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Ms. Cotillard, you have worked on all kinds of different projects, from art house French films to Hollywood blockbusters. Do you have a favorite style of working?

No, I love when it’s different every time. I don’t like to compare because I don’t see the point. I don’t have a favorite process. My favorite process is the right process for the person I am working with. I can fit in any process as long as the director respects who I am and doesn’t try to put me in a situation to get something out of me – if I can give it without that situation. It doesn’t work at all.

What kind of situation?

Someone who will try to make me angry or create a situation that is not related to my character in order to put me in the state of the character. It’s 100 percent counter productive. Either I will get mad and I won’t be good or – and most of the time this is what happens – I will laugh. I cannot take it seriously.

Why not?

Because I can see the trick and I need authenticity. I need to be on the same page as the director. It happened once that the guy was doing things and he would ask me to do things that I didn’t expect, but I liked it because it fit with the movie. I was never slapped in the face, but some of my fellow actors have had this experience. That wouldn’t work for me at all. I need to be part of the process – and the trust.

Are you more self-confident now than you used to be?

No. I think it’s part of myself. Insecurity is very common among actors. When I started giving interviews and talking to people that I didn’t know, it was a nightmare. I’ve learned how to deal with interviews and insecurity; I’ve gotten used to it. But it’s always weird when you have to talk to someone you don’t know, someone who asks questions about yourself. It’s kind of a weird process. But I feel good. I love to discover and jump into the unknown and there is no security there.

Is that why you work in Europe and in Hollywood?

That was totally by luck. I had never thought I could work outside of my country, especially in the United States. I am from this generation where the American, the U.S. movies are part of our culture, so the American movies fed my dream to be an actress, but I never thought that I could one day work in an American movie. So I feel very, very lucky.

Well it doesn’t hurt that you won an Oscar for your performance in La Vie en Rose.

I feel lucky that this crazy Olivier Dahan thought I could be Édith Piaf. He changed my life. As an actress I always wanted to do movies and I never dreamt about doing movies in America just because I didn’t think it was possible. It was never a part of my dream. My dream was pretty simple. I just wanted to tell stories, make movies. I already consider myself very lucky to be able to do what I love to do.

But many French actors and filmmakers choose not to work in America, even though they could. French director François Ozon told us, “Americans respect you when you stay in your country, but when you arrive in America it’s finished.”

I was in Cannes one year with a French actress and she is very talented, very beautiful, and my American agent grabbed my dress and said, “Introduce me to her. I want to meet her!” So I went to see her and said, “My American agent wants to meet with you.” And she was like, “I don’t care! I don’t speak English and I don’t want to do any movies there.” I was surprised, but she absolutely refused to meet with my agent. She’s my generation, she could have everything, and she totally refused. And I was begging her! I said, “It’s an experience, you never know…” So you know, it’s very personal. Some people are just not interested. But it was not my goal and I don’t consider it as a big achievement to act in America. I just always wanted to be an actress.


My parents are actors and so I was surrounded by actors. I was surrounded by great energy and storytellers all my childhood. And that was fascinating. When I was very young I saw plays that are not for kids and I have a very, very vivid memory of those moments. Usually it was when the nanny didn’t come and my mom had to take my brothers and I to a three-hour play about ancient Greece or something. We would go crazy – she would go crazy, too. (Laughs) I remember the actors who were friends with my parents being normal people that I knew and then on stage they were cats or dogs. That was crazy. As far as I remember I always wanted to be an actress.

What was it like the first time you were on stage?

I was very young, I think I was like four or five. My mother was doing this play and the director asked me to do something. I remember exactly the location, the theater. There was a big piano, there was this woman on the floor and she was supposed to be my mother. But my mother was on stage, too. And I remember the confusion. I didn’t understand why they were saying such crazy things, pretending that my mother was there lying down while my mother was over there! That was my first time on stage.

Do you bring your son on set with you like your mother took you to the theater?

Yes, but you need a very good make up artist. (Laughs) You don’t sleep anymore, but at the same time you have this strength that comes from this life that has just arrived. It’s a big cliché how your priorities change, but every parent knows that sometimes there’s a thunderstorm and you look at his eyes and everything is all right. It is a revolution of everything you feel. It increases strength. It increases everything – except nighttime.

Source: The Talk

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Top 5 Celebrity Interviews To Read Today




All in all, big name profiles are somewhat of a joke. They regularly pander to the star and never really uncover anything remotely near reality about their identity. They discuss how sweet they will be (“They appeared two hours late however appeared to be really self-reproachful about it!”), what they’re eating (“Reese Witherspoon cautiously eats her Udon noodle soup as she considers life, love, and circumcision… “) and how rational they run over (“Despite having millions in the bank, Coyote Fox is as yet the modest young lady from the Bronx!”) Occasionally, however, a profile like this one will turn out and really come clean about its subject. “OMG, superstars truly are bizarro egomaniacs! I knew it!”

It is kind of adorable when this happens. If you are an eager peruser of superstar chatter, it is complete happiness to see something that challenges to be straightforward. Other than this splendid takedown of LiLo, we have chosen to impart to you the five most loved bits of amusement news-casting. They’re really (heave!) engaging!

