Thursday, October 24, 2019

'Charlie's Angels' red carpet premieres in LA on 11 November and London 20 November

'Charlie's Angels' will have red carpet premieres in Los Angeles on 11 November and in London on 20 November 2019.

Expected schedule for the London red carpet premiere (UK time):
  • 4.45pm – Press pens open
  • 5.30pm – Press pens close
  • 5:30pm – Photographers draw
  • 5.45pm – Talent arrivals
  • 6.30pm – Doors open
  • 7.30pm – Film on screen
We will post details on times for Los Angeles when available. We will also have our scheduled appearance page updated with the details.

Source  1 2

TBC: 'Underwater' will have a red carpet premiere in London on 8 January 2020

Update (January 2020): Please note that this might not be a premiere but a private screening. 'Underwater' is not released in the UK until 7 February and take note of William Eubank's tweet here


'Underwater' will have a red carpet premiere in London, England on 8 January 2020.

Expected time schedule for the premiere (UK time):
  • 4.45pm – Press pens open
  • 5.30pm – Press pens close
  • 5:30pm – Photographers draw
  • 5.45pm – Talent arrivals
  • 6.30pm – Doors open
  • 7.30pm – Film on screen


Friday, October 18, 2019

Kristen's interview with Stellar magazine (Australia)

The scrutiny on you was intense during and directly after you appeared in the Twilight films [2008—2012], which can be really difficult if you don’t like being the centre of attention — which you have confessed to. How do you keep yourself private and public at the same time?

It’s a lot about relinquishing control. The exchange is so worth it — all the energy you put out comes back to you. I feel like there is a way to keep that interaction really honest and when it is, you’re not selling other people’s ideas or selling yourself.

It used to take a lot for me, but I don’t really feel that anymore because I’m really not worried about anything that might happen. The worst thing is that I could fall on my face anywhere, and listen, it’s really not that bad when people fall down. It doesn’t matter.

It’s gotten a lot easier for me to not take it too seriously and not feel, like, immense pressure while talking to people. It’s not scary anymore because I actually see how cool it is that I get to connect with so many people.

In 2002, years before Twilight, you starred with Jodie Foster in Panic Room. Did she give you any advice?

I remember her thinking there wasn’t a chance I’d continue being an actor, that it wasn’t something I would have enjoyed as I got older.

She’s sort of “anti-Hollywood” and not in the way that is remotely disdainful; it’s that her sensibilities are so uniquely creative and singular. She was like, “You’re probably going to direct movies or go back to school.” I really love my job. But I completely understand why she would have thought that about me as a kid.

I love her. If we had to represent the human race to an alien planet, I have a shortlist and it would be Cate Blanchett and Jodie Foster who would need to go up and represent us [laughs].

You’re turning 30 next year. What are you looking forward to?

It gets so much easier getting older. I want to direct this movie I have just finished adapting. I always thought I should have gotten this train moving sooner, so this goal of mine is to get this sh*t in the can before I’m 31. It’s a long jump, but I’ll make it work.

Charlie’s Angels is a much bigger beast than a lot of the films you’ve headlined in the past five or six years. Are you feeling pressure ahead of its release?

I’m so proud of it. I think this is maybe the freshest feeling I’ve had in a long time about a movie and I think Liz [director, producer, screenwriter and co-star Elizabeth Banks] is the perfect person to tell a story about being together, empowering members and the fun we can have while also doing really important sh*t and taking care of each other. It’s a movie about women at work and it’s a rad time to tell that story.

This is a reboot of the 2000 version with Drew Barrymore, Cameron Diaz and Lucy Liu. Drew Barrymore is an executive producer of this new film, so it obviously comes with her blessing. Were you a fan of her version?

I loved those movies. I grew up watching them. The image of Drew falling down that mountain in a sheet and then getting up, and that T-shirt the kids give her... that image is just seared into my brain. I wanted to be friends with [those women]. They looked like people who would lean on each other and really complete each other.

It’s so contagious and I think what we did is expand that group. It’s not just the three of us. There’s a lot of different groups of Angels; it’s a whole connected network across the globe. We take care of each other and it’s very cute and makes me feel all warm and fuzzy.

This is all based on the original 1970s television series, which was seen as either a revolutionary show for women or a voyeuristic show for men. What’s your take?

I have no conflicted feelings by saying that I think some of the most beautiful stories are told about women by men. But there is just a distinctly different gaze in Liz’s perspective. It’s really rad that we’re starting to value a diversified perspective because we’ve been missing out on so many incredible stories.

We’ve gotten great ones, but there’s no balance there. Women want to look sexy and want to look sexy to each other. It’s totally independent of sexualising it — you can still run around in your underwear as long as you’re the one owning that. There was something really aspirational watching Cameron Diaz dancing around in her underwear [in 2000’s Charlie’s Angels]. I want the movie to be a lot more than that, but at the same time just repossessing beauty in this way is really only available to us now.

