New/old photo of Kristen shared by Adir Abergel

Click on pic for full view.

Photo was taken in Cannes 2016 for the 'Cafe Society' press day.

Source

New/old photo of Kristen from Cannes 2016

Click on photo for full view.

Source Via

Kristen's interview with SBS Movies for 'Personal Shopper'

With Personal Shopper you give us an insight into that rarefied world of high fashion, and how it works.

There are a very, very small group of people who actually go and shop at Chanel showrooms and those people are the real “other worldly” wealthy people. It’s couture, it’s delicate, handcrafted, really precious one of a kind works of art so you are investing in an artform when you go and buy their stuff.

Chanel does stand separately from most of the others - they are an independently owned company, still, which is the last of the luxury brands. And you feel that. There is a genuine, very compulsive faithfulness to aesthetic and care for that aesthetic. They really do stand apart from the people who do it for farcical reasons. A lot of people want to look like they appreciate an aesthetic and beauty but… Some people look at a sunset and it brings them to tears. Some people don’t look twice. It’s a really human spiritual thing to be moved by an image. So within fashion, those people really stick out because those who don’t have it are there because they want to be popular, they want attention. They want to be looked at in a certain way and it validates them in some way to be looked at. That’s actually very empty. It’s just really easy to tell the difference between the two.

You’re back working with Olivier again. How was it different this time? How did you build on what you’d learned about each other from Sils Maria?

The roles are very different, for one thing. Olivier and I have a great relationship because we really ‘see’ each other. I feel like he really understands me and I don’t really have to explain myself to him. We usually agree. There’s a great, real friendship and a closeness that provides a trust that, like, just puts you in the perfect position to explore a difficult subject and always feel like you’re going to be caught by this safety net if you ever really, truly, fall too hard. And that only got deeper on the second go around.

Also just by nature of the movie, it’s so much more sad and you know, Sils Maria was bittersweet and a little bit tumultuous between those two characters, and there was pain in that, but it wasn’t as deep and as fundamental as the pain in this movie. It didn’t bring into question things that don’t have answers and that’s what this movie is about. It’s really about finding peace in not knowing where we’re going to end up and who are are and whether or not our reality is just our perception or whether it’s something that we share. We’re never going to know that. But it’s worth asking the question. It’s worth being aware of it. For both of us, we found that you need to be so raw in order to address those things. We’re just so close now. We’ve been through so much together now that we have those footholds to base a relationship off of, and we’ll only go deeper.

What was it like to have an iPhone as your co-star in so many scenes? How did you approach that and try to make those scenes interesting?

Oh God, what you can project onto an iPhone and into messages from somebody can sometimes be so one-sided! I was basically playing with my own version of myself. Also I felt like anytime there was going to be a close-up or an insert of the messages, it should feel like a close-up of me. You should feel the tension in my hands. You should feel every typo. Every choice in punctuation should speak volumes, because it is a new language that we’ve all sort of written ourselves. You have a different text voice, whether you capitalise something. Or put a period on it, or put a lot of spaces in between something, it says a lot! This is this sort of new language that’s interesting. That... [motions texting, with intensity]... I mean… [laughs]

Are you a big texter? Ever feel like you need a digital detox?

I’m not constantly reaching for my phone. I have a personal Instagram that allows me to stay connected to people that I don’t see on a regular basis, but I don’t have social media, I don’t have this heavy phone addiction. So I’ve never had to detox from it. There are times I find myself reaching for my phone for no reason and I just literally, go, ‘What are you looking for? Nothing!’. When i notice myself doing that, I realise that i’m actually just bored and that I should occupy my time with something else.

What did you think about the ghost story aspect of the film?

When I read the script, I kind of missed the fact that it was a ghost story, because my character, the way she was written, wasn’t that afraid. There was such fervent curiosity that drove her towards the ghosts that I didn’t find them scary in the script. I thought that there was just like a need for questions to be answered, and that need overpowered any fear-based impulse. Then when we got to make the movie... the unknown is terrifying and I don’t care who you are. That was much more theoretical, that idea of not being afraid. It was something that i could implicate conceptually, but literally, on the day, nobody could face those things and not be literally, physically, shaken by it because it’s like, I mean it is scary! It’s really scary. It’s just that while I was reading it, I didn’t realise that it was such a - quote-unquote - horror movie.

