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NYFCC Winner Kristen Stewart Explains How She Held Her Own with Juliette Binoche in ‘Sils Maria’

NYFCC Winner Kristen Stewart Explains How She Held Her Own with Juliette Binoche in 'Sils Maria'

It’s hard to believe that Kristen Stewart turned 25 in April. With the “Twilight” franchise behind her, she has been enjoying the freedom to make her own choices without worrying about commercial considerations. She scored raves as Oscar-winner Julianne Moore’s daughter in “Still Alice,” and has lined up a healthy slate of movies, from Oscar-winners Woody Allen and Ang Lee to indies Kelly Reichardt (“Wendy and Lucy”) and Drake Doremus (“Crazy Love”).

READ MORE: “New York Film Critics Push Faves in Awards Season, ‘Carol’ Wins Four (ANALYSIS)”

Truth is, Stewart has always made smart calls. Clearly, she is no longer chasing such studio efforts as “Snow White and the Huntsman,” a franchise she has left behind in more ways than one. And while some of her indie efforts (“On the Road,” “Yellow Handkerchief,” “Camp X-Ray”) proved to be box office disappointments, they were noble ones—and she learned from all of them.


Her latest film, well-reviewed Cannes competition entry “Clouds of Sils Maria”—for which Stewart won Best Supporting Actress from the New York Film Critics Circle—is an intimate English-language “All About Eve” variation set in Europe and directed by French auteur Olivier Assayas (“Summer Hours,” “Carlos”). She plays Valentine, the high-powered loyal assistant to aging film and theater actress Maria Enders (Juliette Binoche) who is preparing to take on the older role in a revival of a stage two-hander in which she dazzled years ago as the manipulative younger assistant who seduces her boss. A rising young actress will play the part Maria originated (Stewart was up for the role more resembling her that is played by Chloe Grace Moretz). As the actress and assistant spend weeks isolated in a mountain aerie reading through the play, they each struggle with conflicting emotions. 

While Binoche had challenged Assayas to write a film based on women, the director left the actresses to figure out their roles, and Oscar-winner Binoche (“The English Patient”) pushed Stewart to dig deep. Stewart also had a real tattoo etched into her forearm for the movie. “I think she has an amazing career in front of her,” Binoche told Indiewire, “and she’s gonna surprise us.”

I agree. Stewart and I talked in the deserted courtyard of the Los Angeles County of Museum of Art during a screening of “Clouds of Sils Maria,” with her reps at one table nearby, her stilettos and smartphone on another. She admits that all actresses limit the amount of time they spend teetering on spike heels—she’s wearing flats. 

Anne Thompson: You had gone to Cannes with both “On the Road” and “Clouds of Sils Maria.” For which you are the first American actress to win a César, for supporting actress. What was that like? Not something you were expecting? 

Kristen Stewart: No. Those Frenchies [laughs] don’t like to pass accolades that are not their own. I was really shocked. Even Juliette was like, “Hey, it’s really cool that you got nominated. It’s insane that you got nominated, actually.” If you look at it, she looks more shocked. When they said my name, literally she screamed into my ear so loudly I had no idea what was going on. I didn’t even hear my name be called. I was like, “Wait, what?” She was like, “You won! You won!” She was so shocked, that that’s how I gauged my reaction. “Wow, this must be a really big deal, because Juliette cannot believe this.”


You deserved it. This is my kind of movie. But I respect your past choices too. There’s a modus operandi there — something you’re looking for — and it’s not comfort. 


That’s always quite difficult to find. You could find a through line there… I’ve been lucky enough to play characters that really stick out as people that are telling unique stories. I read a lot. I get sent a lot of scripts that are very surface, things that we’ve seen before, and, recently, really incredibly talented people have called me to help them make their movies. But those things really do stick out, and I’ve been lucky enough to jump on them.

In other words, there’s an enormous pile. You’re wading through it, a lot of it’s dreck, and the ones you’ve done are the ones that have popped out at you as the smarter thing. What’s wrong with the stuff you’re getting sent, for the most part?

Probably just that they’re fairly archaic, boring, previously consumed ideas of what a woman can be in a mass-consumed story. I’ve done a lot of independent, smaller things recently that usually don’t lack interesting stories to tell about women.

