Kristen Stewart turned heads at the Chanel couture show on Tuesday with her newly shorn locks. The actress, who stars in ads for Chanel’s Métiers d’Art Paris-Dallas collection, said she just got the chop that morning.
“I’m ultimately going to go a little bit shorter for this next film that I’m going to do called ‘Equals,’ but I figured, you know, before I went all the way — might as well just play around with something for the show,” she said, adding that the orange color was a leftover from her most recent shoot, “American Ultra.”
Stewart will star with Nicholas Hoult in “Equals,” billed as a futuristic love story, and confessed she is nervous before each new shoot. “That’s the feeling that I look for. That’s everything that drives me. You know – and a lot of people say this – but if you’re not a little afraid of what you’re doing, it’s probably not worthwhile,” she remarked.
However, the “Twilight” star has gotten over her initial fear of working with French actress Juliette Binoche on “Sils Maria,” which premiered at the Cannes Film Festival in May. The two will be reunited soon on “The Big Shoe.”
“The intimidation level is down a bit, but now I feel like we need to up our games because it’s, like, the second go. I’m so excited. She’s become one of my favorite people in the world,” Stewart said.
It’s always fun when stars go after each other, and Kristen Stewart is now suing Joan Rivers for making fun of her affair with Rupert Sanders in “Diary of a Mad Diva,” her new book.
The 81-year-old entertainment industry veteran told the paparazzi, “I am now being sued by Kristen Stewart. She’s mentioned in the book and she doesn’t like where she is mentioned. She obviously didn’t read our disclaimer, which is that it’s a comedy book.”
In her book, Rivers writes, “Many stars only do one thing well, of course, the best one-trick pony is Kristen Stewart, who got a whole career by being able to juggle directors’ balls.”
And now Joan “can’t wait to get (Stewart) into court because I want to get a puppet and I want her to show me on the puppet where she thinks I claimed she touched her director, so I am looking forward to it.”
How would you describe the shoot?
KS: I always felt like there was this sense of discovery in these pictures especially looking back on them. It was like you have this girl dropped in a very unknown place; and to see her struggle to survive and find herself, who she really is, is interesting. It looks like some vines are starting to grow into her and they are becoming a part of her and she is clearly very comfortable, owning it more. It’s not disarmed, it’s rather the opposite; it’s a little more assertive.
When you were on set were you shooting?
KS: In this particular case? The first few photos for the first campaign were all very frontal and full, you could see my entire face. I wasn’t hiding behind anything really. Now this shoot is sort of a little bit more subtle. It’s over the shoulder, it’s like whoa. I’ve been here in my own world for so long now, who is looking at me? It’s sort of, I don’t want to say aggressive, but it’s like what? Bring it on.
Was this shoot more comfortable than the last shoot?
KS: I mean I liked both. You couldn’t start here – you have to start at the beginning. So it’s interesting to see where it went.
How did you prepare for this shoot? Or do you just go with the flow?
KS: In this case I went with it. I do very much trust who we are working with and I didn’t really know what we were going to do exactly until I got here, which I like. I like being able to navigate through something. In this case there wasn’t too much preparation to be honest. What I like about this is I didn’t have to turn into a different person necessarily. The point was to capture something natural, and with Craig that’s easy.
What’s it like working with Craig McDean?
KS: Great. I’ve worked with him once before. It’s funny, I tend to say the same thing about photographers that I really love working with, but if you ever feel like you’re forcing something, or trying to get the shot, suddenly it’s not fun anymore. I think Craig never lets that happen. It always kind of falls off the truck and Craig is always able to pick it up and polish it and make it a really beautiful thing. You look back and go how did that happen? We’ve just been here for five minutes! He can capture a moment rather than trying to orchestrate something and build it and force it.
Did you like your makeup?
KS: Yeah – I never really think too much about that. I was like so strong eye, lip, what are we going to do today? I’m like yeah whatever you want! It’s good because it’s very much in keeping with the story. The first one was very fresh. It was really clean, bare and in your face. With this one it’s a little bit more lived in a smoky.
What is your personal style and how do you define it? What do you have to say about that?
KS: It’s not something I have to try too hard to do. I have to try hard to answer questions like this. How do you define cool, which is very up in the air. When someone is in their own body, you can feel it in your bones that you like yourself. It’s not about being arrogant – like oh I think I look really great. But if you feel less than great it shows. Don’t try so hard- really simple. It’s sort of the most cliché thing I can say, but you just sort of need to be yourself and go with it.
Do you define your style that way? What do you think is beautiful?
