Team Kristen Site

Friday, December 13, 2019

'Underwater' Promotional Image and Videos

We will post any official promotional videos and images that are released on social media here.

Source 1

Kristen at a press day for 'Underwater' in LA - 13 December 2019

Click on photos and gif for full view.

Source 1 2 3 4

Kristen will receive the Hollywood Critics Association 'Actress of the Decade' Award on January 9 in LA

Kristen will receive the Actress of the Decade award at the Hollywood Critics Association awards ceremony in Los Angeles on January 9.

Congratulations, Kristen!

More details on the awards ceremony can be found at the HCA website.

Source

William Eubank talks 'Underwater' and working with Kristen in SciFi Now Magazine + NEW BTS photo

BTS Photo

Click on images for full view.

Digital Scans Gossipgyal

Kristen talks 'Seberg' and mentions 'Charlie's Angels' with The Playlist

“Well, to be honest with you, I think if I had made a movie that wasn’t good and one that I wasn’t proud of and a lot of people saw it, I would be devastated,” Stewart says. “Luckily I’m not feeling gutted because I really am proud of the movie. And I think that the kind of the climate that we’re living in right now is polarizing and it’s weird and it’s kind of hard to promote a movie like that. And I think trying to have a really complicated, overly politicized feminist conversation in a five minute TV interview about ‘Charlie’s Angels’….I’m like, ‘Dude, we just wanted to have a good time.'”

She continues, “I’m bummed that we probably won’t make another one, but at the same time I’m really proud of the movie and I’m so happy that it exists and can live in the world. Because I think for a lot of people it’s still kind of important even in a very non-serious way.”

The good news is that with “Seberg,” Stewart can celebrate one of the most well-regarded performances of her career. It may have gotten lost in awards season, but her portrayal of Jean Seberg, an actress viciously targeted by the FBI in the 1970s, stands with alongside her acclaimed work in films such as “Personal Shopper,” “Certain Women,” “Clouds of Sils Maria,” “Still Alice” and “The Runaways.”

In a conversation condensed for this Q&A, Stewart discussed her passion for Seberg’s story, its relevance to today’s media takedowns and the importance of good cinematographer to a project (in this case Oscar-nominated Director of Photography Rachel Morrison).

The Playlist: What made you want to commit to telling Jean’s story?

Kristen Stewart: I knew who Jean Seberg was sort of solely through “Breathless.” I hadn’t seen any of her other work and I was obviously very unfamiliar with her work as an activist and sort of this ultimately completely violent relationship that she had with the FBI and then with surveillance. The idea that it was a widely perpetuated story that this eccentric actress became an expatriate by moving to Paris because she always loved it there more and drank herself into oblivion is an idea that is so wrong. It’s so not true. And so kind of a familiar narrative that is so maddening, which is that some kooky lady that was just bothering people with her opinions basically needed to be exiled and called crazy. And in reality, she was just somebody who believed in equality in a time where that was like a violent notion or sort of very threatening notion. So yeah, not only did I think that the script was completely well written, it was so sort of concerned with telling one aspect of her story and did it really very well. It was not attempting to be a biopic. It was just really concerned with revealing this very little known aspect of history and kind of validating her struggle. And she always struck me as somebody who was capable and really unbridled and instinctive. And at times definitely kind of naive and out of place, but her heart was always really pumping in the right direction. Everything ever said about her was that she did have these purely altruistic aspirations that weren’t propelled solely by what it might look like to be that type of person, but really put herself in harm’s way to do the right thing. And I thought that was a really cool story to tell currently.

From your research, what did you take away from her as a person? Was there anything unexpected that maybe you didn’t realize about her?

She always was unexpected. Everything about her felt unpredictable. Everything about her as an actor, as a performer in a time where acting wasn’t itself more performative, she always felt really naturalistic and present and really available and honest. And that always really struck me. And I think that’s probably something that struck more European filmmakers. So I think that energy, that sort of infectious nature, that buoyancy, she brought into every aspect of her life. You know what I mean? Like she had this sort of voracious curiosity and this sort of really innocent, positive desire to connect to people ahead and connect as many people as possible and bridge gaps. You can feel it in her work as an actress. Hearing the way that she spoke about things that mattered to her, her career, her family, her politics. [She] just seemed like somebody who was fiercely protective of her ideas, but at the same time a little bit sprawling in the way that she wanted to make things happen. She was definitely somebody who was not afraid. And I feel that in her art and I feel that in her politics.

