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This was a bit of a buzz. Today i sat in on an interview Hilary Duff did with a local teen mag and took some photos. She was very sweet and easy to photograph.
Feel free to use this image or the larger higher resolution linked to above
for your website or blog as long as you agree to the following-
You include photo credit with a clickable (hyperlinked) and do-follow link to -
No Derivative Works - You may not alter, transform, or build upon this work.
Our daughter is a reporter for the wonderful TIME For Kids publication. Talk about a plum assignment--interviewing Zac Efron on the heels of HSM3...
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
COOKIE DOLLS ON BIZARRE MAGAZINE
ENTREVISTA / INTERVIEW
www.bizzarre.co.uk/#!rebeca-cano/cqyz
Thank you very much to Desi for this fantastic article.
Rebeca Cano - Cookie dolls
© All rights reserved
www.recyclart.org/2015/10/recycled-art-interview-2-sophie...
We continue our series of posts interviewing "recycled art" crafters & artists. This week, we interviewed Sophie Marsham, a well-known sculptor in the community of Recycled Art. If you think you deserve to be featured in the next interview, please, drop us an email.
Tell us a little more about you? Who you are? Where are you from?
I am Sophie Marsham, a sculptor, from London, working in reclaimed and found objects.
How did you become a "Recycled Art" artist?
I became a recycled art artist 25 years ago when I was at Chelsea Art School.
Since when are you working with recycled & upcycled materials and more general since when are you in the world of "Recycled Art"?
I partly used reclaimed materials in the beginning as it was a cheap resource as a student.
What are your can’t-live-without essentials?
My can't live with essentials are wire, glue, nuts and bolts and tools.
How would you describe your style? Are there any crafters/artists/designers that you particularly look up to?
I make thought provoking, often humorous pieces from found objects. I love Joseph Cornell, Cornelia Parker, Haroshi and Kendra Haste.
How is your workspace, how do you make it inspiring?
My workspace is in the garden and full of inspiring objects, clock faces, springs, beads, glass, printing blocks, old tools, chocolate moulds etc...
What sorts of things are inspiring you right now? Where do you look for inspiration?
I am inspired by objects that I find in vintage fairs/carboot sales, especially if it's multiples of the same object, such as pen nibs, clock hands, teddy bear eyes... I am mostly inspired by nature, repeated patterns found in nature, bird feathers, snowflakes, shells, stones...
When do you feel the most creative?
I feel pretty creative all the time, as I'm constantly finding new objects to inspire me.
We live in such a mass-produced, buy-it-now society. Why should people continue to make things by hand?
Making things by hand is the most rewarding and making one off art from something that has been previously used and discarded is the most exciting aspect of the work. I love it when the viewer works out what has been used for a certain sculpture, I love the intrigue. I believe in breathing new life into discarded objects.
What is your favorite medium to work in?
I mainly work in metal but also use wood, glass, resin...
What is your guilty pleasure?
My guilty pleasure is good coffee and great cake.
What is your favorite thing to do (other than crafting)?
My favourite thing apart from art is art house independent films. I would love one day to make an animation film with some of my objects.
You have been involved in a lot of artistic projects, are you a full-time artist or is it just a hobby?
I am a full time artist, it's not a hobby and have been working for 22 years. I make tiny hand held pieces and have made many large scale installations up to 6 meters. I love to vary the scale.
Any websites that our readers should not miss?
Not a website to recommend as such, apart from my own of course www.sophiemarsham.com, but a great book called RAW + MATERIAL = ART.
Anything else you would like to tell to the « recycling community »?
Keep up with recycling, it will become even more vital for our kids and their kids.
Thanks a lot Sophie for this interview! :)
To see all the posts by Sophie, it's here.
Japan Camera Hunter - Jesse's Visual Interviews: www.japancamerahunter.com/2019/12/jesses-visual-interview...
____________________________________________________
Location
Vienna (Austria): U-Bahn [Subway].
Subject
In a subway station of Vienna I found the man you see on the right, standing still in the middle of a lane, wearing headphones and holding an humongous microphone in his hands. I was ambushing him along the wall, when the second man came into the frame: it seemed like Big Mike was asking for an interview. Actually, I think that Big Mike was a technician measuring the level of noise in the subway.