You have lined up some impressive projects. I feel a maturity coming across now. I know you valued the “Twilight” franchise and the freedom it gave you — what they call “fuck-you money.” So you’re able to say, “I’ll do a Kelly Reichardt movie.” Can you give me a sense of what you’ve learned from these directors you’ve worked with in the last year?
I’ve been lucky enough, at a really young age, to work with people who affirm what I believe in, every catalyst that has existed for me. Everything that’s ever kicked me in the ass and gone, “That’s what you should be doing these movies for.” It’s always been a director; it’s always been somebody who’s telling a story who, subliminally, infuses a project with this honor that is just impossible to deny and disrespect. Therefore, you just give everything that you can to it.
Would David Fincher qualify with “Panic Room” 

Absolutely. That was my second movie, and it starts there.

And Jon Favreau with “Zathura?” I discovered you in those two films.

Yeah. Those are two really great directors I worked with at a really young age. I’ve been shaped by every step that I’ve taken to the point that I’m in now. I mean, a whole lot of it has to do with luck, because I happen to have worked with these people who are incredibly influential, and in the right ways, but, at this point, I’ve carved out and identify very distinctly what I get out of what I do and why I do it, and it’s so easy to identify with or discard people who are with that or against it.

How about Olivier Assayas? What does he bring? 

He was so hands-off, to be honest with you. It felt like the greatest steps that he took with us was the work he did with the script, and then just casting. Ultimately, he sort of let us live within that.

What was the day-to-day process like working it out with Juliette Binoche?

Any question that was very critical to us moving on — any question that was so completely necessary for us to ask that we did not get an answer to, that was frustrating — maybe there were days where I went home and went, “I have no idea. I’m not sure about that scene. I don’t know how I felt about it. I don’t know what it says.” I now look at it and go, “Oh, my God. You absolute, masterful, conniving, manipulative, knowing genius. How did you put us there?” At the time, I was questioning if he was even really aware of the complexities that he was writing, and now I see that he must have been. I’ve never even talked about what the movie’s “about” to him still, to this day.

Does he shoot with multiple cameras?

No, it’s two. Mainly it’s one-to-two cameras. And he shoots a lot. Very decisive. Really.

You’ve made a film with a French director, and it’s a very European movie. Does that appeal to you for the future? 

Yeah. Yeah, absolutely.
So, Woody Allen: is that something you’d wanted to do for a long time? What character are you playing?

Yeah, why not? Actually, to be honest, I don’t know how much I’m allowed to talk about it. They sent me a script and had somebody sit outside my house. When I finished reading, I had to go back out and hand it to them. The scenes that I auditioned to get the part, I had no idea the context of them. I had one conversation with him.

He leaves you alone, too. Cate Blanchett was a tad freaked out on “Blue Jasmine.” But it worked out okay for her.

Apparently so. Very French of him. It did, yeah [laughs].

You wrapped Nima Nourizadeh’s “American Ultra” (Lionsgate) with your pal from “Adventureland,” Jesse Eisenberg? (That whole cast was amazing–Bill Hader and Kristen Wiig and Ryan Reynolds.)

It was awesome. It’s finished. It’s very commercial, actually, which is different for me lately. Very funny, which is also different for me lately. It’s an ultra-violent, really broadly comedic love story. Jesse’s the star of the movie, and he’s so incredible that there’s no way that movie isn’t fantastic.

Working with Kelly Reichardt: what was that like? She’s a smart lady.

Oh, man. She’s a genius! I wish I had more time with her.

She’ll have you studying the Structuralists. What part did you play for her?

Honestly. She is a very definitive filmmaker. Not a find-it director; she knows what she’s looking for, always. I played a part in a movie that is primarily about driven characters who think they know who they are and are very desirous of something that they can’t have.

That sounds like Kelly Reichardt.

Yeah, right? And I went into this little bar in Montana when we were shooting, and there were a bunch of townies in there playing pool while we were shooting. They were like, “What’s the movie about? What are you doing here? We know you’re here, so tell us what the movie’s about.” And I could not tell them in a sentence what this movie was about. And that’s what I love about the movie, is that I literally was, “Well…” and I said what I just said. That speaks volumes to the way that she makes movies.