If you watch her movies, she’s so available and so present and honest and kind of bright and there’s this undeniable light that kind of shoots out of her at the beginning of her career. All these things [that happened with the FBI] sort of helped to diminish that light. As the years go by you can see that light literally going away in her movies. And so I wanted to be able to sort of like really nail her, the fun side of her, really nail the side that’s wonderful, the side that is so appealing and draws everyone in. And then in a short, kind of reductive way considering her life is very long, show that in the movie that in the beginning, she was kind of unstoppable and at the end she looked a little bit remote and a little lifeless and a little gaunt.

When you get a script like this do you take notes or grade the performance so that you know where you are on her arc? Or, is it something that you feel like you know in the moment because of the scene itself?

It’s sort of something that you know in the moment and obviously working with a good director, that’s something that they are responsible for tempering. So you’re allowed to kind of lose a little control within that, knowing that it’s going to be measured. I think it was a really sort of well-defined story before I even got to it.

It sounds like you watched a good deal of her interviews and other films. Were there any specific facts about the whole story itself that you discovered that either helped you with your portrayal or that you were really surprised about?

I think if you read the actual FBI file, that’s the most disarming and kind of striking bit of reference material is the strange perception of her from their perspective, the sort of objective jotting down of seemingly inconsequential, but then kind of very telling intimate details. Certain things appear a certain way on the outside, but if you were actually living in those walls that you would understand. It was all very uncontextualized, intimate details that were like just so offensive. If they were about you and you read them, you would just feel so completely stolen from. And I’m curious about certain things that don’t make sense within the file. You’re like, God, they’re really not getting the whole story here, obviously. So that was interesting.

And then I think, Las Vegas isn’t small at all. It’s like [Jean’s ex-husband], Romain Gary, also ultimately took his own life on the very same day as Jean did. And he said, “I know that everyone’s going to make some” – I’m paraphrasing – “but some sort of assumption that this is related to Jean and it’s not.” And then it ends, the whole thing ends. So I was like “Wow.” I mean that’s like screaming it’s not about that. But it is. I just thought that whatever allegedly coincidental nature of that was just wild to me. And reading some of his work and some of her other lovers who they were and sort of like how they functioned in her life and kind of how transient her life was. I was always like, “Wow, I love the people aren’t focusing on her being promiscuous, but it really is more about what she was doing.” And I thought that in itself [was] a really modern woman. There’s something about her energy that was like, “I am my own woman and I am allowed to own that.” She really was a very subversive, progressive, really awesome modern woman.

But on the other hand, she was still banished in a way off to Paris because of this scandal, which was not real in any real way. She still got pushed to the side, which is insanely frustrating.

And you know, everything I’m talking about is probably wrapped up in it. She was not well-liked by quote-unquote “normal” traditionalists of that time. People that were in power, men who called the shots were totally and completely threatened by a woman like that. And had to illegally, because she wasn’t actually breaking the f*cking law by having her own opinion, sort of get her out of the forefront of contemporary attention because they had daughters [and] they didn’t want to see the world go in the direction that she wanted to see it go. And so they had to get rid of her.

I feel like there are parallels to her story and what some public figures endure today. Did that contemporary aspect of it pop into your mind while you were reading the script? Or was it just her unique story?

No, I think the whole kind of idea of truth through perception, what that is, and living in a time where there’s nowhere to receive reliable, trustworthy information that makes you feel in any way comfortable in having even an opinion. If everything is through the mouthpiece of somebody, an oppressive power, then there is always going to be doubt and question as to what the fucking truth is. And I think that in itself, that struggle, knowing for a fact that something is a certain way and having the people that are supposed to take care of you, gaslighting you and telling you that you’re crazy, and you know for a fact that you’re not, that is obviously an incredibly urgent type of story, as such. And this one, considering it’s not made up, it’s actually real, it’s just something that we can’t not know about her, you know what I mean? As a figure in history, we need to understand that she fits into that narrative.

Benedict is an acclaimed stage director, but this is only the second feature he’s directed. What did you take away from working with him?