Charlie’s Angels is noted particularly for its emphasis on women being smart and beautiful, but also strong, both mentally and physically. Strength has traditionally been the domain of men, but now that tide is turning. We see strength in Linda Hamilton and Emilia Clarke, our other cover stars for this issue of Stellar. It must be pretty special to be part of this time.

I agree. I’m grateful to be here. It’s a really exciting time to make movies.

You seem very close with your co-stars and fellow Angels Naomi Scott and Ella Balinska, as well as Elizabeth Banks.

I wanted to like [Scott and Balinska] and I got really lucky because we all had this immediate connection. It feels like I’m talking as if I’m an old person, but I think they’re so sweet.

And Liz is like a walking catalyst — she makes things happen. She’s somebody who has been working for a long time as an actor and she’s also a really good boss. She makes you stand on your tippy-toes, like you want to be the best you can.

When the trailer came out, there was the usual flurry of negative reaction online. Is this one of the reasons why you don’t have any social media accounts?

I honestly don’t have a use for it. I’m already so engaged every day with the people around me and with my job and through the press. I’m connected to a baffling amount of people; I don’t need more to connect to.

Having said that, I’m grateful that social media exists. The people that have a harder time finding their clan are now able to. For any queer kid sitting in the middle of the country thinking, “I’m a freak, I’m crazy, there’s something wrong with me,” it’s so obvious now that’s not true, because they can see they’re not alone.

I don’t use it, but yeah, sure, people suck. You’re going to find people that hate everyone, but they’re not your people and thankfully through social media we can find our people.

For the average person, the issues that Hollywood champions can at times look disingenuous. Actors can stand on a stage and give a rousing speech about #MeToo or equal pay and gain the applause of their peers, but what do you actually say to the person working in a supermarket who is struggling to pay the bills?

I think it’s a very pervasive problem, a very systemic issue that finds its roots in every aspect of our society. Yes, we specifically talk about films because that is what we happen to be involved with.

It can feel a little self-serving like, “OK, how can I possibly feel bad for you? I’m not going to feel bad for you when you’re making movies and you’re not struggling.” But the freedom to talk about these issues is contagious. It’s a trickle-down effect — if you see one person and realise they have a voice...

The freedom to speak is a domino effect.

Exactly. That’s the beauty. There’s a circle there. There’s a beautiful circulatory of those words, like “Me Too, Me Too, Me Too, Me Too, Me Too”... That is unstoppable and thank god we’ve gotten there.


Wednesday, October 16, 2019

Kristen's interview with Collider at the Zurich Film Festival

Interview was done during a round table press day in Zurich. Some answers might be familiar from other interviews.

COLLIDER: You seem to be doing more promotion for Seberg than Charlie’s Angels. Is there a reason for that?

KRISTEN STEWART: It’s funny you mention that as I was thinking about that this morning. Maybe it’s just been a minute since I was really proud of a smaller movie that I’ve done. I’d like people to see this one and unless you go to festivals and engage with the cinematic culture that could give you that opportunity to be seen, there’s no way to do that. So I support this movie, I think it’s good, and I think it’s a good time to tell the story. It’s been cool to travel with it because I also just love the festival vibe. I like traveling around and talking to people about movie stuff. It doesn’t feel like I’m selling a film. It feels like I’m supporting it and getting it out there for sure, but not in a way that it feels like my job. It’s a nice way to complete the experience of making a film. You get this opportunity to articulate the reasons why you made it and it completes the process.

How did you come to work on the film, which is the second film by Australian, London-based theatre director Benedict Andrews? It’s about the life of Jean Seberg but is not a straightforward biopic as it concentrates on the fraught period of her life.

STEWART: I spent a bit of time on the jury with Cate Blanchett in Cannes (2018) and I’d just met Beno and was thinking about working with him and she immediately said, “Do it!” She’d worked with him on stage, he’s done a lot of opera, a realm I knew very little about. His first film Una was so incredible and so contained, just an undeniably original movie. When we had our first meeting about Jean he felt so precious and particular and his protective nature felt really contagious and he made me want to get to know her. At that point I’d only seen Breathless and learning about the story I was wildly blown away by the fact that we don’t know what happened to her and why she receded and became somebody we lost too early.

Is it possible now for an actress or even a woman who is political to be blacklisted by the US government as Seberg was?

STEWART: No, I don’t think so. A lot of people are speaking against Trump, a lot of people are speaking against things they’re not into and they’re speaking very loudly. There are just too many of us now.

Seberg was also crucified because of her sexuality, for being with a black (married) man. Your life has been in the tabloids so you must be able to relate to that.

STEWART: Yes of course. I come from a staunchly moral country as if we all share those rules. As if there could possibly be a set of rules that applies to everyone and their own individual happiness, which is absurd. But at least we’re talking about it a little more than we ever have.

It’s actually a good time to be a woman in this business with #timesup.

STEWART: I think it’s such an exciting time to be a woman who’s allowed to make films right now. There are so many stories that are going to be unearthed that have otherwise been ignored for a long time. Not that some of those stories won’t be told by men. There will be a trickle down effect. Some of my favorite experiences have been with male directors. We’re just becoming more honest about the female experience and that’s very exciting.

