Friday, September 29, 2017
Kristen Stewart is being eyed for the “Charlie’s Angels” reboot, according to sources close to the project.
The “Twilight” star would play one of the members of the female private detective agency. Stewart’s is not the only name being considered. Casting is under way, and Sony, the studio behind the film, is also interested in several other big names, including Oscar-winner Lupita Nyong’o.
Elizabeth Banks, who scored with “Pitch Perfect 2,” is directing the film. It’s slated for a summer 2019 release, and Sony clearly has franchise hopes for the project. Banks, Elizabeth Cantillon and Max Handelman will produce.
Stewart has focused largely on indie fare in recent years, earning raves for her work in “Still Alice,” “Cafe Society,” and “Personal Shopper.” She hasn’t headlined a major studio tentpole film since “Snow White and the Hunstman” in 2010. She will appear in Fox’s “Underwater,” which centers on a crew of underwater researchers scrambling with the fallout from an earthquake.
“Charlie’s Angels” first came to public attention during its five-season run on ABC from September 22, 1976 to June 24, 1981. It was later given the big screen treatment in 2000, with Cameron Diaz, Drew Barrymore and Lucy Liu playing the Angels. That film was a major hit, earning $264.1 million. A sequel, 2003’s “Charlie’s Angels: Full Throttle” disappointed at the domestic box office, but got a lift from overseas crowds, topping out at $259.2 million globally.
Stewart is represented by The Gersh Agency. A spokesperson for Sony declined to comment.
Thursday, September 28, 2017
Photo of Kristen w/ author Lidia Yuknavitch, Andy Mingo and Michael Pruss in Portland and GIF - 28 September 2017
Lidia Yuknavitch wrote the book 'The Chronology of Water'. A book Kristen was seen reading recently. A movie on the book appears to be 'in-development'.
Michael Pruss was the executive producer on 'Come Swim' and 'Equals'.
Kristen mentioned at the LA and NYC Q&As for 'Come Swim' that she is trying to "woo" an author to adapt their book to a feature film for a possible new project. We have to wait to hear an official announcement if it's this author and book.
Pic: Andy Mingo Gif: Lidia Yuknavitch
Click on pics for full view.
Wednesday, September 27, 2017
Click on images for full view.
Photographer: Matthew Brookes
Makeup: Christophe Danchaud
Hair: Ken O'Rourke
Photographer: Matthew Brookes
Makeup: Christophe Danchaud
Hair: Ken O'Rourke
Thursday, September 21, 2017
Click on scans for full view.Source Scans Korita05
Google translated (or read it at the source in French):
Here we are, our generation, with our firm will to follow only our own rules, with our constant redefinition of femininity, this way, by following a new idea of what the youth can in a relationship to the world that you did not know.
It is a sort of astonishing to find you associated with a perfume
I do not run after the world of fashion. The films I made brought me, while I was only a teenager, to enter almost break-ins. I met both the worst and the best. Scary or just ridiculous behaviours, people deploying a delightful imagination to crush you. I also met rare personalities, who only think to make the world more beautiful, it is their only obsession. Karl is like that. I've been working with Chanel for four years now. So the process was natural. Working with him is like working with a great director: I have to translate his ideas into a body. I am not the creator, I am the one who transmits to others.
Is that your role with Karl Lagerfeld? We thought rather of a contemporary muse
No, I see him more like the one who can tell him with the ardor and innocence of an almost adolescent: Listen, trust me, I will go explain them, I will translate the vision.
What exactly was that vision for Gabrielle?
Chanel had not put out a fragrance for fifteen years. They wanted to get to something that was "basically Chanel". What does it mean “to be Chanel”? Something authentic. With some idea of insubordination.
It is an idea that touches you, one imagines ...
It's a flattering idea! (Laughing) I remember very well a sentence, in the preparatory preparations: "We tell a story, we will not change it, suddenly, because it is a perfume". Un-Subscription is therefore one of the strongest components of this history.
Gabrielle Chanel was a rebel?