Benedict is a really brilliant director. I can’t tell you how confidently I believed that he would protect me in this and protect Jean. I just felt that he really cared about her. I spoke to a couple of people that have worked with him on the stage and actors that I trust implicitly said that he was like somebody that knew how to tell a story that would really hold it together and mine it for everything that it is. We both were kind of like [Jean’s] humble servants in this case. I think that he’s just a brilliant dude. He’s so smart. Having dinner with him is always like a sort of an experience. He’s a really smart motherf*cker.

Recently I’ve had a lot of actors sort of mention their relationship with their cinematographers. How important is the cinematographer in terms of your performance and what was it like working with Rachel Morrison in that relationship?

Who’s looking at you matters. The energy between the watcher and the performer is crucial. There’s a certain balance and always a really unique sort of distinct relationship. Sometimes it can open you up as an actor or it can close you down. Some really like to know what the camera’s doing and some like forget it completely. I really like to dance with an operator as she operates her movies. Even if you’re not the operator or the cinematographer and you’re just the focus puller, and you’re standing on set holding a boom, it matters who’s in the room with you. It just affects the temperature of the room. It affects all of the ways that the scene turns out. Those people are present. One thing I can say about Rachel is that I know that she’s never missing anything. Sometimes you’re not [an actor] who’s incredibly overt or somebody who’s playing to the camera or playing sort of quote-unquote “out.” She’s able to sort of duck under a certain shade that can be put up by, sometimes I think, the very best actors that there are. And so like you know that maybe if you’re doing something very tiny, she’s so aware of you. Her camera is really penetrating and it’s also a gaze that’s in no way obtrusive. So she’s really somebody that I covet working with. She’s become a really good friend. I think she’s so fucking great at what she does. She also accomplished this cool, really stark difference in the film between my world and Jack [O’Connell] and the FBI. I think that one is very cold and objective and feels icky and the other one is really saturated and kind of has this romantic perspective. The one that might resemble Jean’s world is really vivid and kind of naive. So I think that the movie jumps back and forth really over-stylized or overdone or self-aware. Actually, I think she did really beautiful work in this movie.

“Seberg” opens in limited release on Friday.

Source

Video: 'Charlie's Angels' cast interview with Sensacine (Spain)

Source

'Seberg' will be released wide in the US on February 21 after qualifying release on December 13

Source: Amazon Studios

'Seberg' is released on December 13 in the US to qualify for award season. It will be a limited release showing in theatres in Los Angeles and New York.

It will then be released wider in the US on February 21.

Theaters playing 'Seberg' from December 13:

Los Angeles - Laemmle Town Center 5, Encino - Tickets and Sessions
New York City - City Cinemas Village East Cinema - Tickets and Sessions

------------

After making its limited qualifying run this Friday, Amazon Studios’ Seberg which stars Kristen Stewart as French New Wave icon and FBI target Jean Seberg will have a platform release starting Feb. 21.

The noir thriller directed by Benedict Andrews and written by Anna Waterhouse and Joe Shrapnel, made its world premiere at the Venice Film Festival before continuing to TIFF, Deuville and the London Film Festival among many others.

Breathless star Seberg was the center of the FBI’s attention in the late 1960s because of her support of the civil rights movement and romantic involvement with Hakim Jamal (Anthony Mackie), among others. Seberg’s life and career are destroyed by J. Edgar Hoover’s overreaching surveillance and harassment in an effort to suppress and discredit the actress’ activism.

Producers are Fred Berger and Brian Kavanaugh Jones of Automatik, Marina Acton, Alan Ritchson, Kate Garwood, Stephen Hopkins and Brad Pilz. Anna Waterhouse and Joe Shrapnel also executive produce.

Source

Video: 'Charlie's Angels' cast interview with Movie n'co (UK)

Video: 'Charlie's Angels' cast interview with Cosmopolitan (Spain)

Thursday, December 12, 2019

'Seberg' hairstylist Sarah Stamp talks about doing Jean Seberg's pixie cut for Kristen

French New Wave star Jean Seberg might be best known for her role in Breathless, the 1960 film directed by Jean-Luc Godard. Granted, many remember her for her blond pixie cut, but Seberg was so much more. She pioneered the actor-activist role, publicly supporting the civil rights movement long before Alyssa Milano, Jane Fonda and Susan Sarandon used their celebrity status as a platform for human rights.

Seberg, the Amazon Studios film will be released in theaters on Friday, Dec. 13. Directed by Benedict Andrews, the film follows Seberg (Kristen Stewart) in the late 1960s in Los Angeles as she befriends the Black Panther Party and becomes a donor to their cause. Despite her efforts to share her privilege to help fund her politics, many still see her as the girl with the pixie cut.