How was it making Charlie’s Angels directed by Elizabeth Banks, who also plays Bosley in the film? Was it fun?

STEWART: It was really fun. Liz is really funny. It was her idea to revive the movies. I’d never worked with her before but I’ve always been a huge fan. Tonally we’re so different—she can squeeze a joke or a laugh out of anything and I’m the furthest from that. So I was so shocked that she saw me like that, like, “Hey you’re a goofball and I think we should play around together because nobody does that with you.” And I was like, “What? But you’re right, nobody ever does that with me.” So she got in there and it was this really tender act and I was so thankful and ultimately she wrote a really warm, grounded—also very silly, stupid, sometimes slapstick—but also really well-intentioned movie. It’s rad. She took this story we’ve grew up with and took the superhero aspect out if it and made the girls really relatable and accessible but also very aspirational. There’s this network of women across the globe who are connected and are really unstoppable. So it’s not like there are these three unattainable women who can fly or do kung fu while suspended in the air. No, these girls are actually smart and it’s about women who are friends and who are good people working together. It’s like a women-at-work story that’s also absurd sometimes. It didn’t lose the kitschy thing because she’s fucking silly.

Are you a goofball yourself?

STEWART: Mmm, sometimes.

Did you enjoy the comedy/action?

STEWART: My character is wily. I’m the really irresponsible older sister who takes care of these girls. Sabina would take a bullet for you but she never really knows what time it is or where she’s supposed to be. So it was fun to be just a dumb-ass.

Do you want to do more of the fun dumb-ass? I guess it has to be with exactly the right person like Ellzabeth?

STEWART: I would love to play around a little bit more. I like serious movies but yes of course.

You’ve directed a short film and a few music videos and now you’re about to direct your first feature The Chronology of Water based on the memoir by Portland-based writer Lidia Yuknavitch. Why has this story captured your imagination so much?

STEWART: It was such an incredible experience reading the book. Sometimes you encounter material that articulates something you aren’t able to yet feel within you and it’s striking as hell when someone does it for you. It’s an exceedingly cool time for women to tell stories right now, the perspective is changing and I thought this was so real. This woman is a brilliant writer and uses language and plays with words in a way that I’ve never seen before. Also there’s a coming-of-age story embedded in this thing that is so confronting and not just raw for the sake of being startling, but is actually real. I don’t think it’s impossible for the male perspective to tell epic female stories, it’s just that this is so embedded in this book about a woman processing pain and shame and repurposing it and creating art as savior. It’s sort of this art-as-savior and swimming-as-solace story. It’s a real-word, body-fuck story. The way she inhabits a body and the way she speaks about it is unlike anything I’ve ever read. So I want to see it; I’ve never seen that in a movie.

Are you writing the script or are you working on it together with Lidia?

STEWART: It’s definitely a collaborative process, but I’ve adapted it. It’s such a choose-your-own-adventure story. Whoever would have ended up making it, it has to be your own take on it. There’s so much to be had, it’s so non-linear, it’s so transient. It’s like water; it’s impossible to slip down the same stream.

Will you star in it or will you stay behind the camera?

STEWART: I’m not really right for it. Whoever plays the lead needs to play 17 to 40, so it’s a really wide range. I don’t know who that is at the moment. Hopefully I’m going to direct it next year.

With Twilight did you know how big it would become when you agreed to play Bella?

STEWART: The books were a big deal in the young adult novel realm, but it wasn’t in popular culture yet. I hadn’t heard of the book at that point and thought I was auditioning for a normal movie. It didn’t stand out as this gaping opportunity, it was just something that I liked. That was a cool audition process too. Catherine [Hardwicke] and I worked together for ages auditioning a bunch of other people for all the other parts. It was very normal—until it wasn’t.

What did you enjoy about playing Bella?

STEWART: When you read that book you are her. It’s such an immersive experience. So more so than with other parts the way to get close to it and make it feel true was to really own it and make it my own rather than be faithful to a text. I guess you can say that about most work, but this in particular was fun to be there. I was a teenager, it was such a visceral time to be alive and any 17-year-old knows what I’m talking about. It was just about capturing something so immediate, that first awakening, that ownership of your body and desire, all of it. It’s like having people tell you that it’s wrong and what you shouldn’t do. It’s a fierce commitment to something you believe in and was such a cool story to tell at that age.

You made five Twilight movies. Do you still see other cast members? Do you have a big WhatsApp group?

STEWART: We all have a group chat (jokes). But we all see each other, I run into people all the time. I can’t make it to Taylor’s Halloween party, which bums me out, I’m going to be in New York. Rob’s great, he’s doing well, he’s going to be Batman and I’m very proud of him. It’s nice. In terms of the group we’ve all disbanded now for so long. I have individual relationships with everyone, but it’s not this thing that you would assume binds us in this way where we go, “Remember that?” We’ve all become real whole people who still know each other. I’m really thankful for that.


Elizabeth Banks shares are new image of Kristen in 'Charlie's Angels'

Mp4 converted to gif by TKS | Click on image for full view.


International 'Underwater' Posters

Click on posters for full view.

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