1. “Chris Evans Is Captain America” by Edith Zimmerman

In this now-notorious GQ profile, which turned out in 2011, Edith Zimmerman pays tribute to the style of composing found in old mags like Sassy and Jane by giving us a #realtalk all-access go into the universe of Chris Evans. While going through a couple of days with the motion picture star in L.A., Zimmerman opens up about the typical tease that creates amongst them and even points of interest a night in which she got squandered at his home. Individuals were blowing a gasket about this article, calling it “out of line,” yet offer me a reprieve. Edith made us keen on senseless exhausting CHRIS EVANS. If that is not the good ability of an essayist, I don’t comprehend what is.

2. “Step by step instructions to Get Under Aaron Sorkin’s Skin” by Sarah Nicole Prickett

We sort of dependably knew Aaron Sorkin was a dick (a misanthrope who at times smokes rocks? Nectar… ), yet author Sarah Nicole Prickett at long last gives us the evidence we required with this meeting in The Globe and Mail. While getting some information about his new show on HBO, The Newsroom, Sorkin treats Prickett with striking haughtiness, calling her “Web young lady” and notwithstanding showing her how to high-five appropriately. Fundamentally Prickett discovered that Sorkin treats ladies precisely the same he gives his male characters a chance to address them in his TV shows and films. Enchanting!

3. “Tiffani-Amber: Something Does Not Compute” by Mary-Ann

Cheeky invariably distributed the best big name interviews since they genuinely did not think about kissing anybody’s can. A valid example: this vintage meet with Tiffani-Amber Thiessen in which it’s uncovered that the Saved By The Bell star is a monstrous dum. Scarcely a stunner yet at the same time: LOL!

4. “Meet Your New Boss, Dov Charney” by Claudine Ko

Cheeky’s successor, Jane, kept with the pattern of good prominent name reporting, especially with this piece about America’s # 1 trendy person crawl, Dov Charney. Author Claudine Ko discusses the CEO of American Apparel jerking off before her and for the most part carrying on like a sexual stalker amid their meeting. If you at any point considered how Dov got such a terrible rep, this incredible bit of diversion reporting would be it.

5. “M.I.A’s. Agitprop Pop” by Lynn Hirschberg

Lynn Hirschberg is no more peculiar to penning questionable big name profiles. In the 90s, she talked with Courtney Love for Vanity Fair and mentioned that the vocalist was all the while utilising heroin while pregnant — a reality Love fervently denied. In any case, this made a torrential slide of horse crap, which in the long run brought about the association of Child Services. Uh oh! In 2010, Hirschberg by and by demonstrated that the pen is mightier than the sword when she composed this blistering profile of M.I.A. in The New York Times. Hirschberg calls attention to the numerous logical inconsistencies in the pop star’s life, including her claims that she’s a political radical who lives on the edges of society when truth be told, she dwells in a house in Brentwood with her super-rich spouse. M.I.A. was naturally pissed about the piece, however, and got Hirschberg to admit to a misrepresent. In any case, the American open never honestly took a gander at M.I.A. a similar way again and her collection, which turned out not long after the piece, wound up failing.

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Mr. Schnabel, when does a work of art become important in your opinion? Do you need external confirmation, or is it something explicitly personal?

I don’t think something is important just because an audience likes it. Most people make art and movies as a job and if a lot of people go to see it they make money and that is their sign of success. I am not making judgment here, but their goal is strictly business-oriented. I don’t do this as a business.

So commercial success doesn’t interest you?

Do I think it’s good if people like it? I have to like it. If I think that something is good, it is fine. I mean Gladiator came out when my movie Before Night Falls came out. Gladiator won the Acadamy Award, Russell Crowe won the Acadamy Award. Would I rather be Ridley Scott? No. Do I think Javier Bardem’s performance was better than Russell Crowe’s, although Russell is an excellent actor? Yes. Javier Bardem’s performance was better. Did we win the Oscar? No. Does it matter? No. I mean he was the first Spanish actor to ever be nominated for an Academy Award. What does that say about the Academy? There is a level of chauvinism over there; it’s a club.

Do you think your indifference to the system has actually made you more successful?

Well I can’t just say yes to that, because then I would sound like the guy everybody says I am supposed to be: the arrogant, self-satisfied Schnabel. (Laughs)

But what you can admit is that you made quite an interesting transition from acclaimed artist to successful filmmaker. How did that come about?

I thought:If I feel like I should do it, I should do it. I shouldn’t worry that the art world is going to say, “Oh, Schnabel thinks that we’re not good enough for him, he is going to make movies now. The art world is not big enough, he’s going to make movies.” Then when the people liked the movies they said, “Oh, now he is a better movie director than a painter.” But that’s not really true. I happened to do it just the same way as some artists write letters. Van Gogh wrote letters and so we have a book of his letters to Theo. It is a great thing to have. The guy is a painter but he happened to write good letters also.

Are you interested in bringing the film and the art world a bit closer together? During the 2010 Toronto Film Festival you premiered with the exhibition Julian Schnabel: Art and Filmwhich seemed to aim at that.

