Thursday, September 6, 2012
Tuesday, September 4, 2012
New Kristen interview with The Age (Australia)
Kristen Stewart hadn't read Stephenie Meyer's Twilight when the role of
Bella Swan was offered to her. She was more interested in Jack Kerouac's
1957 Beat classic On the Road. She could relate to its sense of daring.
''It's rare to meet characters in fiction that live so much, that breathe so much,'' the sharply intelligent 22-year-old says. ''I thought, 'I've got to find people like this, people who push me and share my ambitions.' Not that I'm that unconventional, but I have slightly different limits and boundaries than most people, and the book says that is OK. The book celebrates it. I slept with On the Road on my dashboard when I got my licence. It was the first book that got me into reading.''
Kerouac's jazzy prose - which created uber-cool characters embracing drugs, alcohol and experimental sex as they travel the United States between 1947 and 1951 - had long been deemed unfilmable. Just after the novel's publication, Kerouac wrote to Marlon Brando hoping the star would play Dean Moriarty (based on Kerouac's friend Neal Cassady) while Kerouac would play Sal Paradise - based on himself.
Francis Ford Coppola also tried to make the movie after buying the rights in 1979. Yet it wasn't until The Motorcycle Diaries' Walter Salles came along that a film version finally went ahead.
About the time of Stewart's breakthrough role in Sean Penn's Into the Wild, Penn and Babel director Alejandro Gonzalez Inarritu suggested her to Salles for the role of Dean's wife, Marylou (based on Cassady's first wife LuAnne Henderson). The pair married when LuAnne was 15, and while they divorced and he had children with his second wife Carolyn (played by Kirsten Dunst), Cassady continued to hit the road with LuAnne and they remained close until his death.
By the time On the Road went into production, Stewart had become a household name and was keen for the women in the story to have more prominence. She points out that Kerouac's original tome featuring real people's names (he was forced to change them as well as parts of the story to get it published) was
far closer to the truth, particularly in terms of the women, and most notably LuAnne.
''It's funny because in the novel a lot of people's first impression is that LuAnne is just a plaything, that she is just f---ing and isn't getting much in return,'' Stewart says. ''[But] she just loves to love and is able to balance all of her desires, whereas the boys have a much harder time doing it. I think she [had] this beautiful, unique view of the world and was very ahead of her time.
''Afterwards the book's success definitely became something that a lot of people capitalised on … For LuAnne it was just so personal. It was never something she wanted to turn into a commodity or something she wanted to continue. It was just a stage of her life.
''She always said that it was so funny to her that people thought she was courageous. It was different for everyone, but LuAnne wasn't rebelling against anything. She was just unabashedly being herself.''
While fearlessly being herself is something the media-shy Stewart aspires to as well - ''I think it's so ridiculous when actors suddenly find themselves so interesting that they're willing to sell themselves'' - she admits having more in common with the book's narrator, Sal.
''As LuAnne I was a little worried that I wasn't going to be able to lose control; that I wasn't going to be able to let go. Luckily I did, but I don't think you can claim that you are suddenly a different person.
''Actors are playing characters … but I do find that you're just sort of unleashing qualities that are buried pretty deep.''
''It's rare to meet characters in fiction that live so much, that breathe so much,'' the sharply intelligent 22-year-old says. ''I thought, 'I've got to find people like this, people who push me and share my ambitions.' Not that I'm that unconventional, but I have slightly different limits and boundaries than most people, and the book says that is OK. The book celebrates it. I slept with On the Road on my dashboard when I got my licence. It was the first book that got me into reading.''
Kerouac's jazzy prose - which created uber-cool characters embracing drugs, alcohol and experimental sex as they travel the United States between 1947 and 1951 - had long been deemed unfilmable. Just after the novel's publication, Kerouac wrote to Marlon Brando hoping the star would play Dean Moriarty (based on Kerouac's friend Neal Cassady) while Kerouac would play Sal Paradise - based on himself.