And then there’s “Equals”?

Which I just saw, and it’s also quite good. Drake [Doremus]’s mentality is entirely European.

Well, he keeps the camera way back, right?

He’s long-lensing it. Even if its right in your face, the camera is in the back. Everything else is blurred, and all you zone in on is the face. What I look for in an American director is what is more standardized in Europe and France: people that unabashedly make things with full risk and religious faith for what they need to do, rather than what’s going to make them rich and famous. It’s just easier to find there, because it’s more typical. But, here, I am gravitating towards and find the same things in American directors. It’s just that it’s more rare.

Look, you have figured it out at a young age. It takes most people a while. Matthew McConaughey took a while to get to where you are. Although I think people in the industry are starting to figure out that the studio model is not where you want to go.

It’s just not interesting. It’s just safe. It’s just a sure-fire bet, and when is that exciting, if you know you’re going to win?

“Equals” was shot in Singapore. Why that location?
It takes place in a sort of alternate world. It’s not necessarily set in the future, but it is very surrealistic and sci-fi, and the world is very otherworldly, so it’s good to shoot there. 

You’ve been exposed to a number of exotic places. When you’re on assignment, do you actually get a chance to go out and see the world?

Yeah. [Laughs] You might not think so, but especially when we shoot in places. When there’s publicity, all I see are hotel-room walls. But shooting in a place really allows you to emerge yourself in a culture. That’s one way I’m so lucky. From a young age, I’ve been able to live in Portland and New York and the middle of the country, in the middle of nowhere, Columbus, Ohio for a while. It shapes you. 

And what would be the most exotic place that had the most impact on you?

[Laughs] I love working in New Orleans. We did “American Ultra” and “On the Road” and a movie called “Yellow Handkerchief.”

Sony’s Ang Lee movie “Billy Lynn’s Long Halftime Walk” is about Bravo squad members who come home as Victory Tour heroes after an embedded Fox News crew videos their firefight against Iraqi insurgents. It’s adapted by “Slumdog Millionaire” Oscar-winner Simon Beaufoy from Ben Fountain’s novel and stars Garrett Hedlund and Steve MartinWhat part do you play? It shoots later this summer in Texas?

Yeah, and it takes place in Texas. I play Billy Lynn’s [Joe Alwyn] sister, I act as a mouthpiece for anyone who might disagree with why the war is being fought, and also for anyone who might be closely related to someone who’s fought for something they don’t stand behind. I’m the one person in the whole movie that asks the obvious question.

And meeting Ang Lee must have been great. I’ve interviewed him many times, and he’s a very smart, special man. You don’t just go from one genre to the other without a certain finesse.

I’ve only talked to him once on the phone. He was really, really nice. I know! It’s insane.
In “Sils Maria” you are playing a character, the assistant to a star— the opposite of who you are, in a way. You know her well, because women like this are in your life. That must have given you a little degree of comfort. At the same time, you’re digging into a very intimate, very precise kind of duet with this superb actress. It must have been challenging.

The easy part for me, personally, was being someone who could take care of a woman in her position. I would be the best that you could hire as an actress! Personally, I have that experience, and I have that innate, protective nature, because I know what it is to be in that position. That was fun for me, because it was fun to use this mouthpiece as… it’s not like a grand statement. It’s a pretty obvious statement in the movie that we’re making about the surface nature of the business, but the initial attraction was to be able to service somebody in a more similar position to what I am in, and also speak to this aspect of the business that I know so much about in a very candid way.

It rang true to me.

Good. And, subsequently, looking back at the movie — I saw it at Cannes for the second time — just talking about it with journalists and Olivier after the fact, it really did develop into something that was quite heavy. At first I thought it was funny — it was a personal glimpse into something that was esoteric and interesting, because not too many people do what they do. But, at the same time, getting some distance, I look at it and go, “Wow. That’s quite a lofty burden to bear.” And it really does speak to how we consume other artistic individuals, and it really does speak to how we idolize and discard things.