He really goes for some effective scares

I know, right?! But to be honest, I still find the scarier parts of that movie are when you can see someone suddenly aware of the fact that we’ll never know where we are or who we are necessarily. Those moments where Maureen starts reeling, and things become incredibly uncertain? Those are debilitating, anxiety-inducing, physically stifling thoughts. I know that feeling. I was like, ‘God, I’m so happy I’m not in one of those places, I’m so happy that I’m not um, in that right now’. Because I’ve had moments like that where I’ve been racked with absolute physical manifestations of anxiety, and it was just like, the only way to get out of that is to go for a run or to physically get yourself moving and really exert your physicality and get yourself out of your brain. Because you’re never going to find the answer. Again, it’s finding peace in the not knowing and finding an appreciation for whatever it is that connects us, and i know it is something invisible, it’s worthwhile because it makes you feel less alone. And that’s really what we’re all hoping to do anyway.

On the subject of physicality, I notice you’ve made Maureen intensely tactile. She’s always gripping at belts, and scrunching up these beautiful pieces of jewellery as she inspects them. How did you work that in as a Maureen mannerism? Why does she do that?

I think Maureen’s attracted to things that she’s ashamed to be attracted to. So she’s aggressive with them. These really delicate necklaces, she’s so taken by them but she’s feeling guilty about it, so she almost wants to harm them. Do you know what i mean?

Not personally, but sure.

Because she’s not the most self-assured person and she has so many aspects of herself that don’t typically go together, finding a balance in that is kind of the struggle of the movie. There’s one side of her that’s purely animalistic and very feminine and really just embodies... She’s like a tigress. She’s like a really sensual, immediate, impulsive animal, but there are also other times where she’s so moored by thought and those defences go up immediately. And those defences are very hard and very masculine and androgynous because she misses her brother. She’s half a person and she’s trying to emulate him. It’s like there was a strength that he had that she doesn’t have without him, and she’s trying to do an impression of him in order to feel strong and it’s just not her. It’s sad to watch that kind of thing, it’s clearly just somebody that’s trying to hide.

You’ve played a lot of celebrity assistant roles lately, with this, Sils Maria, and also recently, in the Woody Allen film. Are you referencing relationships that you have with people who work with you?

Yeah, it’s funny role reversal. I know that job inside out. But I don’t have a personal shopper. That’s not a very common job. [Grabs at blazer] These clothes that we wear to press conferences and red carpets and stuff, they’re all lent to us. I don’t have people going out and buying opulent elaborate pieces for me for my own collection, it’s an interaction with that artform which is temporary and within the context of promoting a movie.

Some celebrities seem to use fashion as an escape, or a bit of armour, for want of a better word. You seem really connected to the clothes you wear, though.

Absolutely, I think when clothes really can do their job, they’re the opposite of armour, they can make you feel like you don’t want to hide, and you’re the true version of yourself in the right outfit.

Some people don’t have much interest in it, and some people don’t have very defied taste. A lot of actors really just don’t care, so they hire people that do, to help them. But me? I really like it. The reason I’m not ashamed of that is because it’s coming from a really true place. I don’t find it to be superficial at all. I think that when I put on the right garment I feel like a truer version of myself. I feel there are stories to tell with clothes, and when you find people that feel the same way, it’s really fun to work with them.

I think it’s pretty obvious when there’s the opposite of that - it’s obvious when people are drawn to that world because they want attention. I don’t want to look good because I want everyone to stare at me; I want to look good because I want to feel like myself. It’s about feeling like you, and clothes can help you achieve that.

Source

Kristen's interview with the Guardian for 'Personal Shopper'

We meet in a beachfront bar at the Cannes film festival, with the crowds massed behind cordons on the street outside. The actor crash-lands on the couch like some 1920s flapper, complete with peroxide hair and a sheer silver dress. She explains that as soon as the interview is over, the finery goes back in its box. She’s exhausted, she’s done. She’s taking six months off.

Personal Shopper is her second collaboration with French film-maker Olivier Assayas, hard on the heels of her César award-winning turn in Clouds of Sils Maria. It’s a marvellous, mercurial ghost story, haunted by anonymous text messages as Maureen juggles her shopping duties with attempts to make contact with her dead twin brother. Stewart says that the shoot was an ordeal – 16-hour days, six days a week – which probably accounts for Maureen’s hollow-eyed appearance. “By the end, I look ghoulish and I think that I earned it,” she says.