Related posts: Images from Vienna
____________________________________________________
Gianluca Vecchi
Web, Digital Marketing and Communication Consultant – Italy www.gnetwork.it ● www.gianlucavecchi.it
For more information ⇒ Check my profile
License my pictures ⇒ 500Prime
Tim Armstrong, CEO of AOL, is interviewed on-stage as part of the company's presentation about content and online strategy during Advertising Week. Taken on September 29, 2010 in The Times Center.
Update: Featured in this Japanese blog post about the art of listening vs speaking in the business world kazumoto.jp/?p=1501
And in this blog post about interviewing techniques wisewolftalking.com/2011/11/24/856/
And in this Spanish language blog post about recruiting and the interview process www.unemprendedor.com/ser-emprendedor/325-seleccion-de-pe...
Used in this blog post about IT strategy and talent recruiting www.orsyp.com/blog/684-what-are-the-top-7-it-strategies-y...
As seen in this blog post about job interviews laugh-raku.com/archives/4560
Featured in this Chinese blog post about interview skills blog.alphacamp.co/2014/12/31/startup-ux-3/
Used in this blog post about behavioral interview techniques leavingthepublicsector.net/2011/11/24/856/
Created as a flash card image here quizlet.com/20576851/collocations-with-go-take-get-and-do...
Featured in this Romanian blog post about non-verbal signals sent by managers during the job interview process www.managerexpress.ro/company/hr/comportamentul-nonverbal...
Used in this blog post about hiring employees abroad clickhowto.com/how-to-employ-staff-in-a-foreign-country/
Part of a lesson plan by this teacher teflreflections.wordpress.com/2014/11/20/past-simple-pres...
As seen in this listicle of advice for startups when hiring new people into their business goodness.greatergood.com/retest-cs-startup-success/
Used in this blog post about how to use a blog to get a job (in addition to your CV website) www.unostips.com/blogcv-curriculum-vitae/
Featured in this business article about why so many interviewers misevaluate candidates with their questions www.alleywatch.com/2015/11/probably-suck-interviewing/
As seen in this blog post about how to read social cue during business meetings orgleader.com/meeting-impact/
Used in this blog post about MBA interview questions www.targetadmission.com/articles/mba-interview-questions-...
Featured in this blog post about how to moderate on-stage interviews with celebrities www.moderatingpanels.com/2017/02/when-your-moderation-gig...
As seen in this article about medical school admissions www.medical-school-insider.com/medical-school-admissions....
Used in this Japanese slideshow about Rakuten? www.slideshare.net/TakaoOyobe/20131106-change-hacker
Interview avec C215 par Vitostreet à propos de son soutien au projet “Errance” en faveur des sans abris.
[Photos C215]
Hans-Christian Ströbele (Bündnis 90/Die Grünen) auf der Bösebrücke (S-Bhf. Bornholmer Str.) bei den Blockaden gegen den Nazi-Aufmarsch am 01.Mai 2010 in Berlin.
I already have The Interview Silkstone, but I bought her nude with her hair down, and possibly trimmed. I also bought her complete fashion three years ago, but always wanted her complete. I love how stylish this Silkstone is. Hoping to just display her as is one day if I ever get the space!!
Finnian foi Tagg pela Ste Ferreira <3
Eu ñ sei vcs mas eu estou com problemas de postar fotos no flick, diz q o arquivo expirou..... vai entender....
______________________________________
1 - Como foi a sua infância?
Finnian: Acho que foi bem normal... acho..
2 - Se você pudesse voltar no tempo e mudar alguma coisa, o que seria?
Finnian: Hum...... tenho q pensar em algo q eu ñ possa me arrepender.........
... acho q foi quando eu li spoiler de GoT
... ñ... acho q foi quando eu coloquei "lemon" no google...
... espera... acho q foi quando eu estava em duvida entre Charmander, Squirtle ou Bulbasaur
... estou pensando....
...
- ok proxima pergunta...