Read: Juliette Binoche and How She Made Quentin Tarantino Cry and Why Kristen Stewart is a Great Actress

I found that very moving, but I identified with the Binoche character. I don’t think your character is superficial. I see her as devious and manipulative and easily identified with the character she’s reading when they run the lines. That was disturbing for her, so you’re doing two things at once. And there was an erotic charge between the characters.

Yes. They both manipulate each other sort of subconsciously throughout the entire movie.

SPOILERS BELOW But Valentine loves Maria right? She digs it when Maria does well. She’s proud of her. 

Absolutely. They both love each other so much. One important thing for me was to make Valentine somebody that was not someone typical. Not someone who you would expect to service another, but somebody that you were curious about — somebody that you go, “Okay, so what has put you in this position? You wouldn’t typically follow suit with somebody you adhere to.” It’s clearly somebody who stands up for what she thinks and what she believes in, yet she’s taking this role as an assistant, and therefore should be voiceless.

Somehow she’s living through the other woman, but then, in this forced, intimate situation, her own needs come to the surface. She needs respect.

Absolutely. I think the only reason she’s there is because, if that respect is not mutually required, then she should be elsewhere.

She bails, and I love the way Assayas leaves it. It seems mysterious, but she quit!

She quit. For me, the entire movie she was trying to make points to her, to get across to her, verbally, and Maria might consider her opinions and thoughts for a moment, and in the next moment they are gone. All that she’s left with are her really personal and narrowly seen thoughts. By the end, Valentine’s like, “I’ve been screaming at you for an entire movie. Now I’m going to show you what I mean and I’m going to leave. So that is what I mean.”

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Comments

@Allie

You sound awfully pressed, dear. Try not to choke on all that salty bitterness.

Allie

She’s a homewrecking whore that French people love let her stay in Paris no one wants her back in America she’s too much of a dumb f*** her movies suck the only reason she’s getting a credit is because other movies are can’t talk s*** about her

Ayla

The Drake Doremus film is "Like Crazy" not Crazy Love.

Anne Thompson

I republish things all the time, as they become newsworthy again. This was originally published around the time of the opening, now she wins Best Supporting Actress from NYFCC, I share it again. The organizing impulse of this blog is to share.

rgm

Clearly, Stewart does know "how we idolize and discard things."

brad

someone is pushing hard for Stewart , wonder why ?

Zipper

This is an interview you published this Spring. Why are you publishing it again and acting like it’s new, Anne?

I’d expect better from TOH.

penelope

Since when is having a $15 million budget the gauge of a film’s importance? She did that, she’s over it. Sounds like Duke has a grudge.

Carolyn

Wow! All this back and forth is SO INTERESTING (not even a little).

I personally hope she continues to perform (I’d say "act," but my Momma taught me not to lie) in small budget films (would certainly keep the embarrassment to a minimum when they are added to the list of her other "box office disappointment[s]."

Didn’t have the heart to read every word of the comments above (you’re wrong, no you’re wrong, no…yawn), but with all this brutal attack and counter-attack, did anyone have the wherewithal to just mention that the girl can’t act? Pout, check; twitch, check; sweat bullets trying to conjure up an authentic emotion, check. Could be very wrong, but not the same thing as actually acting I don’t think…

awardsgeek

This is clearly a re-tread of an old story with the NYFCC mention edited in. Funny how it neglects to mention that she was very clearly chasing a box office hit with American Ultra – which unfortunately didn’t pan out for her.

Lola

@Rock – just stop. Do you realize how delusional you sound? I’m embarrassed for you. Oh my gosh…Pattinson fans are the worst & sound like they need a hobby.

Missy

Lol at Duke. She hates Kristen but is first in line to comment. What’s really funny is that someone that sounds just like you is always the first to comment on any story about Kristen Stewart. Seriously…you RP fans need to grow up & that’s saying a lot seeing that the median age of his rabid club of mommies is 45+.

I loved this movie & loved Kristen in it. I saw it twice in the theater & look forward to her next film with Assays.