Few people know that before Coco, before the character of Coco Chanel, there is this girl, baptize a perfume Gabrielle, is to go below the surface of things. In the small film that accompanies the release of perfume, I am not Gabrielle Chanel but I hope to be connected with what she symbolizes. I work instinctively. I go forward in life without necessarily knowing where I am going, but I do it by not being afraid of error. If you do not take risks, you will never learn anything. I was struck by reading about Gabrielle Chanel, how her life has been sawtooth, a succession of ups and downs. She was experimenting. Some of her proposals were well received, others rejected. But she did not change her line because it did not appeal to public opinion. It is someone who has been searching, exploring, until the last day. Forcing, it is a trait of her that speaks to me. I can be accused of many things, but not content to begay a success come early. Otherwise I would be in front of you to promote Twilight 28.
Curiosity is the engine?
Take Karl. Of all the people I know, he is the most curious. Neither age nor reputation nor responsibilities have extinguished his appetite for discoveries. He's on the lookout. Music, books, ideas, the way the body makes language: it is on the lookout for everything.
The commercial film shows a liberation, a metamorphosis, a new body. This is what you symbolize in a strong way ...
We are all constructions. When Gabrielle becomes Coco, one can believe that she betrays what she is, and that she goes away from the authentic. It is the reverse: it gives the name to something that was in Gabrielle, it leaves this veridic part of itself to grow, to mutate. The name of the perfume says everything to me: we came back to the person under the character but without contradiction with Coco. We have traced back to the origin of Coco in order to better measure the transformation, the choice of choice. When Gabrielle draws the double C of the Coco Chanel logo, it leaves a "g" to be discovered. She was very proud of her own transformations. It is a feeling that can be very contagious! I firmly believe that you must decide who you are.
What is the place of a perfume for a generation like yours, with other readings of femininity?
It's a good question. It is the basis of good numbers of conversations with the Chanel house. Initially, I was a little intimidated to the idea of being associated with a campaign for a perfume. Why me? I did not feel comfortable with that. I had clichés in my head: I imagined right away in a robe wandering in the lobby of a palace, kissing in the void ... Why not, but it is assex little me, right? (Smile). I did not see what I could bring to this classic perfume imagery. And I know that launching a new perfume after fifteen years is a huge responsibility, we are on the ground of a very broad definition of femininity. But precisely, the question began to work: how to wear a perfume, to seize a feminine, would be a reactionary act reserved only for ultra sophistication?
I had just shaved my head, and I had never felt so feminine, capable of taking things a priori far from my taste, like a fine perfume. Women today are looking for a new way to be feminine. Each one tries, in our own way, unpublished things, which cause the lines to move. One can be a girl of a hundred ways, with all the complexity possible. The first one to have cut her hair is Gabrielle. It was what we would call today "a weirdo". The codes of normalcy were not her own, she did otherwise. My generation is in its wake. She does not care a priori.
Can your filmography be seen as a long documentary about you? I think of Twilight as much as Olivier Assayas's Personal Shopper or Gabrielle's commercial ...
Particularly with Olivier, yes ... he put it in, in Sils Maria and in Personal Shopper. I like to tell myself that the spectators understand things of me through a role, by fragments .... I am more in the affirmation of who I am. I do not see myself, at this moment, embody women millions of miles from me.
The celebrity come young, you suffer? How is one constructed by being watched, scrutinized, from evening to morning?
It is a strange and unique deal. The main difference is the absence of any spontaneity. Now, I cannot decide for a shots in a bar on a head shot. Any request from the organization. It changes a lot. I was not prepared for this celebrity. When I was younger, I was a total "shoegazer" I was walking around looking at my pumps, hoping never to meet anyone's eyes.
What I miss is not being able to go to a cafe and watch people, watch their lives, imagine what they do as work ... Celebrity has forbidden me that. But in exchange, I received something else. A stronger sense of belonging to the world. And the duty to work all the time to understand this recognition. Never stop me. “Running, running, running for myself…” (She refers to the Beyonce piece that carries the commercial, editor's note). Feed me from this strange stimulation that is the public's gaze.
Wednesday, September 20, 2017
Click on scans for full view.
On the Gabrielle Chanel fragrance film: For me, it expresses this idea: show yourself as you are without restriction and we will see you.
Gabrielle reveals people to themselves; what they do not self-exist to be, suddenly they become. This film is like a therapy.
Working with Karl, worked with an excellent director. It's a show. An experience in which I participate like anyone.
On working with the Chanel team: I know each one of them very well, I cannot imagine, whatever the future holds, that my links with them are distended. They are... my preference. I never felt I was doing anything with them that was not me. I never asked for anything and they never made me feel, as far back as I remember, uncomfortable.