KS: Typically I think people are attracted to – not confidence, but the idea when you don’t question yourself, when it’s clear you’re not worried about what you’re thinking. It’s a curiosity – when everything’s not completely on the surface. You wonder what elements come together to make that. I don’t understand the equation.
Let’s talk about the fragrance – how would you describe the smell?
KS: It’s funny because in my head, the way I respond to both scents is almost kind of the reverse story line because in the first one there was a heat to it. It’s almost like the flowers they chose were crammed together and didn’t necessarily want to get along. It was good – there was a warmth to it. And this one is lighter. It’s a cooler scent. I don’t know how to describe it. I don’t know if it necessarily smells like a rose but it seems a bit fresher. They are both natural which is what I like. It doesn’t smell synthetic. This one is lighter, it’s fresher.
So you’re in this magical but strange garden, should I assume you garden? Do you have a garden? Do you have time to garden?
KS: No – I don’t have a garden. I would like to have a garden. I would like to have an herb garden. I don’t have one of those yet. I could really make good use of that. At this point I haven’t been home enough.
Do you have a favourite flower(s)?
KS: I think the gardenia is my favourite flower. It is my favourite smell. I love it. I don’t think I can identify any other flower scents, but that one I know that one.
French fashion house Balenciaga is pretty badass– so obviously the label wasn’t going to put out any old floral fragrance. Its Florabotanica convinced cool girls, who wouldn’t normally go anywhere near a flowery scent, to join the garden party. That status was cemented by its face Kristen Stewart–an actress who doesn’t do girly-girl, as evidenced by her preference for Chucks and unwashed hair on the red carpet. This spring, Stewart reprised her spokesperson role for Balenciaga’s latest unconventional take on a flower, Rosabotanica. She was nice enough to take the time to discuss the fragrances, what she would wear with each, and which one would be Bella’s signature scent.
You’ve said in the past that you weren’t really into fragrances, but now that you’ve been the face of the Balenciaga fragrances for awhile, are you more comfortable being a perfume-wearer?
Yeah, yeah I’m a very comfortable perfume-wearer now. I hadn’t really taken to any particular scent before I did this, and so luckily, I was more than a huge fan of it when I first smelled it. Whenever I had anything to do with them it always felt like, you know, just really fucking cool and natural and. To be the face of a brand seems a bit of a superficial, but this was really about my love for Balenciaga. And then so, when I actually smelled Florabotanica, I really took to it. I sort of came into my own, in regards to fragrance, at a perfect time.
It feels very adult, once you find your signature scent.
It does, right? And, you know, it doesn’t go with everything, like if you wake up and put on a T-shirt and a baseball cap, it’s not like you’re gonna put on the fragrance. But if you go to dinner that night, it’s such a nice little touch to add. It makes you feel a little bit more ready.
So do you feel the same about the new one, Rosabotanica?
I’m not sure which one I like more. They’re really different, like it feels like Florabotanica is like white wine, and Rosabotanica is like red, like a little deeper. It’s a little muskier. It’s like they come from the same garden, but the new variation is a bit warmer and headier. It feels like a little bit more nighttime.
Rosabotanica is a little sexier?
It is! Honestly.
So when would you wear Florabotanica versus Rosabotanica?
I think it’s about mood. I would wear Rosabotanica at night, and I would wear Florabotanica in the day. But when I didn’t have Rosabotanica, I wore Florabotanica at night. I feel like if you’re someone who is like quite young wearing it, it can make you feel like, like you’ve like stepped up to the plate, like you’re a little older, like you’re a little bit more ready and finished. And then, I can totally imagine giving it to my mom and having her be like “Wow! This is awesome. This is like fresh.” Depending on who you are, I feel like it has different effects.
Which pieces from Balenciaga would wear with each of these fragrances?
If I were to go out at night and wear my leather jacket, I’d probably put on Rosabotanica. I have this jumpsuit that’s a little bit older but it’s sick, and that I would definitely wear Florabotanica.
If you were going to pick out characters you’ve played, who would wear these fragrances?
That’s interesting. Let’s see…Well, I think Bella (from Twilight) would probably wear Rosabotanica because she is completely preoccupied with all things sexy. And I just finished a movie called Sils Maria, and I play the personal assistant to Juliette Binoche, who’s playing a really famous actress. And you’re always a little bit more curious about my character because you don’t know anything about her and her life but she’s still a big part of the story, so like when anything is revealed about her, like she’s into this guy, or she’s into this artist or something, you’re like, “Oh, whoa! Who are you?” And I think she would be a Rosabotanica girl. Like a little bit darker and more mysterious. Then I would say that Marylou in On the Road, would definitely wear Florabotanica. The character in the book is so fucking effortlessly sexy and light. She’s so sweet and very unassuming.
