Stewart has had a longstanding relationship with Chanel, and had worked with Lagerfeld since she was but 15.
“It’s funny, when something monumental as someone like that passing occurs, people start sending you all these photos — and I obviously remember my relationship with Chanel and when it started, but to see it and sort of walk down that path again was interesting,” she said, fresh from the step and repeat. “I was prepped this evening that ‘they’re going to ask you what was surprising about him that maybe other people wouldn’t know that you did because you got some insight.’ And I was like, ‘He’s so transparent, that’s what’s wild about him.’ He actually really revealed himself and gave himself fully, and that’s why he’s such an impeccable artist. So, yeah, it’s sad, but at the same time you look at that life and you’re like that is what I aspire to in every way.”
“I know that fashion comes along with a lot of presupposed rules,” said Stewart, speaking about her own singular style. “And I was always made to feel like you could break all of those rules, and yet still do something individual and unique. Even though [Chanel] seems like the essential, classic luxury brand, the reason they stay that way is because they do subversive shit, and they genuinely believe in it.”
Her praise came at the end of a difficult week for the 109-year-old fashion house. On Tuesday, longtime Chanel creative director Karl Lagerfeld died at the age of 85 after battling pancreatic cancer; he is survived by his widely publicized and pampered pet cat, Choupette. The fashion world has been mourning the loss of the design icon, celebrating his prolific collaborations with Chanel—as well as Fendi and his own eponymous label. On Friday, designers, princesses, models, and friends gathered in Paris for a cremation ceremony; the following night, Lagerfeld’s West Coast devotees and Oscar nominees gathered in support, solidarity and celebration.
“There are some people that could make it so they live forever,” said Stewart Saturday, her voice trailing off for a moment. The actress collected herself. “I didn't know Karl intimately,” she continued. “I worked with him, and I'm so lucky for that. But through his art and who he was, he will dwell with me in my heart forever, because he was a compulsive and very true artist. I've worked with really great people, but he genuinely was such a leader, such a teacher, such a compassionate, endlessly curious motherfucker, even at that age.”
“He actually revealed himself,” added Stewart. “People definitely got the true version of him. He was witty and kind of tongue-in-cheek, but then also always the most observant person in the room. He was aware—knew everyone's name, and he worked with the people he loved.”
As the plates were cleared, Cyrus, Stewart, Thompson and Woodley took to the garden with McDormand, chatting before breaking out into an impromptu song circle.
How would you describe your aesthetic?
I think the thing that comes up again and again is that people say I make women look expensive. And I really try to get to know my clients. I see who they are and what they’re comfortable with. … When I’m working with Kristen Stewart, for example, she likes a look, and she can really sell a look too, so no matter what I do to her, she pulls it out and she feels it. That’s why those things look at home on her, whereas I don’t do that to like, Anne Hathaway, or Christina Hendricks. But Christina Hendricks looks very beautiful in a classic red lip or even a ’60s kind of look, that’s where she likes to live.
What are some of your favorite looks you’ve done recently?
Kristen at Chanel Couture was pretty great. I thought that deep teal blue eye and the orange lip was very ’80s, David Bowie-ish …. There’s a look on Elizabeth Debicki that I really liked [for TIFF], it was a pale lavender.
How did you approach Kristen’s looks for Cannes? Every one of those was so creative, like the pearl-lid one, and the amfAR one with the aqua eye and pink lip.
I always take my cue from the fashion, so whatever she’s wearing is what ends up inspiring the look. I think there are a lot of makeup artists who are strictly “makeup artists,” and they really focus on the makeup, but I’m more interested in the total look overall. … She’s a great client to have because she’s so open to trying different beauty looks and she wears them so well.
MQFF Kristen Stewart is at her charismatic best in this wilder than fiction true account of the infamous literary scam that fooled Hollywood. Stewart plays the androgynous Savannah Knoop who spent six years pretending to be the celebrated male author JT LeRoy, the made-up literary persona of her sister-in-law Laura Albert, played here by Laura Dern at her prickly best. Featuring Courtney Love, Jim Sturgess and Diane Kruger and directed by Justin Kelly (I Am Michael, King Cobra, MQFF 2017), Jeremiah Terminator LeRoy is an intriguing and provocative tale on the slippery nature of celebrity, gender and sexuality.
The film festival runs from 14-25 March. 'Jeremiah Terminator LeRoy' will therefore screen on 25 March.
The BFI is also thrilled to announce that the Closing Night Gala is the European premiere of Justin Kelly’s JT LEROY. Powered by superb performances from Laura Dern and Kristen Stewart, the film is adapted from Savannah Knoop’s memoir Girl Boy Girl: How I Became JT LeRoy and tells the captivating real life story of the most compelling literary ‘hoax’ of our generation. With a screenplay written by Justin Kelly and Savannah Knoop, JT LEROY also stars Diane Kruger and Jim Sturgess. Fortitude International is handling international sales.