I like being an actress, but I have wanted to direct since I was 10 years old and ... it happened. When you direct a short film, there is no rule, you can absolutely do everything.
You cannot proclaim yourself rebellious in the sense that it makes you exactly opposed to it. Someone who puts a point of honour to be systematically against, never to want to follow the paths that are expected of them, of which it is too easily said 'Oh! What a rebel! is not rebellious. For me, rebellious, it is someone different, who does not calculate it.
The idea developed in this campaign is that Gabrielle, before she became Coco, stands already standing, in all independence. She does not create to prove to others that they were wrong. She lives. It traces its course.
How can I define this precisely? I find that life is a question of movement, of being able to be totally present to the world, not to look back. Gabrielle was the same. She did not stop. It is like running endlessly, whatever happens, whatever your instinct tells you, whatever your impulses, what counts is Go! Go! Go! Being on the move, it is also the idea that you can run much faster than anyone.
Tuesday, September 19, 2017
What’s some of your proudest work?
A lot of my looks on Kristen Stewart are my prouder moments. She’s very eccentric with makeup, and she kind of lets me do my thing. We push in a way that I don’t think is typical for red carpet looks.
Monday, September 11, 2017
First, how was your journey in Aubazine? How did you find the place, the atmosphere?
Kristen Stewart: Being in any space that she inhabited is atmospheric. Maybe because it’s something that we’re all interested in, so we project her on every wall and around every corner, but the whole time you’re wondering if she sat on that step, or where she went and wrote in her journal; where all these ideas came from. It’s cool to visit a place of conception. Essentially, that was it. The whole time I was there, I was wondering where she sat most of the time, you know: that tree was there when she was here; she’s probably picked cherries off of that tree. It’s cool to walk in her shoes, so to speak.
I saw the pictures and I found there was an atmosphere of peacefulness. Did you feel it or absolutely not?
KS : It was such a lovely day. We were a group of maybe fifteen people at this immense space. We didn’t feel like we were making pictures to sell a fragrance. Those images are very captured. I didn’t feel like I was taking pictures; I was just being in the space, and she was with me and we were just there. You’re right though; I saw them too and they look thoughtful, rather than showy in any way.
Could you live in this very quiet, lonely kind of place? Or is it just not for you?
KS : For a minute. I have a lot of different aspects of myself. I feel like part of me wants to say “yes, I could do that”, but then I know that I have a million different other things that I want to do. It’s lucky that I’m an actress because I get to live and really commit to a lot of very different experiences. But yeah, for a moment, absolutely; it’s genuinely a very serene place. It’s really great!
Before the GABRIELLE project — before the bag and the fragrance— did you know all of these stories about Gabrielle?
KS : I’ve learned everything throughout the course of this whole experience, even before the GABRIELLE thing. We’re talking about Gabrielle Chanel every time I work for CHANEL. Her influence doesn’t go; she’s still here. Everyone who works for the house loves her as if they know her. Karl Lagerfeld asked me to play her role in the short lm Once and forever. The entire time we were working, people had to come over and tell us to keep shooting, because he couldn’t stop talking and teaching everyone about her and what her life was like. Details, details, details: he’s obsessed with details! So, I’ve received a massive CHANEL education. Just being around these people, it’s what they care about, so it’s always coming up.
Do you have anything in common with Gabrielle in life, in the way you think, in the way you work, maybe? Do you feel close to her?
KS : I think we’re probably very, very different. And it’s hard to lay claim to some of the attributes that I admire in her because it sounds self-aggrandizing and silly to claim that you are driven, committed to authenticity and unabashedly yourself, and all of these things. But, as successful as her mark on the world has been —not just in fashion, but really just artistically— her life really went up and down. There was a lot of turmoil and not everyone loved what she did all the time, but she still did it and she never stopped. And her work ethic is astounding and I would like to say that that’s how I want to live.
What is the most important thing you will remember about Gabrielle and maybe Aubazine?
KS : I think that the idea that other people regard her as a rebel but that is clearly an outsider’s perspective. I don’t think she was fighting anyone. I think that to be deemed rebellious is something that implies that there was an aggression behind it. There was an ease in her being herself; it was not di cult for her to be herself. Even in her style, in her clothing, in the things that she made, there is an ease. Nothing tries too hard. Everything just is what it is, very simply and very easily. That’s the coolest thing. That’s very cool!