3 - Quanto você pesa?
Finnian: Acho que uns 45Kg
4 - Alguma vez você já amou e perdeu?
Finnian: Animal de estimação vale? *começa a fazer cara de choro*
5 - O que você faz para ganhar a vida e por quê?
Finnian: Sou estudante... ñ faço mais nada
6 - Que tipo de música você gosta?
Finnian: Gosto de trilhas sonoras
7 - Quantos anos você tem?
Finnian: Tenho 15
8 - Qual é a coisa mais irritante do mundo?
Finnian: Quando as pessoas vem conversar comigo quando estou lendo ou jogando ¬w¬'
9 - Qual é a sua palavra favorita?
Finnian: hum... acho q é "abraço"
10 - Você tem algum hobby interessante?
Finnian: Eu gosto de ler e jogar D; para mim são interessantes -q
11 - Qual é a coisa mais romântica que alguém já fez por você?
Finnian: Hum.... *pensando*..................... se alguém fez algo assim para mim eu ñ me lembro
12 - Como você relaxar no final de um longo dia?
Finnian: Eu leio ou jogo
13 - Você tem obsessões?
Finnian: No momento eu quero tentar fazer mais jovens se interessarem pela leitura *olha feio para o Ulric*
14 - Qual é a sua nacionalidade?
Finnian: Sou brasileiro, mas o meu pai é norte americano e as vezes me manda umas cartas.
15 - Que idiomas você fala?
Finnian: Português e um pouco de inglês
16 - Se você pudesse ter qualquer animal de estimação no mundo, o que seria?
Finnian: Um dragão *0*
- Acho q esse não vale..
17 - Qual é a coisa mais aleatória que você se encontrar fazendo todos os dias?
Finnian: Acho q é sair de fininho para ñ ter q encarar todos de manhã >_<'
18 - Favoritos, rápido, vai! Livro, filme , jogo, bebida, cor?
Finnian: Calma calma >//////< ern... acho q é O Hobbit, Como treinar o seu dragão, Pokemon, milkshake de chocolate e creme
19 - Qual é a coisa mais sentimental que você possui e por quê?
Finnian: Acho q são alguns livros que tenho desde pequeno...
20 - Você está em um relacionamento?
Finnian: Não... e não quero.
21 - Qual foi a sua pior lesão?
Finnian: Foi quando caiu um livro na minha cabeça @w@'
22 - O que te assusta mais?
Finnian: Algumas pessoas me assustam... por exemplo as garotas que vivem aqui.... >_>'
23 - Algo que a maioria das pessoas não sabe sobre você?
Finnian: Eu gosto de ser organizado! o_ó
24 - Você tem algum animal de estimação?
Finnian: No momento não.
25 - O que você acha desta entrevista?
Finnian: Já acabou? estou pensando sobre a pergunta numero 2 ainda....
_________________________
Taggueados:
Dino e Rae da Larissa
Recently, there was an interview about me on the net. I was asked to show three of my photos that I liked and tell why I liked them. I also told how and why I do my photography in the way that I do. You can read the full interview at this web address:
I usually shy away from interviews but Offscreen is such a beautifully produced mag, I just couldn't say no…
Processed with Analog
An interview i gave for this cool blog about collage. Here it is www.notpaper.net/2011/01/christos-kourtoglou.html
Kristen Stewart on the cover of interview mag.
The first decade of the 21st century, which is about to draw to a close, is in serious danger of being remembered as the time when fame was measured in pokes, tweets, and the ability to parlay a death-defying (and sometimes not so death-defying) degree of persona recklessness into a reality-television deal. But just as the door was about to slam shut on the double aughts, in walks—or, more appropriately, saunters—Kristen Stewart.
At 19, Stewart has already earned a place in the annals of pop-culture history. This is due to her starring role in Twilight, which—in case you’ve somehow managed to elude word of its all-encompassing death grip on young America—is a film based on the first in a series of very popular books about vampires, werewolves, and teenage life in the town of Forks, Washington. Stewart’s character, Bella Swan, is a newcomer to Forks who is forced to cope with the dueling pressures of starting life at a new school and the fact that her prospective boyfriend, the rakish Edward Cullen (played by the rakish Robert Pattinson), is a 104-year-old undead bloodsucker.