EP

“Hey, it’s really cool that you got nominated. It’s insane that you got nominated, actually.”
Yeah, it’s insane. She’s just the 23rd non-french actress nominated for a Cesar award, after the likes of Romy Schneider, Kristin Scott Thomas, Charlotte Rampling, Nastassja Kinski, Maggie Cheung, Julia Migenes, Tilda Swinton, Victoria Abril, Carmen Maura (who won the same award in 2012), Kelly Reilly, Virna Lisi, Anna Karina, Maruschka Detmers and numerous belgian and swiss actresses. 23rd. Amaaaaaazing. Insaaaane. (/ironic mode)

George

A fantastic film that lost me when it lost the Kristen Stewart character

Kieślowski

The PR argument doesn’t hold. She has been praised for her role in Sils Maria by respected critics from esteemed newspapers and magazines worldwide. The praise is more or less unanimous. Very easily confirmed; just take a look at the latest batch of reviews from NY Times, Huffington Post, Washington Post, Boston Globe, LA Times, The New Yorker, CBS etc. etc. In addition, a majority of the French Academy consisting of 3000+ film professionals voted for her to win a César. There are detailed documents with regards to becoming a member of the French academy, and the voting procedure on their official website. Lest you think that too was the work of her PR team, do read up on the history of cinema and study how the various cinematic traditions have developed. An American starlet who you say can’t act, buying her way into the French Academy (which consist of more than 3000 actors, producers, directors, script writers, technicians etc), where auteur cinema reigns supreme, and with not uncommonly anti-commerical and some even anti-hollywoood sentiments? No (and by the way, there was no campaign). Paying off one of the most important newspapers worldwide, Le Monde, and for that matter the largest media outlets in France, Germany and Great Britain to praise her? No. Is the large majority of Danish, Swedish and Norwegian media too bought? No. Those are the languages I know, so I will stop here.

Rock

lol, the only thing she’s building is a big bill with her PR rep for planting all these stories about how well she’s doing. She wouldn’t need all this PR if she hadn’t derailed her career and sat around for 18 months doing nothing. This PR campaign would be embarrassing to an actor who had any shame, but she knows how to play the game and will do whatever she can to claw her way back in. As for Twilight, she would still be doing little no name indies without it and she will always be linked to it because that’s the reason she has name recognition and the reason she gets cast. They think she will bring that Twilight fanbase to the box office. So far that hasn’t really proved to be true. The Runaways, WTTR, On The Road, CXR — all those flopped, and CoSM has yet to show a profit either.

Ulfur

Fantastic interview. Kristen is starting to build up quite a fanbase despite Twilight, not because of it – myself included. To have these invested twitards constantly pop up in connection to Kristen is getting annoying. The franchise ended years ago! I couldn’t care less about her former co-stars from Twilight, which are taking up space in articles about Kristen that could be used for considerably more interesting topics/question.

Lulu

My word @duke. If you’re going to hate on someone at least get your facts right. How do you know what her offers are? She just said she’s getting scripts but aren’t appealing to her which means they’re studio films because she said that the smaller films are more interesting.

As for Camp X Ray. Anne is incorrect calling that a failure because that was a VOD release and just limited theatrically. Maybe she can try to get those VOD figures.

Mi

kstew stans,you commenting on Rob’s articles on indiewire and The Playlist and spewing your hate.the Hit fix article about The rover box office is the best example.you are the one who constantly compare rob’s work to her movies constantly trying to put him down.The journalists who analyze his box office draw are like yours best friends who only engage more hate towards him.Anne thompson interview with Michod was bland in comparison what questions she have for kstew.Talking about Rob’s eyes with TR director is not the best thing you can expecting from a journalist.@Duke made a point because both of these actors have not much box office draw but the journalists are interested only in Rob’s BO.I’m not even start with deleting the comments who are not pleased for Thompson.

Jackie

Great interview. She’s always had an impressive career. Thank God Twilight and all the tabloid/crazy Rpattz fangirls (lets ignore Duke) are getting more and more in the distance. She will have made 9 movies in 2 years, so she has more than made up for time she lost with her commitments to Twilight. I wouldn’t describe Camp XRay as ‘disappointing’ either. It stands at a very respectable 72% (last time i checked) on rotten tomatoes. For the subject matter and a first time director that is good going.