"Her haircut made her the epitome of New Wave chic, but what is less know is her involvement with civil rights and her support of the Black Panther Party," Andrews tells The Hollywood Reporter. "Our film shines a light on a darker period of her life at the end of the 1960s and early 1970s, when she was persecuted by the FBI for her politics."

The film details Seberg's rocky affair with African American civil rights activist Allen Donaldson, known as Hakim Jamal (Anthony Mackie), and how the FBI used slut-shaming tactics to tarnish her public image. From cartoon posters mocking Seberg, which were posted across Hollywood, to a media smear campaign, the FBI's tactics purportedly led to her psychological breakdown and eventual suicide in 1979 at age 40.

"She was fiercely against injustice and wanted to use her privilege to fight for civil rights," said Andrews. "She was a force for change who was unfairly and tragically targeted by her own government. The fact that she was silenced and persecuted for her activism is an American tragedy."

Sarah Stamp, the film's hairstylist, first worked with Stewart in her Los Feliz home in July 2018. "Kristen is a great cook. We had dinner, then I turned her into Jean Seberg," recalls Stamp. "It wasn't a huge prepping movie — just run and go. I just cut it all off and colored it but with a lot of discussion beforehand."

They sifted through hundreds of photos of Seberg, from shoots and stills to editorials. "Kristen loved that drabby blond look," said Stamp. "She always wants things to look messy, like a mistake, so I made it choppy. I just went into it, cut it all off. Then Kristen looked up and said, 'I love it; it's perfect.'"

Hair-coloring has drastically changed over the past 50 years, so Stewart's hair was heavily highlighted with a variety of buttery blondes, rather than bleached with harsh peroxides. "We made it more yellow on purpose, because it made more sense from the time period," said Stamp.

Even though hairspray was the highest-selling beauty product in the 1960s, Stamp didn't use it. She relied on Kevin Murphy's Night Rider molding paste. "Kristen isn't a big product junkie; she thinks putting coconut oil in her hair is enough," said Stamp. "Product isn't a big thing to me either, if the cut and style is there, you know?"

Could the pixie cut be the quintessential political haircut for women, with the 2020 election around the corner? Stamp thinks the film could bring the pixie cut back. "Everything is getting shorter, for sure," she said. "That recent beach-wave look has disappeared. We're going to bobs, and, after that, the looks will be shorter. I think that's what women are feeling right now, that hair isn't defining. It doesn't make us who we are."

When the film premiered at the 76th annual Venice Film Festival in August, Stewart explained at the press conference how the film resonates today: "People are asking, 'Why is it an important story right now?' But it is because it is.To sacrifice for something you really love, for other people, is a memorable and courageous thing to see."

"Jean Seberg was a compassionate humanitarian in a time when people didn't want to stomach that," she said. "We should definitely know her for more than just the short haircut and the movies."

Source

Kristen talks to Awards Watch for 'Seberg' and mentions 'Happiest Season', The Chronology of Water and a new project for 2020.

AW: I loved your performance in this film. You are continuing to showcase your range. With Charlie’s Angels earlier this year, which I really enjoyed by the way, and now Seberg, you keep finding new tools, new weapons in your arsenal. You also seem fearless. You said that when you were younger, you seemed like the last person who would become an actress, but now it seems nothing scares you. Does anything scare you, professionally, at this point?

KS: Yeah, absolutely. I always consider that, unless there is a distinct feeling that is terror-adjacent, there’s really no reason to move forward with a project. So, yeah. But, at the same time, I don’t function from a place where that fear limits me. It’s something that’s very attractive because it means newness and discovery. I guess the only thing that really was frightening, as a child, trying to interact with the public at large, was that [the fame] was just sort of confounding—the scope of that was just not something I could understand and as soon as I realized that you can just toss that out the window and talk to yourself a little bit while you are trying to promote a movie, and realize, too, that it really doesn’t fucking matter at all and what really matters is the work that you do, I was kind of able to almost look forward to falling on my face, because it’s more interesting than packaging and delivering some bullshit idea, you know what I mean? So I figured, at some point—this wasn’t something I was really aware of because it’s a strange thing to think about unless you are kind of outside of yourself—I just got much more comfortable. It’s literally just becoming an adult. So yes, I just feel a lot more comfortable with the fear, like completely.