Given Twilight’s preoccupation with the timeless themes of misunderstood youth, troubled young love, and the intervening forces of darkness, the film’s success isn’t all that surprising. (To date, it has grossed more than $380 million worldwide.) Nor is the fact that more Twilights are in the offing: A second installment, New Moon, hits theaters in November, and a third, Eclipse, is due out next year. But the growing size and complexity of the Twilight machine has had some unavoidable implications:
In the last 12 months, Stewart has become a tabloid regular and a blog-stalked cynosure. The fact that her Twilight character is romantically linked to Pattinson’s in the film has also fueled nonstop speculation that they are involved in real life. BUYING A HOUSE? and GETTING MARRIED? were just a couple of the early autumn headlines. Between filming Twilight sequels, Stewart did a turn as Joan Jett in Floria Sigismondi’s new rock-band biopic The Runaways; even her hair for the film—which was chopped and dyed to mimic Jett’s late-’70s shag—inspired reams of media critique.
Stewart grew up in Los Angeles in a Hollywood family of sorts—her mother is a script supervisor, and her father is a stage manager—and as a kid announced her interest in working in front of the camera. Her second film, David Fincher’s 2002 thriller, Panic Room, in which she played Jodie Foster’s too-quick, too-wise, too-over-it daughter, proved an early indicator of her ability to play young, smart, but not precocious. Her performance in more left-of-center projects such as Sean Penn’s Into the Wild (2007) and this year’s Adventureland has only reinforced that notion. But if there’s a thread that runs through her relatively small body of work, it’s one that’s closely connected to the idea that you don’t have to be old to have soul. With Stewart, you don’t get 19-going-on-35. What you do get is a visceral window into what it means to be young and struggling to make sense of your own life and the world around you—and all the alternating waves of darkness and confusion and brightness and possibility that come with that. In many ways, it’s the unwritten nature of Stewart’s own story now, with its surreal subplots and recent twists and turns, that makes her compelling to watch. It’s true that she might very well be a rebel anodyne to many of her bleached and sprayed-on contemporaries. Or, like Bella Swan, she might just be someone who comes from somewhere, found her way into something exceptional, and is on her way to someplace else. Either way, she’s got a solid arc.
In celebration of Interview’s 40th anniversary, we askedactor, director, writer, and photographer Dennis Hopper—whose connection to the magazine reaches across all fourdecades—to handle the interviewing duties for this cover story. He graciously obliged. He spoke to Stewart, who was shooting Eclipse in Vancouver, from the set of his cable series, Crash, in Albuquerque, New Mexico.
DENNIS HOPPER: Before we start, I have a little six-year-old daughter here who’s going crazy right now because you’re on the phone. Could I just put her on for a second to say hello?
KRISTEN STEWART: Yeah, sure.
HOPPER: Okay, her name is Galen. [hands phone]
GALEN HOPPER: Hi!
STEWART: Hi! How are you?
GALEN: Good.
STEWART: It’s really nice to meet you, Galen. [pause] Hello?
GALEN: Hi!
HOPPER: [takes phone] She’s so excited.
STEWART: Wow, that made me so nervous!
HOPPER: It made you nervous?
STEWART: Yeah. I’m just sort of intimidated by kids. I didn’t know what to say.
HOPPER: Well, thank you for doing that. So how are you doing?
STEWART: I’m pretty good. I’m not very good at interviews, but this is a trip. Why in god’s name did you want to do this? You have no idea how cool this is for me.
HOPPER: Well, you’re a really good actress. And my daughter is your biggest fan, so I thought, What the hell? [laughs] I usually don’t do this, either. But you must be going through a lot right now, the way Twilight is hitting. You must have no peace at all.
STEWART: The sad thing is that I feel so boring because Twilight is literally how every conversation I have these days begins—whether it’s someone I’m meeting for the first time or someone I just haven’t seen in a while. The first thing I want to say to them is, “It’s insane! And, as a person, I can’t do anything!” But then I think to myself, God damn it, shut the fuck up.