Actually, she gives a terrific performance – in that she’s awkward and raw; a splatter painting made flesh; a woman turned inside out. Stewart’s lines have a curious habit of trailing off at the end. Her gaze skips to the side, as though searching for an escape. Her detractors can (and have) identified this quality as evidence of poor acting technique, which is rather missing the point. You might as well accuse Holden Caulfield of being an unreliable narrator, or complain that Marlon Brando totally goes to pieces in On the Waterfront. Stewart’s very gaucheness is gorgeous. Paradoxically, I think it might be the making of her.

 In Personal Shopper, Stewart plays Maureen, who juggles her shopping duties with attempts to make contact with her dead twin brother.

“I can be nothing other than myself,” she says. “I know actors who say: ‘Oh, this role had nothing to do with me, it’s just the character’. And I think: ‘Yeah, but it is your interpretation of the character.’ Because you can never get away from being you. That’s always going to be there. That’s the persistency of life. An interaction with a good director might bring you closer to aspects of yourself that might have been less apparent before. But it’s still about self. It’s still all about me.”

Apropos of nothing, she tells me how she first started performing: singing in a school production when she was nine. “And I was so self-conscious, so not a natural performer, just some shaky little weirdo. But there was a scout in the audience, someone who sends out 100 headshots of kids to the studio. And I somehow caught wind of this and thought: ‘I want that, I want to act.’”

It helped that her parents were in the business. Her dad was a set designer; her mum a script supervisor. “So I grew up on set and it always felt like summer camp. Because when a crew comes together, it’s like your own band of pirates, protecting your treasure. It takes over your life. My mum and dad would come home so late. I’d get up at one in the morning and run out and they’d have craft service in their bag and all these crazy stories about their day and they’d even smell different.” She wrinkles her nose, as if sniffing the air. “They’d smell like the world. Like they’d been out in the world.”

By her mid-teens, she had already amassed a decent showreel. She co-starred as Jodie Foster’s diabetic daughter in David Fincher’s Panic Room, played the tragic victim in Speak and provided the soulful side-note to Sean Penn’s Into the Wild. But it was her role as Twilight’s mopey, lovelorn Bella Swan that sent her career stratospheric. The franchise grossed a reported $3.3bn (£2.7bn). Forbes magazine estimated her 2012 earnings at $34m. Once Twilight broke big, there was no looking back.

“I feel curious about who I would be if I had gone to university,” she says. “Because I worked pretty fucking hard in high school. And sometimes I feel pissed off at my own inferiority. Because there’s stuff I don’t know. But then there’s always stuff you don’t know.” She pulls a face; shrugs her shoulders. “And I still read a lot. My favourite author is John Steinbeck. East of Eden is my bible. I love Kerouac. Bukowski. In high school, I loved The Outsider.” She racks her brains for further names.
 
I ask if she misses being anonymous and she admits that she does; so much it’s not funny. “Because I’m such a people person. I’m so interested in them that it’s really annoying they’re so interested in me. Because I can’t look at anyone without them noticing me. I want to be able to sit in a room and people-watch. And that’s difficult for me. It’s a unique perspective, for sure.”

New York is not so bad; she can sometimes pass unnoticed. Cannes is the worst, she says; Cannes is insane. She gestures towards the street, where the festival cars can barely move for tourists and photographers. “I mean, if we walked outside right now, I’d be in physical danger.”

I suggest that we test it. How about we go for a stroll? Stewart gawps as though I have taken leave of my senses. “No way, man,” she says flatly. “There’s no way in hell.”

The problem, I suggest, is that we feel we know her already; that we have some spurious claim on her innermost secrets. Try as she might to keep her private life private, the details spill out. She has to wade into the fray to regain control of the drama. When her romance with Twilight co-star Robert Pattinson broke down, for instance, Stewart responded by issuing a public apology. More recently, her relationships with the French singer Soko and effects specialist Alicia Cargile have presented a fresh quandary. Out of the blue, her sexuality was reframed as a political statement. She found herself embraced as Hollywood’s most high-profile gay actor, a de-facto poster-girl for the LGBT community.

“Well, yeah,” she says. “And that’s been nothing but positive. I mean, it’s hard to talk about. I don’t want to seem presumptuous, because everyone has their own experience. The whole issue of sexuality is so grey. I’m just trying to acknowledge that fluidity, that greyness, which has always existed. But maybe only now are we allowed to start talking about it.”