AW: So are you looking for new ways to push that envelope for yourself? Like going into directing or writing or, you mentioned in your conversation with Shia, that you’ve never really done a film that required a whole bunch of prep. Is that something that you are really aching to do, that you want to dive into?

KS: You know, funny you mention it. There’s a movie that I can’t talk about yet that is exactly that. I believe I’m going to be shooting it next year, around December, so there will be some time to allow that to become a conversation. But yes, there is something that I am looking to do—I mean, I’m almost at the point of being able to talk about it, I just don’t want to make anyone angry at me. It is that, very much so. And then there is also The Chronology of Water, which is a tricky adaptation and it’s something that I really want correct, for what it is, and I really want to solidify that perspective, mine personally, of the book on paper and I want to find the right person [to star] and I don’t want to rush that process. I’m also doing this movie in January for a friend of mine. So that, The Chronology of Water and the project I can’t talk about yet—both are deeply unnerving, but I don’t want to do anything unless I feel that way, I just feel that there would be no reason. I want to look back on my life and imagine that all those moments were definitely used, at least with the intention of finding newness, some value in why it was scary.

AW: Getting to Seberg, you said you felt very protective of Jean, and that’s partly why you wanted to tell her story. What did you mean by that?

KS: Well, I had this general perspective of her that coincided with the broad perspective, which is “chick from Breathless in the ‘60s, became a little eccentric, moved to Paris and never wanted to move back, drank herself to oblivion and ended her life.” It’s just such an absurd plot line for what actually transpired in Jean’s life and I think that her story is quite urgent, considering this subjugation of the truth and this maddening relationship we have with the truth in media and the idea that a woman who had a perspective which felt threatening to the government at large. She was sort of exiled illegally, not for breaking the law, but just for having an opinion that didn’t coincide with theirs. So that in itself is terrifying, that we actually think, in a broad sense, that she was just this kooky actress who moved away and drank herself to shit. I mean, this woman really went through a lot and it was really violent, and I think that’s absolutely a story worth telling.

And also, I felt personally protective of her because she has this precious, tonal quality. As a performer, she’s completely instinctive and present and available and at the beginning had this buoyancy and this energy that felt undeniable and infectious. It felt naïve, but it felt very well intentioned and it felt honest. And then, as you watch her films progress, that light diminishes and now that I know more about the details of her actual life and what happened to her and her relationship with the FBI and the surveillance itself, it all makes sense. It wasn’t indicative of her weakness, it was more that it was something that happened TO her, a real offense to her. I felt really protective of who that person is.

AW: It’s really interesting that you say that because I was just about to ask you about the fact that the two of you have a parallel in another way. You both are young American actresses who won over the French, which is a very hard thing to do. I think the French get turned off by phoniness and they appreciate artists who are authentic. Do you think the fact that you have chosen to live a very authentic life helped you to channel Jean and to be more protective of that because you are able to live a certain way that she wasn’t able to. Or that you are taking ownership of that much more than she was able to?

KS: Honestly, I think that one of the most frustrating stories that we all have to live with in many different capacities is one of gaslighting. When you know something is true, yet something, standing next to it, that is strikingly inauthentic, is the one that is somehow convincing people of the truth—whatever that may be, whatever that means to you, it’s not a black and white thing. But that story is so frustrating and obviously super urgent. In a way that is superficial and personal, I have tasted that relationship with the public or the media, having things be sort of out of your control or being twisted or whatever. It all doesn’t matter, it’s like being cast in a comic book that’s fairly inconsequential, but for her, it was all wrapped up in her political views and how really truly devastating and impactful those views were and done through the air of truth and maddening for anyone who has an addiction to authenticity and an aversion to things that seem phony. So of course nobody believed her, because she was so real and that was threatening to them. That definitely struck a really immense chord with me.

AW: Do you consider yourself an activist?

KS: No, I mean I stand very strongly for the things that I do, but I have not done any overt work in any of those directions. In the stories that I choose to tell and the people that I align with and the way that I vote, I’m very distinctly on a particular side, but I wouldn’t call myself “activist” per say. Not yet. But in maybe some of the stories that I choose to tell, sure maybe they are a little subversive, in terms of the status quo.