Francis Ford Coppola also tried to make the movie after buying the rights in 1979. Yet it wasn't until The Motorcycle Diaries' Walter Salles came along that a film version finally went ahead.
About the time of Stewart's breakthrough role in Sean Penn's Into the Wild, Penn and Babel director Alejandro Gonzalez Inarritu suggested her to Salles for the role of Dean's wife, Marylou (based on Cassady's first wife LuAnne Henderson). The pair married when LuAnne was 15, and while they divorced and he had children with his second wife Carolyn (played by Kirsten Dunst), Cassady continued to hit the road with LuAnne and they remained close until his death.
By the time On the Road went into production, Stewart had become a household name and was keen for the women in the story to have more prominence. She points out that Kerouac's original tome featuring real people's names (he was forced to change them as well as parts of the story to get it published) was
far closer to the truth, particularly in terms of the women, and most notably LuAnne.
''It's funny because in the novel a lot of people's first impression is that LuAnne is just a plaything, that she is just f---ing and isn't getting much in return,'' Stewart says. ''[But] she just loves to love and is able to balance all of her desires, whereas the boys have a much harder time doing it. I think she [had] this beautiful, unique view of the world and was very ahead of her time.
''Afterwards the book's success definitely became something that a lot of people capitalised on … For LuAnne it was just so personal. It was never something she wanted to turn into a commodity or something she wanted to continue. It was just a stage of her life.
''She always said that it was so funny to her that people thought she was courageous. It was different for everyone, but LuAnne wasn't rebelling against anything. She was just unabashedly being herself.''
While fearlessly being herself is something the media-shy Stewart aspires to as well - ''I think it's so ridiculous when actors suddenly find themselves so interesting that they're willing to sell themselves'' - she admits having more in common with the book's narrator, Sal.
''As LuAnne I was a little worried that I wasn't going to be able to lose control; that I wasn't going to be able to let go. Luckily I did, but I don't think you can claim that you are suddenly a different person.
''Actors are playing characters … but I do find that you're just sort of unleashing qualities that are buried pretty deep.''
New pic of Kristen + preview of British Vogue Interview
Making her comeback on the front pages of a glossy magazine after her very public slip up when she cheated on Robert Pattinson with director, Rupert Sanders, the 22-year-old admits she struggles to play it cool.
‘I know if you haven’t thought about how you want to present a very packaged idea of yourself then it can seem like you lack ambition. But, dude, honestly? I can’t,’ she said.
She told Vogue: People expect it to be easy because there you are, out there, doing the thing that you want and making lots of money out of it. But, you know, I’m not that smooth. I can get clumsy around certain people.’
‘Like if I were to sit down and think, “OK, I’m really famous, how am I going to conduct myself in public?” I wouldn’t know who that person would be! It would be a lot easier if I could, but I can’t.’
Kristen Stewart
Kristen, who stars in new film On The Road, also moved to speak of her empathy for the Beat generation, on which the film is based.
'There is always going to be that seam of people who want things differently to the standardised version. It’s not necessarily a rebellious thing, it’s just who they are.
'That world back then, it just seems freer to me than anything I could ever touch and I’m fully nostalgic for it, even though I wasn’t even alive then.
'It’s the loyalty aspect of it all. I love being on the periphery with a group of people who have the same values that I do. People who don’t get off on fame, who just like the process of making movies and thrive.'
source
Old Rob interview from Cannes with Dagens Nyheter (Sweden)
Robert Pattinson is walking with a cup of coffee in one hand a red lollipop in the other hand at the hotel’s restaurant, at the rooftop in Cannes. He manages to not look like a moviestar which is very clever because everybody follows the moviestars in Cannes, and it’s like you can almost feel the air crackles of static electricity.
But that doesn’t seem to bother this 26-years-old british man. He talks, laughs and is excited and often sounds, frankly, like he was a few years younger and not a young veteran with experience from a dozen feature films.