HOPPER: [both laugh] You know, you’re giving really wonderful performances. Since you didn’t know you’d be making sequels when you were making the first Twilight, has it been difficult for you to get back into character for these new ones?
STEWART: I’ve actually always been interested in following a character more long term, but the only place to really do that as an actor is on a TV series. But the Twilight series is cool because you know what’s ahead of you—all of the books have been written. And I get breaks in between. It’s sort of a depressing thing to lose a character just when you’ve been able to get to know her. Usually, at the end of a film it’s like I’ve finally gotten to know this person completely, and then we’re done. That actually happened on the set of Twilight, and then it happened again on New Moon. Each time my character Bella became a different person, and I got to know that person and take her to the next level.
HOPPER: Have you been able to enjoy it? Or do you feel more pressure doing these sequels?
STEWART: I do feel more of a pressurized strain than what is typical for me. Usually, what drives you is your own personal responsibility to the script and the character and the people you are working with. But in this case, I have a responsibility not only to that but to everyone who has personal involvement in the books—and now that spans the world. It’s an insane concept. There are certain things in Twilight . . . As much as I’m proud of that movie and I do like it, I feel like maybe I brought too much of myself to the character. I feel like I really know Bella now. But most readers feel like they know Bella because it’s a first-person narrative. She’s like a little vessel and everyone experiences the story through her. All of these girls who are fans personally feel like they encapsulate that character. So it’s like, “How the hell am I going to do that for all of them? It’s impossible!” But I’ve decided, if you’re just unabashedly honest all of the time, you have nothing to be ashamed of.
HOPPER: These Twilight books have some dark material.
STEWART: But the movies aren’t that dark, as much as we’d all have loved to have made those films. But as pretty as it is to watch and as nice as it is to have watched these two characters find solace in each other, everything around them is absolute chaos. I mean, you have to question their motivations—to watch two people so unhealthily devoted to each other . . . I stand behind everything that they do. I have to justify it in my mind, or else I couldn’t play the character. But they are definitely not the most pragmatic characters. The weirdest fucking themes run through this story—like dominance and masochism. I mean, you always have to realize that the story needs to make sense to the 11-year-olds who read the book and aren’t necessarily going to be viewing a scene as foreplay. But then there is the other segment of the audience—a large percentage—who does see the scene as foreplay. And it’s pretty deep, heady foreplay. [laughs] So it’s fun to play it both ways. I mean, I don’t know what it feels like to make out with my vampire boyfriend because it isn’t something that anybody has ever felt. But it’s funny to think that a lot of the audience is 10 years old and will maybe one day grow up to realize there are a lot of involved thoughts in Twilight that they didn’t see before.
HOPPER: Well, you’re getting a lot of attention.
STEWART: Yeah, it’s weird. There’s an idea about who I am that’s eternally projected onto me, and then I almost feel like I have to fulfill that role. Even when things come out of my mouth, I want to be sure I’m saying exactly what I mean. All I’m thinking of is the fact that everything that I say is going to be criticized—not criticized, just evaluated and analyzed. And it’s always something that matters so much to me that doesn’t come out right. But in terms of how my life has changed, I never really went out a whole lot before. I’m sort of an in-my-head kind of person. I wish I could take more walks . . .
HOPPER: You can’t take walks?
STEWART: I’d like to take more walks after work, instead of having to come back to my hotel room and not leave. So it can be boring. I’ve been working as an actress since I was very young, and I know a lot of people who are actors who don’t have to deal with having a persona . . . You know, if you look up the word persona, it isn’t even real. The whole meaning of the word is that it’s made up, and it’s like I didn’t even get to make up my own. It can be annoying. But I have a really strong feeling that this is going to go away, that this is the most intense it’s going to get—and could get—and that it’s fleeting. So in a few years, I will hopefully become more like the people I want to become like.
HOPPER: Does it bother you to see yourself in the tabloids?