Does that make her a pioneer – a rare Hollywood A-lister sticking her head above the parapet – or has the whole culture changed? “Oh, I think things are changing. I mean, I don’t think I would have approached my life differently if that hadn’t been the case. But who knows? Individually we are all part of that change and so I can take some credit for it, I guess – there’s no reason why I should shy away from that. But all the prejudice; it’s going for sure.” She reconsiders. “I mean, yeah, it’s definitely still there. People still have some horrendous fucking experiences. But it’s cool that you don’t have to nail everything down any more. That whole certainty about whether you’re straight or gay or whatever.” She flashes a quick smile and reaches for her water. “You’re not confused if you’re bisexual. It’s not confusing at all. For me, it’s quite the opposite.”

Her press duties are complete; the Cannes film festival closes. Stewart spills back into the world; a lovely, awkward work in progress. She shoots a short film, Come Swim, that premieres at Sundance. She crops up in a supporting role in Ang Lee’s Billy Lynn’s Long Halftime Walk; co-stars as a lawyer in Kelly Reichardt’s Certain Women. The press are reporting that she has a new girlfriend, model Stella Maxwell. Photographers snap them on a New York shopping spree.

The world, for its part, keeps spinning too. Donald Trump is elected president; the swing states turn from blue to red. Stewart, installed as the host of Saturday Night Live, jokingly recalls the tweets Trump sent back in 2012, urging Robert Pattinson to dump her. She says if Trump didn’t like her then, he probably won’t now. “Because I’m, like, so gay, dude.”

One night in late February, I talk to her again, on the phone. There is so much to catch up on, I don’t know where to begin. She says that Sundance was great and that the SNL gig was a blast. She didn’t know what to say, but then remembered Trump’s tweets. They were weird at the time; today they’re surreal. “So it’s probably the most fascinating, bizarre thing to have ever happened to me,” she says. “To be personally called out by the future president. It’s like I’ve become a piece of history.”

The world felt brighter, more fluid when we spoke down in Cannes. Since then, the stakes have got higher. The liberal agenda risks being rolled back. Stewart reckons that, if anything, the election was a wake-up call. It has forced her to choose her projects more carefully, to weigh up their social value. She mentions that she recently pitched in on a benefit album for Planned Parenthood. “And obviously that’s all because of the person who I’m not even going to name. Because the truth is, he’s terrifying. He’s not funny at all.”

The phone line crackles; our time’s almost up. She says: “If there is one silver lining in all of this, it’s that I know that art, music and film is going to experience a boom, directly as a reaction to what’s happened in this country. Maybe we’re seeing that already; we probably are.” Stewart barks a short laugh. “Listen to me,” she says. “Always looking for the silver lining.”

Source

New/old photos of Kristen from the 'Personal Shopper' press junket in Cannes

Click on pics for full view.

Source Via

Video: New/old interview with Allocine for 'Personal Shopper'

Olivier Assayas talks about 'Personal Shopper' in his interview with Allocine (in French, no subtitles) it can be watched at Allocine.

Source

Video: New/old interview from Cannes for 'Personal Shopper' with Tele Matin

Source

Video: Kristen's full interview with Dan Wootton from Cannes for 'Cafe Society' (ITV)

This is the full interview with Dan Wootton from Cannes. Extract from this interview was previously posted here.

Source

Kristen's interview with the Irish Examiner from Cannes

Click on pic for full view.

Brogen Hayes In today's Irish Examiner, I talk to #kristenstewart about #cafesociety and her reinventing her career after #twilightsaga!

Kristen Stewart has emerged from teen queen status to star of the indie circuit. So how has she done it, asks Brogen Hayes.

Girl reinvented...

With two films premiered at this year’s Cannes Film Festival — Woody Allen’s Café Society (released next week) and Oliver Assayas’ Personal Shopper — it is hard to deny that Kristen Stewart is an actress who is going from strength to strength.

Spending time in the south of France presenting work that she loves seems to be an experience that Stewart revels in — “It just feels so genuine here,” she gushes when asked about the festival — but just how good is it to be Kristen Stewart right now?

In the four years since the Twilight series ended, Stewart has pulled off something incredible, and reinvented herself from teen queen to indie darling.