-It was so weird at the screening yesterday, cause I didn’t even see the movie, I just sat there and listened if someone coughs. I just sat there and thought -”Oh God, please let it go well, oh god please!”
So little, it helps the confidence to have been involved in a “Harry Potter” film, and that after having been a handsome vampire in four Twilight movies, be a superstar and dream guy for 3 billion teenage girls. He had a particular reason to worry. The film “Cosmopolis” is not digestible. It is based on a novel by the esteemed American writer Don DeLillo from 2003. Pattinson plays an immensely rich and bizarre young businessman who travels in a huge limousine through a city – they associates to New York- in the uprising. The car is his office, at various stops employees jumps in to bring him into the world situations and the business. It’s bad made on all fronts, class war rages, his own empire is about to collapse, as well as his marriage. Nothing seems unperturbed Pattinson’s character, which, although it is becoming more violent on the streets are determined to go straight through town to get a haircut.
The Canadian David Cronenberg directs, so viewers get guaranteed no help in understanding this odd vision of the future. The film takes place almost entirely in the limo.
- Well it looks weird, the script, but for me the most difficult part of the job was to determine whether I would take the role or not. I wondered if I could really do this. A week after David asked me, I thought on the one hand that “I know it is a great story and it’s Cronenberg that’s going to direct so it’s really a cool deal.” And on the other hand, “You’re on camera the whole time and if you fuck up, you will fuck up the whole movie.”
Rob pulled himself together when he realized that the only reason to say no would be that he did not dare. He would be forced to admit that to the producer. – “They’ll think I’m a wimp, I can not say it,” I thought.
At a later conversation with David came Rob’s fear: “All actors are always afraid of something,” said the white-haired director. After “Cosmopolis” none can accuse Robert Pattinson of holding back with his image.
To his character’s oddities, is that every day he undergoes a thorough medical examination. It includes that the doctor checks the prostate. That is, the extract, in the limo while Pattinson is having a conversation with his associate Juliette.When Pattinson describes his collaboration with Cronenberg, you get a picture of how the former jumped like a little eager puppy funt feet on the latter, which is more like the one to take each day as it comes.
-I always wanted to talk about the complexity of the script, but he said: “Just wait until we are on the set and the time, when we are in the limo, you will understand how to act.”
If Cronenberg did not manage to find a good way to take the stage that was at today’s recording schedule he simply jumped to another. Pattinson admired his self-confidence, but it was hard: -You had to know the entire script and be prepared to take on any scene anywhere.
Pattinson has a reputation that he read diligently, but DeLilo is a writer that he has discovered only in connection with this job. Lately, he has to his own surprise, “it’s weird” – stuck for poetry. He has fallen for American Beat poet Lawrence Ferlinghetti, “though I’m not so fond of the beat writers.”
As Cronenberg promised, the limo helped. A real car was used, divided into so that you could take it apart in about twenty parts. During the shots, there was only one remote camera, a sound engineer, stowed so that he did not appear, and so Pattinson and have currently played against.
- You could not see out, the windows were completely black. It was so quiet, as in a recording studio, the air was completely dead. It’s weird. You become aware of the sound of your own voice.
Rob got used to it and surprised to his delight that it gave him the upper hand when he played against the actors, he was a little afraid of, like Binoche, who was now a little shaken up by the strange environment. The luxuriously equipped coffin look-a-like limo helped the creation of the complex billionaire Eric Packer.
- They say you have to share the world with all the other people. He is apparently quite convinced that he can live in his own world, where he forces everyone else to communicate on his terms. Pattinson seems on the other hand not sure about most things. At an early Los Angeles screening of “Cosmopolis” he managed for once to see one of his own movies and really see it because it was such a ‘David’ movie. “Otherwise, Rob usually sit and feels so tormented by the sight of himself – “Oh Jesus, I look like an idiot, what am I doing with my face?”
Sure he doubts himself, he answers when we ask him a question. You have to: – As soon as you start believing that you are good, you become useless. Though it’s a exhausting way to live.
source
Monday, September 3, 2012
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