Maybe it should have just been called Paintings That Have Something To Do With Film. I think the idea was that maybe people from the film world would go and see the museum and it would bring these worlds together. I don’t care if those worlds are together or not. My attitude toward it is similar to the way Joseph Beuys left the Kunstakademie open so anyone who wanted to come, anyone who was interested in art, could come. Whatever brings somebody in so they can have an art experience is a healthy thing.

Do you prefer filmmaking or painting more?

I prefer to paint; I don’t have to translate anything. I don’t have to know if it is good or bad while I am working. I don’t want to think when I am working. Even if I am making a movie, I get to a point where I throw the script away. I know what I want people to do and ultimately it is a spontaneous kind of activity. They need to be able to feel comfortable enough to trust me so they can do something and know I won’t let them get hurt. They end up feeling that way and that is why the movies are good. But I prefer to paint.

Unlike painting, movie making is extremely collaborative. Do you have to fight to get your way sometimes?

I am my biggest critic. I have final cut on my films and I don’t care how much money they ultimately make. If I would have made The Diving Bell and the Butterfly in English, it would have made more money. But it wouldn’t be the movie that I wanted to make and I think the other people in charge had to swallow that when I told them about my intent to make a French movie. The guy is French and I am not going to have French people watching American people making believe they are French in France and then they are reading French subtitles.

We knew you were a talented filmmaker and painter, but we didn’t know about your photographic skills until you recently toured the world with a Polaroid exhibition.

First of all, I didn’t intend to be a photographer and I didn’t intend to be a movie director. I am not a photographer, but I took photographs. And the photographs that I took are very physical; they are like paintings in a way.

Why did you start taking pictures in the first place?

Because I was dissatisfied with how my work looked when it was photographed by other people. I wanted to show the way paintings look inside places where I am working. So I was taking these pictures over the past eight years and I didn’t have any intention to show them and this woman came and looked at them and said: do you think we can show those photographs? So to cut it short: was Stanley Kubrick a photographer? No. He was a movie director. But he took photographs that are a gift to see.

Are you in a way proud of all these different careers?

I don’t have a career as a photographer and I don’t want a career as a movie director, and I don’t have a career as a painter.

You don’t have a career?

No, I never thought of art as a career. I thought it was more like a monastic practice. It is something that you do – you can’t not do it. If I made money doing it, I would do it; if I didn’t make any money, I would do it.

Could you live without art?

If I never made another movie, I probably could live okay. I made the movies that I made, I think I did a good job, but if I couldn’t paint, I don’t know what I would do. If I couldn’t paint, I think I would be a problem. I would definitely be a problem to the people who have to put up with me, live with me, deal with me. I wouldn’t know what to do with myself. I would go surfing I guess and live in the jungle or something like that. You know, obviously I’m not perfect but the thing I am best at is painting.

Source: The Talk

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Mr. Young, do you see yourself as a provocateur?

My life is not a political campaign. I just write about what is on my mind. I just play whatever I feel like playing. Whatever is in my soul at the time is what I want to do. I have, thank god, enough people who are still interested in what I am doing so that I can go out and keep doing it.

Do you think music can still change how people think these days?

I think that it can cause reflection and discussion, which is all you can do.

What about in the past?

I try not to look back. I’m looking forward. I’m worried more about what I’m going to do next week than I am what I did last week. There are too many things to do. Looking back is for everybody else.

Well, let me have a look back. I’ve read that you refused to be filmed at Woodstock. Was that really true?

I believe it was.


That was a turning point when music was becoming media and music was turning into an industry instead of a direct communication between musicians and the audience. In my view, cameras had no place on stage. They could film from far away and it wouldn’t bother me at all.

Live performance of Heart of Gold in 1971 by Neil Young. At the beginning of the video, Neil Young searches his pockets trying to find the right harp.

Do you think music today is too corporate?

Well, I can’t imagine American Idol in the ’60s. It’s so different you can’t compare it. The idea that there is a contest for who can pose the best. They are all just imitating other people. I don’t know what that is.

Unfortunately that garbage works.

Well it’s the media. The media has got the whole thing. (sarcastic) But we don’t have to worry about that in the United States. We’ve got CNN. We have the best political team on television working the story, so we’ve got no problems. (Laughs)

So, what excites you these days?

Well, when I get excited about anything nowadays it’s either new music or energy. Those are the two subjects I’m most concerned with.

Your own new music?

Yeah, I’m always open to new stuff. I don’t sit and try to figure out what to do, I just wait for an idea to come.

And what excites you so much about energy?

We’re working on building an automobile that doesn’t have to go to a fueling station, that creates its own fuel. That’s really what I am focusing the rest of my life on. I am finished with everything else as far as I am concerned.

Besides music of course…

The music is great and it is nice because it gets people thinking, it moves people, but ultimately, to make a real change in the world, it’s going to have to come from energy. It’s going to have to come from physics and science.So I am working with physicists, scientists, and engineers around the world trying to build this car.

“We have been lulled into addiction and everything is built around it and you have to break out of it and think outside of the box.”

Source: The Talk

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