Sitting down in the glamorous Carlton hotel in Cannes with the newly blonde actress feels like a typical Cannes experience; fans are camped outside the hotel to catch a glimpse of the former Twilight star, while inside, wearing a leather jacket that feels entirely too big for her petite frame, Stewart talks passionately and intimately about working with Woody Allen on Café Society, a film which she — even as one of the most famous faces in the world — had to audition for.

Kristen Stewart stars in ‘Café Society’ with Jesse Eisenberg. Stewart praises her co-star for making her feel comfortable on set.

“I really appreciate auditioning for something,” she says, “because it kind of gives you a confidence, not only that you can do it but just that it’s the right fit with the director.”

Stewart’s character in Café Society, a young woman named Vonnie who finds herself torn between love with a man close to her own age (Jesse Eisenberg) and an older man who can give her security (Steve Carell), is a departure for Stewart.

This is not the first period film that the actress has starred in, nor is it the first time she has played a character caught up in a love triangle, but Vonnie feels very different from the elfin, talkative woman sitting across the table, something that Stewart herself acknowledges.

“Her mannerisms and demeanour are more outside my immediate go-to personality traits. I am far from a character actor, so everything I have done, including this… Vonnie was definitely in there somewhere. I wasn’t faking it.”

It certainly doesn’t feel as though Stewart is faking it, with Vonnie as luminous and enchanting as a woman caught between two lovers should be.

Perhaps this is down to Stewart reteaming with Jesse Eisenberg for Café Society – their previous films together being Adventureland’ in 2009 and last year’s American Ultra — and finding confidence in working with someone she knows.

“I feel genuinely like I could mess everything up and fall on my face and just be an idiot around him, and it’s still not embarrassing. Therefore I could really play someone who was light and buoyant and fun. My immediate defences are hard, and with him I don’t have them.”

Playing Bella Swan in the Twilight franchise may have been the cinematic phenomenon that launched Stewart’s career back in 2008, but the superstar fame that came with the wildly successful teen vampire flicks is obviously something the actress still struggles with.

“My interaction with fame has been that it’s put me in a place where I can work as often as I do. 

"I am so unbelievably stimulated all the time, I wouldn’t trade it, but I think its fairly obvious that there’s the nuisance of not being able to walk around and having people already think they know you before they do, and having to rectify that with every single interaction.”

It’s not just the hair cut and colour that has moved Stewart away from her most famous character though.

Last year, she made history as the first American actress to win the French national film award, the César, for her work with Olivier Assayas on Clouds of Sils Maria, something that still seems to excite her.

“It’s crazy,” Stewart says, when asked how winning such an award made her feel.

“I look at other actors that have had a place here and they are all people that I identify with and idolise and look up to, so it’s a good group to be a part of.

“It makes sense; American filmmakers that I like do what they do for the same reasons as French filmmakers and more European filmmakers do. 

"It’s just that there is more risk taken here and it’s not about making a bunch of money all the time; it genuinely is just about desire. 

"You feel that, it’s so strong, it’s so obvious and the fact that there is a little place for me in that, it makes sense to me, but I am also so proud. It’s awesome.”

When she talks, it is very clear Stewart is a woman who has found her passion. Her jacket zips rattling as she gesticulates while talking, Stewart is a person who seems to think about life very deeply.

She is aware that her experience with acting and celebrity is one that not everyone has, while also being aware that two people who work in the public eye have different dealings with fame.

When asked whether Woody Allen was able to give her insight into how to deal with being constantly in the public eye, Stewart is immediately aware that she and the director come at fame from different angles.

“He was famous in a very different time” she says, referring to the fact that Allen’s career now spans more than six decades.

“We have had entirely different experiences with fame and the way we consume the reality show that is the entertainment industry. 

"It has turned into something that it never was and I have been cast as a character that is fully developed by everyone but me, and I have a part in that, for sure.

“People’s impressions of me are not wrong, you can have a cumulative impression of me based on pictures or movies or interviews or whatever, and that is not wrong; that is a genuine impression of me that’s totally subjective.”

Always aware that she is dealing with the public, Stewart is quick to qualify her statement, saying: “It’s different. But it’s still worth it, but it’s not so simple.”

The good must outweigh the bad, however, as Stewart shows no signs of stepping out of the limelight any time soon.