Justin Kelly, Director, JT LEROY says:
“Having opened 2015’s BFI Flare with my first film, I AM MICHAEL, I am beyond honoured to return to close this year’s festival with my new film, JT LEROY, the fascinating true story about two women whose lives forever change when they bring to life the fictional boy-wunderkind author JT LeRoy.”
The BFI Flare: London LGBTQ film festival runs from 21-31 March. The film will therefore screen on 31 March.
If you are in Melbourne, Australia - tickets can be purchased here.
If you are in London, England - tickets will go on sale at the end of February here.
On Monday, February 11, 2019, John Bailey, President of the Academy of Motion Picture Arts & Sciences, announced that this year’s Oscar presentations for Best Cinematography — along with Film Editing, Live Action Short and Makeup and Hairstyling — will not be broadcast live, but rather presented during a commercial break. This decision was made to reduce the length of the show from four hours to three. The vocal response from our peers and the immediate backlash from industry leaders over the Academy’s decision makes it clear that it’s not too late to have this decision reversed.
The Academy was founded in 1927 to recognize and uphold excellence in the cinematic arts, inspire imagination and help connect the world through the universal medium of motion pictures.
Unfortunately, we have drifted from this mission in our pursuit of presenting entertainment rather than in presenting a celebration of our art form and the people behind it.
Relegating these essential cinematic crafts to lesser status in this 91st Academy Awards ceremony is nothing less than an insult to those of us who have devoted our lives and passions to our chosen profession.
The show’s director, Glenn Weiss, has stated that he will determine what “emotionally resonant” moments from the four winners’ speeches will be selected to air later in the broadcast. The show will cut any additional comment from presenters, as well as any recitation of the nominees as they see fit.
We consider this abbreviation and potential censorship to run contrary to the spirit of the Academy’s mission.
Since its inception, the Academy Awards telecast has been altered over time to keep the format fresh, but never by sacrificing the integrity of the Academy’s original mission.
When the recognition of those responsible for the creation of outstanding cinema is being diminished by the very institution whose purpose it is to protect it, then we are no longer upholding the spirit of the Academy’s promise to celebrate film as a collaborative art form.
To quote our colleague Seth Rogen, “What better way to celebrate achievements in film than to NOT publicly honor the people whose job it is to literally film things.”
Actor, KRISTEN STEWART (In addition to several other actors and filmmakers who have signed the open letter to AMPAS. The full list of names can be found at the source).
After dominating the Sundance market by buying five of the hottest films, Amazon Studios has landed U.S. rights to Benedict Andrews’ political thriller Against All Enemies.
The film, which stars Kristen Stewart, Jack O’Connell and Anthony Mackie, is inspired by true events surrounding French New Wave darling and Breathless star Jean Seberg, who in the late 1960s was targeted by the FBI because of her political and romantic involvement with civil rights activist Hakim Jamal (Mackie). She was the focus of the FBI’s attempts to disrupt, discredit and expose the Black Power movement. Anna Waterhouse and Joe Shrapnel wrote the screenplay.
Amazon made the move for Against All Enemies after viewing only a promotional reel. The film is currently in post-production, and Memento Films is handling international sales at the Berlin market.
Against All Enemies also stars Colm Meaney, Margaret Qualley, Vince Vaughn, Zazie Beetz, Stephen Root and Yvan Attal.
La La Land's Fred Berger produced alongside his Automatik partner Brian Kavanaugh Jones as well as Kate Garwood, Stephen Hopkins. Marina Acton, Alan Ritchson and Brad Pilz also produced, while Waterhouse and Shrapnel executive produced.
As Jen Salke settles into her new post as head of Amazon Studios, the company has shown a voracious appetite for the hottest properties available at recent markets like Sundance and now Berlin. In Park City, Amazon bought four narrative features and one documentary for a record-setting $47 million dollars -- Late Night, The Report, Brittany Runs a Marathon, Honey Boy and One Child Nation. The Shia LaBeouf starrer Honey Boy also was produced by Automatik.
UTA Independent Film Group negotiated the deal with Amazon on behalf of the filmmaking team and financiers.
Andrews is repped by UTA, Paul Hastings and Judy Daish.
Mackie is handled by UTA and Inspire Entertainment.
Qualley is repped by UTA, Management 360 and Harris Hartman.
O’Connell, Shrapnel and Waterhouse are clients of CAA, while Shrapnel and Waterhouse are additionally repped by Grandview.