☆KST★{消息14.05.14}推特爆料称K已经确定出席cosm戛纳宣传

博主说消息来自戛纳电影节组织人士，除了出席23号的新片clouds of sils maria记者会和首映礼，还有传言说会出席21号的chanel晚宴，等进一步的confirmation

法国杂志《Les Inrockuptibles》的2014戛纳电影节特刊封面

太好了，期待

算是好消息吧 哎 可惜现在高兴不起来

好棒啊 期待期待…

美美的亮个相！
得不到的永远在骚动，被偏爱的都有恃无恐

导演的采访，我只放了关于K的
Translation of Olivier Assays' interview w/ InRockuptibles about Kristen Stewart & Clouds of Sils Maria
In Sils Maria, Olivier Assays organizes a few confrontations between two characters in particular: an internationally renowned actress and her young American assistant, both isolated, in the outback of Tyrol to prepare a play. But it is also a confrontation between two real actresses: Juliette Binoche in a mirror role that she interpreted in her early stages in ‘Rendez-Vous’ (1985), by André Téchiné (Written by Assayas), and Kristen Stewart, the star of Twilight (2008, etc…), reinvented here as an American student a little tomboy-ish with an incredible intellectual subtlety and comical nature. The director explains in detail some facets of this magnificent portrait of actresses, sensual, wily and kaleidoscopic.
DANGER
“I wrote the movie thinking only of Juliette (Binoche). The film is constructed around her. Next to this character of a French actress with an international career, I imagined the character of an assistant and I instantly wanted for the role an Anglo-Saxon actress. The character had to have this pragmatism that Anglo-Saxon people possess, a woman of her time, to the point of having some some sort of toughness. And it was important to me for the dialogue to be in English. Because I wanted to go search into Juliette something different than what she can do in French. I was looking for an actress who could put her in danger and to shake her up.”
IDENTIFICATION
“ I saw the first ‘Twilight’, that I like, but I haven’t seen the next ones. Before that, I had already seen her in Into The Wild (2007) by Sean Penn. Then I saw her in ‘The Runaways’ (2010), which is not a good film, where the reconstitution of rock’n’roll in the 70s is very artificial. But we believe it and we perfectly accept that she is Joan Jett. In “The Runaways” especially, we discover in her something very tough, tense. I was hoping to find behind this wall, some form of humor, something human and something close, which produces identification. I found it and it was way beyond my expectations.”
AFTER
“I met Kristen a few times thanks to my producer Charles Gillibert, who also produced ‘On The Road’ (2012). We spent some informal time together after some premieres, in small groups. We didn’t talk about my work, or hers, but the contact was nice. I felt like she was very interested in working in one of my films.
ON THE SIDE
“She really understood well everything that was playing in the film, the mapping of feelings, including the ambiguous ones.. But she mostly saw, I believe, how much this role, which is not an appearance at the center of the film, was interesting for her. Kristen has a little bit of a lurid image in Hollywood. In the film, there is a character close for this, a teenage star played by Chloé Moretz, and the character of Kristen takes a very critical look at her, never cease to comment about what she represents. This step aside is a little reflective, it’s what attracted her to the project, I think. It allowed her to say: “I have this distance, I can take a step back and you can go *beep* yourselves.”
STAR AND BEGINNER
“I tried to make her status in the worldwide film industry perceptible on screen. I want to treat the role as if it was interpreted by a young actress who’s just left her acting class. In a way, I saw Kristen like a beginner. When I chose Chloë Sevigny in ‘Demonlover’ (2002), it’s because I had admired her in Larry Clark’s film. (Kids, 1995). In this case, I wanted to work with Kristen because of how nice meeting her was and because I felt like she had exploited only a small part of her very big potential as an actress. She is a superstar but she hasn’t done a lot of things yet. So she’s free to go in a lot of directions she hasn’t been in yet.”
ONE TAKE
“Kristen isn’t an actress who rehearses a lot. She learns her text twenty-five minutes before the take and she knows it by heart. Her precision, her malicious intelligence and her fast comprehension impress me a lot. She thinks she’s never better than on the first take. And it is often the case. Her implication was linked to the fact that, I think, in movies she shoots in Hollywood, the plan of action doesn’t allow you to only shoot in one take. Everything is very much repeated, we can’t know this particular shiver of that unique take.”
NO LOOK
“She really created the style of her character with the collaboration of Jürgen (Doering) - the costume designer. She wanted this androgynous figure, these big walking shoes, these glasses. She really liked the idea of letting Julianne have all the glamor and putting herself in the shoes of an American student with no real look. “
FREEDOM
“In the scene where they’re both swimming in the lake, I let them free to decide whether they wanted to take their clothes of completely or not. I only indicated that Kristen would go in the water first and that Juliette would follow her. Kristen was in her underwear. Less because of modesty, I think, but she seemed to find herself sexy in that way, with her thong under her panties… But Juliette kind of took her by surprise, and took all of her clothes off and ran into the water before Kristen did. Kristen was really admiring of a certain freedom that belonged to Juliette, a capacity to live in the moment, to try risky things, to the point where it might be absurd. As a result, Juliette wanted to surprise her, to go after her.”

期待这次戛纳的造型

真好。。。好期待

I was hoping to find behind this wall, some form of humor, something human and something close, which produces identification. I found it and it was way beyond my expectations.”
She learns her text twenty-five minutes before the take and she knows it by heart. Her precision, her malicious intelligence and her fast comprehension impress me a lot.
导演是真爱粉,鉴定完毕希望随着电影的宣传,可以爆出更多关于K的工作细节...

女神要出席戛纳不能太棒