As well as acting in Café Society and Personal Shopper, Stewart has also moved into the world of directing; she helmed a music video for Sage + The Saints in 2014, and is in the process of shooting a short film.

Working with digital publisher Refinery29, Stewart’s film is titled Water. [We now know it's called "Come Swim."] 

Details are scarce on the project at the moment, and the actress is keeping mum.

“I’d rather not talk about what it is about, it’s very short so I’d rather have it speak for itself.” 

What we do know is that Refinery29 have commissioned 12 female directors, writers, and animators to create work around the theme of power dynamics, and Stewart’s project is one of these films.

Stepping behind the camera is not a new passion however, and hearing the actress talk so passionately about this new turn in her career, it is clear that director is a role she intends to explore.

“I have been wanting to make movies since I was a tiny little kid, since I was like 9 years old, and I was introduced to this environment that was so holy, in this weird way. 

"The energy that’s put into a project when its done right is so precious, it’s as if everyone’s holding together this really breakable little object.

“I have followed people down roads that are so worthwhile, and so whole and I want to be the catalyst for that; I want to be responsible for it.”

As our time runs out Stewart is effulgent about the Cannes experience: “I love festivals, but this is the best one. Having two movies with people that I really dig so much is just really cathartic and nothing but awesome”.

Nothing but awesome.

It really is a good time to be Kristen Stewart.

Source

Note: Some quotes are similar, if not the same, to other interviews from Cannes.

Interview with the Irish Times

More than a few writers give the impression that it requires a leap of faith to admire Kristen Stewart. A war is, it seems, still being fought with the 15-year-old male idiots who reviled the Twilight films because they were “girls’ stuff”. There is a sense of critics patting themselves on their backs for their open-mindedness.

You get little such qualification in France. At 26, Stewart is already a stalwart of the red carpet at Cannes. She stormed the Palais with On the Road in 2012 and Olivier Assayas’s Clouds of Sils Maria in 2014. Last May, she was back with Woody Allen’s Café Society, which opened the event, and Assayas’s Personal Shopper, which won the best director prize.

The French love her like they love cheese. That long face and those arched eyebrows summon up the very American cool of Elvis. But the on-screen insouciance would have suited the Nouvelle Vague nicely. In 2015, the Académie des Arts et Techniques du Cinéma presented her with the best supporting actress César award for Clouds of Sils Maria. She is the first American actress ever to win the French equivalent of the Oscar.

As we arrive at the Carlton Hotel – the grandest establishment on Cannes’s bossy Croisette – French magazines featuring her image are scattered on every enormous cushion.

“All my favourite directors I have worked with in the States are like European directors. The list of actors that have found a place here from the States are all people I idolise. So it’s great to be on that list. There is just a risk that’s taken here that stands out. That doesn’t happen so much in the States. It’s obvious why that would be cool.”

You would expect Stewart to be smart. Like her co-star Robert Pattinson, she used the massive success of Twilight to manoeuvre her way into interesting work by interesting directors. By 2010, she was squaring up to James Gandolfini in Welcome to the Rileys. She and Assayas, one of France’s most fashionable film-makers, seem to have formed a dynamic partnership.

What you might not expect is the amount of energy she spits out. There is no sense of the creative introversion she’s exploited throughout her career. Stewart hits her consonants vigorously while firing through answers as if working to an ever-contracting deadline.

So, does she recognise that she’s made an unlikely shift from teen vampire to art-house vamp?

“When I am asked questions like that I can step outside myself and say, ‘Yes, I can totally see what you guys see’. But I have brought the same energy to everything I’ve done from the get. I have thoughtlessly traversed my creative desires.

“That’s just how I fell off the truck. As I have got older I have realised how working with good directors provides good experiences and good films. But I feel like something psychic happens between people who are drawn together to make something. I have so much faith in that.”

Sullen millennial

Actually, “vamp” is neither fair nor accurate. Raised in California to parents who were both in the business, Stewart slipped into juvenile roles largely by accident. You can spot her in a number of TV projects and as Jodie Foster’s daughter in Panic Room. Still, she was unknown to most viewers when she emerged as the sullen millennial forced to wait for vampiric consummation in Twilight.

Woody Allen recently compared her to the young Elizabeth Taylor, but, in truth, no other female star has had quite the same oblique, reticent appeal. “Did he say that? I think that’s what his reference points are,” she says laughing. “Those are the people he really admires. That’s nice of him. It’s insane. It’s very cool. I know he admired all the great old Hollywood actresses. We talked about that a lot and you can see it in his movies.”