From Hollywood to Cannes, Kristen Stewart has worked hard to put some distance between her “Twilight” fame and the more serious dramatic projects she has been embracing since the vampire romance franchise ended.
Stewart, 24, who became a fan favorite among young adults alongside her then-boyfriend Robert Pattinson in the “Twilight” films where she played a teen girl smitten with a vampire, has turned to darker fare such as this year’s Sundance film “Camp X-Ray,” where she plays a prison guard at Guantanamo Bay.
In her latest movie “Clouds of Sils Maria,” which premiered at the Cannes Film Festival, Stewart plays the personal assistant of an aging actress dealing with the challenges of the film industry’s reaction to her getting older. The film also stars Juliette Binoche and Chloe Grace Moretz.
In an interview with Reuters, the actress opened up about her views on the fame game and dealing with perceptions.
R: What drew you to “Clouds of Sils Maria”?
KS: It happened to be the perfect project, timing-wise. Just my experience with my career, how it’s gone – you know, “Twilight” blew up – I’m extremely famous. It’s interesting for me to play an actress’ assistant who then comments on that world and how it works and how superficial it can be.
R: Working with a European writer-director on this film, was that a different mindset from working in America? Is there a freedom that comes from working in Europe that you might not get in Hollywood?
KS: It’s not absent in the States, but it’s not prevalent to feel free within the film industry, to feel like you can say what you want to say, not with any concern about how people are going to react to it, whether you’re going to piss them off.
So here, it seems like people are less afraid because again they’re doing it for themselves. It’s for the art of it. It’s not to market things. It’s just, it’s a good feeling.
You know, to make a movie is so ridiculous. We’re going to go film each other pretending to be other people so other people can watch us pretending to be other people? It’s insane. But if it’s worth it and it’s saying something … it can be transcendentally important.
R: Is it difficult to remain yourself knowing the industry is pushing and pulling you this way and that, with the media often giving you a hard time regardless of what you do?
KS: I don’t do what I do to … control perception or make people think a certain way about me. That would be traipsing all over the experience of making any film.
It’s just so ass-backwards to me. I don’t know how people do that. I don’t know how people tactfully traverse their careers. I don’t know how they choose, ‘Well, this is a different side of me people have not seen and so I will present that to them now.’ It’s like, ‘Why are you doing this for other people? You should be doing it for yourself.’ And so I’ve functioned from that position since I started, and therefore I really don’t care about all that.
R: Do you feel the pressure of needing to stay on top of the game?
KS: I want to make movies one day, like absolutely I want to direct movies. And I directed this music video (for indie band Sage + The Saints) and I was like, it’s just this dinky little thing and it’s fun, and I’m so happy to do it, but it’s going to be a big deal, no matter what. Even if I shoot it on a Polaroid camera, people will be like, ‘What did she do? Let’s take a look.’ It’s like, ‘How about you give me a second to figure it out?’ So, yes, that’s not something to complain about. It’s incredible that I can do that. It’s just kind of weird. It’s different.
“It’s annoying that people think, ‘Oh, is this the role where she’s going to show everyone how she’s grown?,’” Kristen Stewart told Indiewire last Friday in Cannes. “I’m not trying to show anyone anything.”
The actress was feeling a bit defensive following the world premiere of her latest post-”Twilight” indie, Olivier Assayas’ “Clouds of Sils Maria,” and you can’t blame her. Ever since shooting to worldwide fame after being cast as Bella Swan in the “Twilight” franchise, it’s arguable that no actress has received more attention — often for the wrong reasons — than Stewart.
Up until the first “Twilight” entry, Stewart had endeared herself to many with her bracing work in films such as David Fincher’s “Panic Room” and Sean Penn’s “Into the Wild.” As soon as “Twilight” hit the scene, turning her into a supernova overnight, she became better known for her romance with co-star Robert Pattinson than her craft. She kept busy working in between the five “Twilight” installments, appearing memorably alongside the late James Gandolfini in 2010?s “Welcome to the Ridleys,” and in 2012?s “On the Road,” which also premiered at Cannes. But it’s been her post-”Twilight” projects that have drawn the most attention to the actress — attention she’s trying her best to manage.
