few years ago the actress Juliette Binoche got in touch with her old friend Olivier Assayas, the French director who had co-written the film “Rendez-Vous,” which slingshot her to fame three decades ago.

She told him they should make another film together — a female-centric movie with echoes of one of Mr. Assayas’s idols, Ingmar Bergman, about whom he had co-written a book. Ms. Binoche and Mr. Assayas had worked together on the 2009 ensemble piece “Summer Hours,” but Ms. Binoche wanted more. “It felt to me that we didn’t have the moment to know each other — we didn’t have this time where you could really smell someone, you know?” she recalled.
“Yes you’re right, Juliette,” Mr. Assayas remembered replying, “there is something missing in our relationship.”

So, over the next few years, between shooting his celebrated film about Carlos the Jackal, Mr. Assayas wrote Ms. Binoche a film, “Clouds of Sils Maria,” opening on Friday. Filmed in English, it tells the story of Maria Enders, an actress grappling with aging and grieving the loss of her mentor. Decades earlier, that mentor had made her a star by casting her in a play as a feckless ingénue, Sigrid, who drives an older lovesick woman, Helena, to suicide.

Ms. Binoche is Maria; Kristen Stewart is her American assistant, Valentine; and Chloë Grace Moretz is a fiery young American actress set to play Sigrid across from Maria’s Helena in a restaging of that pivotal play.

“I did not want to write a part for Juliette,” Mr. Assayas said. “I wanted to make a movie inspired by Juliette, using Juliette as a character.” He added: “And I went really all the way; one of the layers it kind of works on is the fact that you never lose touch with the fact that you are looking at Juliette Binoche, Kristen Stewart and Chloë Moretz. That’s part of the narrative in a certain way.”

Though the film is only now being released, it had its premiere at Cannes last year, when it earned accolades but no awards, and it was shown at the New York Film Festival last fall. (“Mr. Assayas’s touch is tender, and his direction brilliant,” Manohla Dargis wrote in The New York Times after its Cannes debut.) Ms. Binoche, Mr. Assayas and Ms. Stewart each sat down separately in New York to talk about the film.

While the plot of “Clouds” alludes to “Rendez-Vous,” which ends with Ms. Binoche’s character, a fledgling actress, poised on the cusp of stardom, Ms. Binoche said she didn’t share the near-paralyzing melancholy that grips Maria for much of the film. “There’s something about the past that she’s not in peace with somehow,” Ms. Binoche said over cappuccinos in a corner of the Crosby Street Hotel. “She’s trying to hang onto it; so there’s some kind of passage that she was not able to do where she feels stuck yet totally abandoned.”

Luminous at 50 (she has since turned 51), Ms. Binoche came across as a woman at ease with herself. “I’m not saying that aging is not difficult, but I love the present,” she continued. “Every period of time of my life, I’ve been really living it, so not avoiding it, so it doesn’t feel like I missed something.”

In “Clouds,” the core relationship, and a complicated one it is, is between the characters played by Ms. Binoche and Ms. Stewart, with nary a leading man in sight, something Ms. Stewart relished. “If you think about the typical relationships that you usually see in movies, even the title of relationships, there’s only a couple of them,” she said. “You’ve got friends, mother, father, boyfriend, girlfriend, husband, wife.” Maria and Valentine are, Ms. Stewart said, “like they’re all of those things — and none of those things — to each other at the same time.”

A finely tuned, highly alert presence, Ms. Stewart met to chat in a sun-flooded room at the Trump International Hotel on Columbus Circle, and gazed longingly at the leafy expanse of Central Park across the way. This was one of those days, she murmured, that she wished she could be outside. Of course, if any actress would be recognized in a heartbeat in that tourist-heavy corner of Manhattan, it would be her. This reality of Ms. Stewart’s, amplified by the tabloids’ insatiability about her life, imbued the role of Valentine — who acts as a gatekeeper for Maria, fending off zany, borderline demeaning work requests while helping her navigate the vagaries and vulgarities of celebrity — with a level of satisfaction that Ms. Stewart savored.

“I would have jumped at the chance to work with Olivier on anything,” said Ms. Stewart, who late last year won a César (the French equivalent of the Oscar) for her performance as Valentine, becoming the first American actress to win the award. “But the whole industry aspect of it, acknowledging the absurdity of it, I was giddy. I could barely get through the lines without hiding my glee.”

Working with Ms. Binoche kept her on her toes, Ms. Stewart said. “She’s like this eccentric, weird, kooky but brilliantly smart and heady, lofty strong woman — she’s rad,” she said. “She’s everything you would want Juliette Binoche to be.”

For much of the film, Valentine and Maria spend time in the secluded Swiss hamlet of Sils Maria, where Valentine helps a conflicted Maria prepare to play Helena, which had originally been played by an actress Maria long despised. Mr. Assayas came to know the area on a hiking trip, when he spotted the phenomenon of its clouds, which wind thickly through the mountaintops like a snake. “All of a sudden there was this idea of a landscape, where time was inscribed, which had this cloud which was both beautiful and also menacing,” he said last fall for this article.

In the end, after wrestling mightily with herself, as well as with Valentine, Maria finally finds a measure of peace, as she rehearses across from Ms. Moretz’s character and gives in to the younger actress’s interpretation of the role.

“The only future she can have is to change herself, and so because of that conflict she grows, and she separates from the past,” Ms. Binoche said. “It touched me so much. This separation, it’s always painful. What’s painful, actually, is the nonacceptance, the resisting is painful. And when we stop resisting, then the magic happens.”

– Via – Source