Dressed today in a great deal of white, Stewart manages an unlikely combination of post-beatnik cool and gleaming Californian good health. You can see why so many idealise K-Stew.

Her career appears to demonstrate that a young actor can triumph without indulging in triumphalism.

She has also proved that it is possible to live a life in the glare without seeming hounded or constrained. She recently confirmed that, following several relationships with men, she was dating visual-effects producer Alicia Cargile. Few got in a tizzy. No cars were overturned.

“Yeah I don’t want to be too guarded,” she says brightly. “Look I got really, exceedingly famous at 17. At that age you don’t know how to react with more than a couple of people. You are already trying to figure out what people’s perceptions of you are without all that.

“Can I affect all that? Should I think about all that? When it is thrust at you and that consideration is owned by the masses – not just by you and the people close to you – it starts this weird unnatural thought process. So, I really shut down and that doesn’t provide a fully lived life.”

In Café Society, Stewart plays a young woman, assistant to a movie mogul, who romances a young arrival (her frequent collaborator Jesse Eisenberg) in an idealised version of 1930s Hollywood.

Actors bring contrasting reports from Allen sets. Some say he gives barely any direction. Others say he gives no direction at all.

“The script was so perfect that the most direction we got from him was: ‘This is pretty self-explanatory. Go on.’ And it was self-explanatory,” she says.

“It is all explained quite well. Olivier doesn’t talk to me a whole lot either. There are directors who are themselves the spark and they then like to see the fire burn. They are both like that. They don’t like to affect your thought process that much. What they’ve done is kick-start that process and they just want to capture it. That is awesome. You do feel that it’s a true collaboration. That was shocking to me.”

Stewart is currently playing the game very adeptly. Café Society has been reasonably well received. The forthcoming Personal Shopper, a class of meta-ghost story set in suave Paris, had, from an actor’s perspective, the best possible response at Cannes: bovine boos followed by egg-head raves. Later this year, she appears in Ang Lee’s much-anticipated Billy Lynn’s Long Halftime Walk.

Psychic connection

So, she is sticking with this notion of forging a “psychic connection” with directors? “I have so much faith in that. I will always follow that. I will definitely make a few missteps and maybe make a few bad movies. I will make things that aren’t so sure. That’s why I like making films with people who have reckless intentions.”

Is it too much to argue that Stewart is a new sort of movie star? Charlotte Rampling meandered off to Europe when still young, but she never had the following that Stewart has maintained.

This relaxed engagement with the media also seems new. “There are ways to interact with media. And there are ways to interact with the public,” she says. “Beyond that, there are ways to interact with human beings. These are different things. I have found balance of ignoring the things I find worthless and letting in the stuff that feels human. It’s to do with being honest and acknowledging why someone might ask that question.”

She rises to her feet and prepares to leave.

“So, go write your article.”

Source

NEW Outtakes from Les InRocks

 

Click pics for UHQ

Via

Video: Kristen and the 'Cafe Society' cast interview with EW at Cannes

Source YT thanks to korita05

New/Old Photo of the 'Cafe Society' cast for Vanity Fair from Cannes

Click on pic for full view.

Check out more portraits from Cannes here.


Source

New/old photo from Cannes 2016

Click on pic for full view.

Huberte Césarion is a French manicurist who did Kristen's nails at Cannes.

Source

New/old fan photo of Kristen from Cannes

Click on pic for full view.

Photo seems to be have been taken at the Arte event for 'Personal Shopper' at Cannes.

See Kristen's portraits and BTS pics with Olivier Assayas here.

Source/Via

Video: Kristen and Olivier Assayas interview w/ Cinema 3 at Cannes (Spain)

Source Via/YT

New/old photos of Kristen from the Vanity Fair Dinner in Cannes

 

Click scan for full view.

Scans are from Vanity Fair France July issue.

Thanks to AdoringKS

Video: Jesse Eisenberg talks 'Cafe Society' and mentions Kristen (France 24)

Jesse mentions Kristen from 7.40mins.

Source Via

Video: Kristen's interview at Cannes with Cover

Source Via

Madame Figaro Portrait from Cannes

                           Digital Scan                                       Non-Scan/ Untagged  

 

Click on pic for full view.

Digital Scan Non-Scan