First came the Sundance prison drama “Camp X-Ray,” and now “Clouds of Sils Maria,” in which Stewart shares the screen with Juliette Binoche, playing her character’s overworked assistant. “Clouds of Sils Maria” was better received by critics, yet both were met with countless articles on how Stewart fared in the film, and whether her performance boded well for a long career ahead. (Just last week, Criticwire ran an article titled “Will Kristen Stewart Finally Get Her Due With ‘Clouds of Sils Maria’?”) Despite her many years the business, Stewart still finds herself having to prove that it’s her talent that got her to where she is today — not the twihards.
That struggle was evident during a roundtable interview Stewart did with select press at Cannes the afternoon following the competition screening of “Clouds.” No longer visibly press-shy as she was when promoting the first few “Twilight” films, Stewart took to the roundtable with a passion that was palpable in the way she articulated her candid responses to each question. It’s clear there’s some fight in her. Below are the highlights:
She doesn’t think of her projects as “products.”
“I am obsessed with ignoring the idea that we’re creating products. I really choose every single project I do based on the desire, and based on really just wanting to experience making that story happen.”
She’s using her celebrity as a tool.
“I just directed this music video with my friend, and it’s going to be made to be something that it’s not. It’s something I did in four days, it was a fun little story, and it’s going to get more attention than whatever it’s supposed to get. I think it’s just something to play on. If you can’t change it, then don’t be afraid of it — push harder!”
She loves blockbusters just as much as small indies — as long as they’re good.
“It’s so possible to make a [big] movie that is meaningful and truthful, and putting it in a sort of heightened setting, to really take ideas that mean something to us but making them more effective by putting them in an odd world. Using conventions to make things hit harder.
“I also just like really like big movies. I’m American, I grew up on them. But I also want them to be really good. I think that that’s totally possible. When you’re not completely product obsessed, I think it’s possible.”
She’s doesn’t get too close for comfort with her assistants like Juliette Binoche’s character in the film.
“I have had an assistant. While we were making the ‘Twilight’ movies, I did a movie in between each of them, so I needed someone who I could ask things like, ‘Can you go help me buy some toilet paper?’
“I haven’t gotten as close. I have seen it though. It’s something that’s familiar to me. Actors become super isolated. Again, I’m not fucking complaining about it. But you have a very unique perspective on things because people don’t talk to you. They feel like they can’t come up and say, ‘Hi.’ Suddenly you’re incredibly lonely. So people hire friends for these jobs, and then the lines get blurred. They’re your co-worker, your employee, your associate, your friend, your mom sometimes.
“In the case of the film, what I think makes it interesting is you have these two women who are codependent and obsessed with each other in many ways. And they don’t fit into the normal categories of what we all know relationships to be. Our relationship should have a category. What the movie is about is having a very unique relationship in a very esoteric world, and having a really hard time gauging why it’s happening and how to deal with it. Knowing that it’s unhealthy and you should be getting those things elsewhere, and how that polarizes you and how at the exact time, it brings you so fucking close together.”
She got a tattoo after making “Clouds of Sils Maria.”
“I got this because of this film,” Stewart said after being asked about her new tattoo on her right forearm. “I gave Valentine [her character in the film] tattoos for the film, so I had transfers made. You don’t know anything about Valentine, it’s all about Maria [Binoche's character]. And that’s a huge aspect of the story, is that she never focuses on herself. They never talk about her life, ever. I wanted to show little indications of, ‘Who is that?’ Instead of just playing an assistant that was generic. She has interests, she’s going to places, you just don’t know where they are. And so I got so attached to this one that I got it.”
“This is part of ‘Guernica,’” she said of the tattoo itself. “It’s a Picasso painting that I saw when I was 18 and in Madrid. It fucking floored me and it’s the first time I responded to a piece of art like that. It is just perfect for me. I love what it makes me think of. It’s like ‘keep going, and keep the fucking light on.’”
She’s doesn’t consider herself to be a “performance-y” actor.
“I’m just the type of actor, and there are different types, who’s not all performance-y. I know a lot of actors that fucking love it. Like right now they’d be captivating you. It goes against my grain. Those things don’t go together for me, which makes it hard sometimes.”
She feels she was misunderstood when she rose to fame.
“I’m not saying that anyone’s impression of me is wrong (that would be a silly thing to say), but initially I was deemed very ungrateful, like I didn’t care. It’s a thing. Think anything about me, do NOT think that I don’t care. It was because I was nervous and I was freaking out that everyone was fucking staring at me.”
She knows how to deal with her fame now.