AW: And the life you lead. Speaking as a gay woman, I just have to say that just standing up and being who you are, being the level of celebrity that you are, that in itself is something. Tying it back to Jean, it was kind of referenced in the movie that, oh, she just wants attention, and that’s what was always misunderstood, right?

KS: That idea was used as a weapon to devalue her and defame her, which is just a manipulation, and it’s ridiculous. And it’s so common! That’s what everyone says about women who feel threatening. I mean, that’s a narrative our history is steeped in completely: she asked for it, or she just wants attention. No, she’s just saying things you don’t want to hear, and it’s so obvious.

AW: I know you are a collaborative person, you love that and feed off it. Tell me a little about the collaborative process on this movie.

KS: Well, the script was really well formed. When I first got to it, it really did feel like it was something that I needed to rise to rather than develop with the director. Benedict had already done a lot of work on the script with the original writers. I kind of came in relatively late, so I consumed the reference material that was available, with the director, and watched a bunch of her movies. There really are only a couple of interviews, to be honest, only one of which that’s on camera. I didn’t want to do a spot-on impression because it was kind of hard to do because she was never really the same. The way she did interviews was a different way and the way she presented herself in films with her different characters, and then who knows what she was like behind closed doors, we’ll never know, even though the FBI though that they did, which is really weird, which is kind of what the movie is about. But I wanted to show, in the beginning—and this is something Benedict and I collaborated on massively—was sort of measuring the diminishing light. Even though the story is only concerned with three years of her life, which is really layered and interesting, I wanted to show that, in the beginning of her life and her career, and in her youth, there was this present and available and infectious buoyant energy that busted into every room she walked into and took ahold of it. Whereas I feel like I inhabit space in a very different way and one thing Benedict really wanted to measure and take into precious consideration was that we were telling only three years of her life, but this was an opportunity to tell her life story, not bio-pic style, but her life story in essence. So, at the beginning of the movie, I wanted to make sure I had that buoyancy, that I had that undeniable energy that protruded out really far. Then, by the end, you felt that receding and she was losing herself and you missed her. By the end, you were like, “where’s that girl we started out with?” Even though it would take a different movie to tell that story completely, I still wanted to taste that. And so that was one thing that was more evident in the script, but Benedict and I really wanted to lean more into.

AW: Toward the end, as she’s going down, losing her sanity, you have to play her so close to the edge. How do you play that and how do you stay in control of that?

KS: I was lucky to be working with incredible people, I mean, [cinematographer] Rachel Morrison, who shot the film, she sees everything. She’s somebody who I know for a fact that even if I have something really close to the chest, something that is barely there, I know that I don’t need to worry that somebody is capturing that, that I don’t need to broadcast it or tell someone to make sure they get this shot where I do that one thing. I was always allowed to lose control in the environment that was set up by Benedict. He hired really incredible people, one of them being Rachel. I feel me, Rachel and Benedict had this really nice alchemy. Benedict was always making sure I was not forgetting things, that I was where I was supposed to be at any given time and that I had everything that I needed to do the best I could do, and Rachel had this really watchful eye, so I was allowed really to unravel in a realistic way.

AW: I know you’re from L.A. and both your parents were in the business. Did you have a mentor when you were young and starting out yourself?

KS: My whole family are really blue-collar film people. I grew up being so unbelievably enamored with the process of making movies. Not the business of it and not the Hollywood aspect of it, but truly the process. And how hard it is and how weird it is and how close you get to your friends and how consuming it is for me. Unless you really love it, it’s a really thankless job. And then it actually is a job, whereas I feel it’s kind of just what my family does. So the biggest influence I had was a couple of actors that I felt coincided with that and reinforced that truth and kind of, you know, lived it and gave me an example that it was actually possible and these instincts about what I want have somewhere to go. But I think it definitely started with my family.

AW: With your stints on Saturday Night Live and in Charlie’s Angels, we are seeing more of your comic ability that is kind of new to us. Are you going to explore that a little more?

KS: Yeah, I would love to! As somebody who’s getting older every day, everybody can relate to how the ease that age gives you. It’s this wonderful silver lining. If we have to get old, at least it gets easier and more comfortable to be alive. I’m about to do this movie called The Happiest Season, which is pretty much the first commercial studio-backed gay rom-com about Christmas. So I’m going to do a gay Christmas movie, I don’t know how much more fun that could be. Or how lighter that could be, so I’m definitely down to start exploring that aspect of being alive, laughing instead of being so intense all the time!

Source