STEWART: There’s nothing you can do about it, to be honest. I don’t leave my hotel room—literally, I don’t. I don’t talk to anybody about my personal life, and maybe that perpetuates it, too. But it’s really important to own what you want to own and keep it to yourself. That said, the only way for me not to have somebody know where I went the night before is if I didn’t go out at all. So that’s what I’m trading. It depends what mood I’m in. Some nights, I think, “You know what? I don’t care. I’m just going to do what I want to do.” Then the next day I think, “Ugh.Now everyone thinks I’m going out to get the attention.” But it’s like, no, I actually, for a second, thought that maybe I could be like a normal person.
HOPPER: I was looking at all the films you’ve done, and you’ve worked with some extraordinarily talented people: Patricia Clarkson—god, she’s a great actress—and Jodie Foster. Just really wonderful people. And your performances are very different. You started when you were nine years old. You wanted to act, right? It wasn’t like you were forced into it because your parents were in the industry?
STEWART: No. Not at all.
HOPPER: Because Dean Stockwell is one of my best friends, and he has horror stories about acting when he was a kid. But you wanted to do this, right?
STEWART: It’s a weird thing to expect a child that young to say what they want to do, like act. I’m not sure it was a natural inclination for me either, but it was something that I fell into. To be honest, I had fun at first. It was the first thing I ever thrived at. My parents are crew. They were both baffled that I wanted to act. But they support anything that me and my brothers want to do. It was something I thought was fun because I grew up on sets. And then a few years later, I grew up and acting became very different to me. I think I was about 13.
HOPPER: Did you study with anyone? Or did you just pick it up through association?
STEWART: No, I just walked into it.
HOPPER: You learned it there. That’s the best place to learn. I saw Panic Room again last night.
STEWART: Really? I haven’t seen that in so long. That was the second movie I ever made. Thank god Jodie Foster did that movie because I wasn’t thinking about anything on that set. I was literally just hanging out with her and being myself. I can’t think about watching that—it would kill me. It would be like watching a home movie.
HOPPER: But you’re so good in it. Did you go to school while you were working as a kid?
STEWART: I went to public school up until junior high. I know it’s a little late and I’m a little old, but I just finished high school—with honors. The other day I was doing a graduation scene on Eclipse, and I had just finished high school myself the week before, so I told the crew, “Hey, just so you know, I’m actually graduating right now, and I’m not going to have another ceremony.” So I took a mock picture with an extra. I literally asked the actor to come back and shake my hand and hand me the diploma while I was dressed in a cap and gown.
Fanning, and he knows her as well, so it was cool. I actually hadn’t seen him in a couple of years. So it was sort of a trip because I’m different and he’s not. You know what I’m saying?
This is an excerpt of the October cover story. To read the full Kristen Stewart interview pick up a copy of Interview.
www.interviewmagazine.com/film/kristen-stewart-1/
oh pls. don't try to copy me
no POSERS allowed here!!!
pls. don't take my photos with w/out my permission
no STEALING pls.
btw. don't just view. leave comments && notes too:)
vampirekisses<333
Not a good dress attire because the tie make it too funerally. If he change his tie to a color print , he may be able to pull this suit off for and interview.
"I've just got back from a University interview, it was for a course to study song writing and contemporary composing. I got the place so I'm pretty chuffed. I like the idea of spending my days writing and composing, it's about getting your feelings out. At the moment all I'm feeling is teenage angst, but maybe in a few years, after a hair cut, I'll feel some real emotions"
"Is the hair holding you back?"
"Yeah, it's dragging me down"
"There's an emotion...What do you want to accomplish with this course?"
"I just want my work, in whatever form it takes, to be out there really. It must be a satisfying but surreal feeling, giving something to others simply from a song. I'm fully aware that there's a better chance that it's not going to happen rather than becoming hugely successful from it. Music is such an accessible medium these days and there's more and more people doing it. I've seen people become conceited over it. I just think that it's important to not kid yourself, there's always going to be someone who's going to be equally good or better at than you so it's about being grounded and working on those things which make you happy and you enjoy.”
Being interviewed for Sky Arts about this photograph of Yun Tan, which is on exhibition at the Mall Galleries, London, until the end of this month.
London, 2009.