American Ultra sounds like a lot of fun. Lionsgate paid a record 7 million for it. I hope it does well

Natel

Great interview. She seems to have grown up nicely and is interesting here. As far as the first commenter, the person is clearly nuts to act like a Cesar is not significant. Probably one of those over-invested twi-hards who still hates the girl, because even if one isn’t a fan it’s beyond nuts to act like the Cesar is nothing or that she’s not doing significant supporting work in big films. Ang Lee and Woody Allen aren’t "nothing", after all.

Trigon

Kristen is a really good actor. I’ve seen most of her early movies. I think there’s about 14 of them, so she had a lot of experience and their all good movies. I don’t know if any men that are held to the same scrutiny as this woman is criticized for. I support her efforts and cheers to her for putting out some good movies that are smart and thought provoking. There are so many bad movies out there, target them. Why criticize the good ones. I saw Still Alice and thought it was a terrific movie. I happen to have a loved one who suffers with Alzheimer’s disease and I was glad it brought to light what people have to deal with as this disease has become more prevalent. Kudos to Kristen for her hard work!

Guest

I don’t hate him and I don’t think he’s career is doing badly. I just hate the fact his fans pop up in comments sections hating on her but using a logic that could EASILY be used against his career. If Kristen does an indie is because "no studio would hire her", if Pattinson does an indie is because "he’s brave and taking risks". It’s just SUPER annoying, if you wanna come to articles about her and say shi* like that, then sorry, I WILL say how her career is in a better shape compared to his.

Trigon

I liked the Rover and Cosmopolis. Those are two movies with controversial plots that would never be made by a big franchise. Maybe they’re movies that appeal more to guys, but David Cronenberg likes working on the edge and I guess that’s Rob’s taste as well. I’m looking forward to seeing some of the other movies he’s doing, small or large parts. I think he’s a good actor.

Kris

So what? Rob said he wants to choose material he wants to do. He’s still working with some great directors and actors. He said he doesn’t find a lot of scripts he wants to do, but he’s still working hard. What is this, a contest? He and Kristen still feel the same way about the film industry. They don’t have to be together to have similar opinions.

Guest

Why are these robfans saying these stupid things?
He’s doing mostly supporting roles, his role in Maps and Queen are cameos, not even "supporting". He’s also doing mostly indies.
So, I guess his career is circling the toilet too, hm?!
Not to mention Billy Lynn’s is a BIG budget film, it’s gonna be shoot in 3D for god’s sake. It’s far from being an indie or small film.
If you look their careers, hers is doing better overall. Her films are getting WAY better reviews, she’s getting more prestigious awards (Cesar is bigger than anything he got), she has more large roles (she’s lead or co-lead in CXR, Sils, American Utra, Equals, Woody Allen’s project while he’s lead or co-lead in The Rover and Life ONLY, and MAYBE in Z depending on how Gray wrote the script, but it’s likely to be another small supporting role). She’s likely to be in more films with wider distribuition (Still Alice, American Ultra, Billy Lynn, Woody Allen’s) and is in at least ONE big budget (Billy) while he’s in none. She’s just doing MUCH better than him, so it makes no sense for his fans to pop up in every comment section using arguments "against" her career that could easily being used against Pattinson’s career.

Not to mention Billy Lynn’s is a BIG budget film, it’s gonna be shot in 3D for god’s sake. It’s far from being an indie or small.

Kris

@Duke – The Cesar Award is important as no American woman has every won it before. Your comments are more personal to Kristen rather than about her work as an actress.

Michelle

Kristen has made some very good choices in the movies she’s signed on for. No one can tell you as an actor what you need to experience to give your craft the depth you desire to play difficult roles. For her, I think, it’s always a learning experience which it should be, and she loves working with people she’s idolized growing up. I think her library of work thus far proves her ability as a good actress. There are very few actresses who can get films financed and she is one of them and that’s why she’s taken on roles that inspire her. She’s had the opportunity to work with some wonderful directors and actors. There are no small roles just actors who don’t want to play them. She’s looking for material that she feels will challenge her as an actress. She also said she’s not adverse to doing a big budget film if it’s something she really wants to do. How inept of you duke, to mention Rupert Sanders, who proved to be a devious director who was in fact ousted from the sequel of Snow White after all his manipulation to get it made. Kristen works really hard, and every person who seems to work with her has had a good experience. As many actors have said, the film industry has changed and with huge franchises it is more about money and the restrictions actors have within those films. A good example is Twilight. The first movie where the actors had more freedom in compared to the next 4 dictated by the franchise. A good part of the country hasn’t even seen a lot of the movies that have been released. Rob Pattinson is also criticized for some of the roles he’s taken on that are smaller roles but things he’s been passionate about doing. Again, learning more about your craft. The content of some of the smaller movies would never be financed by a big franchise because of their message perhaps. I’m not sure why, but so many people on these boards always see the glass half empty rather than half full.