“I totally have changed, just in the way that I can deal. It’s not like they were right, but they weren’t wrong. I don’t think I was conveying myself as easily. I was just totally overwhelmed. The impression just wasn’t as spot on. I’m a little older and I’m more experienced with it. It’s easier to talk to you guys about it. But initially, it was just kind of impossible. When you’re put on the spot and you can’t think — it was a ridiculous version of that. It blew up in my face. It’s hilarious that the perception is that I don’t care, because when that was happening, I was like, ‘Oh my god, no one cares more than me!’
She’s not in it for the fame.
“With some people you wonder why they’re still doing what they’re doing. What is driving you at this point? The job takes a toll, a thing I think the movie is about. You’re giving so much of yourself all the time. It’s not something in your genetics that you retain. It can really kind of destroy you, constantly thinking about what people think about you. People who want to be movie stars… it’s such bullshit. That type of life is a huge driving force in so many actor’s lives. But they wont be happy people at the end, ’cause they’re not doing anything for themselves. They’re always satisfying.”
She thinks actors are “weird.”
“If you don’t have anything to put in, you’re not going to give a lot out,” she said of her craft. “Go out and live your life and show us something that you’ve learned. I’ve worked a lot. It’s not like I’ve taken breaks. It’s not breaks that helps, it’s managing input and output. Most people live their lives happily. The impulse to make stuff is not in everyone. Most people who have that impulse are weird. They need to take care of themselves.”
In the opening scene of “The Clouds of Sils Maria”, presented at the end of the 67th Cannes Festival last Friday, Kristen Stewart’s character, Val, is clearly stressed-out. As the train snakes up the winding mountain route of the Swiss Alps, Val is juggling with her multiple jangling cell phones, cursing the bad connection, and trying to deal with the barrage of undesirable media, pestering directors and dramatic news that will dramatically change her entire schedule.
In the film, Stewart plays the part of a low-key bespectacled personal assistant to the glamorous Maria Enders, a fortyish famous actress, brilliantly portrayed by Juliette Binoche. It’s Val’s job to arrange every infinitesimal detail, from making sure that Maria is on time for her Chanel gown fittings to endlessly walking the actress through the lines of her script.
Highly praised for her subtle performance by the Cannes critics, Kristen Stewart says she’s glad to have had a chance to explore the other side of fame, with all the ambivalence and fascination about celebrity culture that the part required.
“The reason this movie was made was not to make a statement about how superficial media can be, but it was a lot of fun for me to be the one to say it,” says Stewart. “Obviously, I’ve had more experience with the media, so it makes it funnier.”
“I don’t a have a personal assistant right now,” the actress says, “but I have had one in the past and I definitely understand the dynamic. The difference is that I never had such a co-dependent relationship.”
Going on what Stewart has experienced “in real life”, she says, there were moments during the shoot when the actress coached her co-star, Juliette Binoche, to make her performance more believable. “When we were getting out the car to walk up the red carpet, Juliette just like opened the door and started to get out. I said, ‘what are you doing? A star would never do that!’”
At one point in film, Stewart’s character, Val, hotly defends the hell-raising young starlet Jo-Ann Ellis (Chloe Grace Moretz), who is to play opposite Maria in her upcoming new role in the theater. Contrary to Jo-Ann’s reckless tabloid-baiting bimbo image on you tube, Val tells Maria that she shouldn’t judge the straight-out-of-rehab actress so harshly.
“She doesn’t want to be swallowed up the Hollywood machine,” Val says. How has Kristen Stewart managed to dodge some of the trappings of celebrity culture?
“When I take on a role,” says Stewart, I really like to think, and I do not care what people think about them afterwards. I really want the experience. I think a lot of actors—not good ones—are just product oriented, as is the business.”
“American movies are so packaged and delivered,” she continues. “They think for you. Like the stories in the tabloids—they’re so easily consumable. But that said, I love big American movies—they’re my foundation, what I grew up on—and I still want to do them.”
“Kristen is so powerful and has such a strong presence,” says French director Olivier Assayas. “I wrote a part in this film hoping it would be remotely interesting for her. I honestly didn’t think she would do it. I thought that the subject would be too touchy, but she liked the idea.”
Stewart says that she was thrilled to accept a role in Assayas’ film after such a long dry spell. “I didn’t make a movie for a really long time because I didn’t get offered anything that I liked. I didn’t work for two years.”
“I want to start directing,” the actress adds. “It’s still way down the line but I’m going to start dinking around and making shorts. You learn by making mistakes but that’s definitely what I want to focus on next.”