23net

@Duke: how sad there are people like you who are not fans of Kristen but make a definite point to seek out stories about her. I could post a list of A list actors, directors, producers that have publicly praised Kristen and either want to work with her again or for the first time but you don’t really care because your sole purpose here is just to post negative comments. glamourmag posted a story on twitter yesterday about the 25 biggest female-driven box office hits of all time – Kristen is on that list FIVE times so yeah she’s globally bankable. Your comments show you know nothing about the entertainment industry or Kristen for that matter so if anyone looks bad here it’s you and not her. and btw: you felt compelled to bring up her indiscretion…you are apparently perfect and have never made any mistakes in your life so I have to ask one question. What are you doing on a blog hating Kristen when you should be out healing the sick and raising the dead?

@Duke

Equals and American Ultra have bigger budgets than $15 million. She is a co-lead in both. Billy Lynn’s Long Halftime Walk is likely also way more than $15 million, and it’s not Sony’s "low budget" division (LOL @ implying that Sony Pictures Classics is anything to sneeze at – they’re one of the best distributors around). It’s Sony Pictures. And for all your professing that no one cares about her, you sure seem to. Stay mad. ;)

Sven

Duke, are you obsessed with Kristen Stewart? Just because you and others are ignorant, doesn’t take away that a César is one of the most prestigious awards in film. Let me guess, you don’t watch movies that aren’t in the English language, right? and you have not studied film in greater detail, its history and the various currents in European film. There are more to film than commercial blockbusters, thank god.

Larissa

@Duke , actually I think you’ll find that it’s not that no one will sign Kristen "onto another big franchise", it’s actually Kristen who clearly doesn’t want to be apart of another franchise. Kristen is carving herself an excellent career path and has been shining in her "indies that don’t show profit." Although, some of her recent films may not be major box office hits, like the Twilight saga, they are hits with film critics which is why she is gaining so many exciting roles with interesting directors: Woody Allen, Ang Lee etc. So your argument is invalid.

The usual

rputz hag um I mean @Duke…can you go away? No need to stalk Kristen news. Focus on your tabloid fodder..

talia

@duke you clearly didn’t read what she said in the interview, she is not looking to do big budget films. She takes risks when picking her film roles instead of as its put in the article, films that are safe.The film has been released in 7 countires so its not really been released worldwide. How would you know whether she is getting any films funded with her name alone plus in her upcoming films she has a mixture of lead and supporting roles.

"but no one is signing her onto another big franchise" – did you ever stop to think that maybe she doesn’t want to do another movie franchise?

Jas

Please @Duke, have a glass of water . You seem pressed and know way too much about her . Calm down and have a drink . She’s still doing better than most people her age so take that .

Hahfu

Duke? Butthurt much? Is that you Papi Chula?

Duke

Globally bankable? In what universe? The only studios that will touch her are Lionsgate, who produced the Twilight franchse, and Sony, and only with their low budget division. She hasn’t been cast in anything that has over a $15 million budget since her affair with Rupert Sanders, and most of her roles have been small, supporting parts. She isn’t getting anything funded on her name alone. Her PR team has been working overtime to try and erase her past and spin that Cesar into something significant. Unfortunately, a majority of Americans have never heard of a Cesar and couldn’t care less. CoSM has been out since August worldwide and hasn’t even made $2 million at the box office. Odds are it will be another one of her indies that doesn’t show a profit. How that translates into bankability is beyond me. She has Twilight name recognition, but no one is signing her onto another big franchise.

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