Intervista con News.com.au:
- I assume you have read James Franco’s glowing review of your performance in Snow White and the Huntsman, in which he dubs you the warrior queen.
K: I have. Wow. I mean, really! It came out of nowhere.
– In it, he says you have braved more scrutiny of your private life than most presidents.
K: I guess I wouldn’t know how to compare it. But people would definitely like to know about things that I don’t want to tell them, which is fine. It’s not something I am uncomfortable with any more.
– Any more?
K: Once you find your boundaries, you stop playing this weird game of jumping too far over and then too far back, if you know what I mean. I know where I am comfortable, now.
In his essay, Franco draws parallels between Snow White’s premature ascension to the throne and your own rise to stardom.
K: I could really relate to her isolation – she goes through something tough and isn’t broken by it. When you have fans and people following you or looking up to you, you have to do things from a very, very true place. Snow White, instead of just being this ball-busting fighter, I think the reason she is strong is because she really stays, it sounds maybe cliched, but she stays true.
– I hope it didn’t feel as though you were locked in a tower for seven years.
K: No! (Snorts.) Only in so far as that she is isolated from people that look up to her. On that level, I absolutely felt for (Snow White). You look up to people that you identify with, so there is probably a commonality. I understand. I’ve been around certain musicians and not been able to speak. It’s a natural reaction. But at the same time, you want to go: “we’re no different”.
– Given the number of column-inches devoted to Kristen Stewart, we actually know very little about you. What sort of music you like, for instance.
K: It changes quite a bit. Today, I am obsessively involved with Bon Iver. It might be all I listen to right now, actually. The Shins are my favourite band. I love Interpol and Jenny Lewis.
– What did you read on the plane?
K: I read the newspaper on the plane.
– Since you travel a lot, can we assume you have made the switch to an e-book?
K: Technology literally disagrees with me. This is going to sound so ridiculous, but warranties, passwords, accounts, numbers with emails coinciding with different websites … I have gone through quite a few Kindles. I need to get a new one because I love them.
– What’s your idea of a perfect Saturday night?
K: I have a pretty close-knit group of friends. I am from LA. I love Los Angeles. Because I usually work elsewhere, I am really happy to just be home with my friends. We do very normal things people our age do – play a bit of music and stuff.
– You don’t strike me as a gym junkie. What do you do for exercise?
K: I am really active just generally. I hike with my dogs. I swim. I have never really worked out, other than for this, really, because I knew I was going to need incredible stamina that I did not have at that point. I didn’t want to be charging up the stairs in armour to Ravenna’s chamber and have to stop at the top and go (mimics leaning against a wall, sucking in gulps of air.)
– You also learnt to ride horses for the film. And did some stunt work.
K: A little bit. The cool thing about the action in this movie, it has a lot of integrity. Everything I do in the movie, a girl my size could do. So that made it more challenging because we weren’t faking it. (Director) Rupert (Sanders) really was belting the crap out of me. Any time we look uncomfortable or scared or possibly in pain, we are most likely experiencing that.
– Three Snow White stories are coming out in quick succession (Mirror Mirror, this one and the TV series Once Upon A Time). Theories?
K: Considering the source material, there is a lot of room for interpretation. If you take a story that has always spoken to people, moved them on some level, and make it a bit more palatable for now … In this case, she is living in a more dangerous world but she stays recognisably Snow White … that essentially female and delicate but strong girl.
– Traits shared by Twilight’s Bella Swan and The Hunger Games’ Katniss Everdeen?
K: The reason it feels so satisfying is because that’s how we are. It’s natural. It doesn’t feel force
Intervista con MTV:
Kristen Stewart and Robert Pattinson could be set for a post ‘Twilight’ on-screen reunion!
Yep, while the lovebirds may be saying goodbye to Bella and Edward in ‘Breaking Dawn: Part 2’ this November, K-Stew has revealed plans to nab her British beau for a ‘Snow White and the Huntsman’ sequel!
In an exclusive chat with MTV Australia at the Sydney premiere of the fairytale remake, the actress said of Rob joining her for a follow-up flick,
“Oh absolutely! Rob’s invited to be on our cast. Definitely!”
But, it looks like R-Patz could have a bit of a battle on his hands for his leading lady’s affections…
Kristen’s ‘Snow White’ love interest Chris Hemsworth, who plays the part of the Huntsman in the Disney adaptation, told us he’s also up for part 2.
“I don’t know if it’s officially going ahead, but there’s definitely talk of [a sequel].
“There seems to be a great interest in this, so definitely if there’s another great script and the same cast then for sure!”
And luckily for Kristen, Chris (and possibly Rob), the movie’s director Rupert Sanders has already started working on the next instalment!
“I can tell you that I’m working on a sequel now and it’s really exciting,” he told MTV Australia on the white carpet at Bondi Junction’s Event Cinema.
“We all had a great time doing this one, so onwards and upwards.”
"I love Chris. Just to be around him on a shoot like that - which was so freezing and uncomfortable - is great because he has got a lightness that is kind of contagious."
But Stewart admits to being a little bit intimated by Oscar-winning actress Charlize Theron, who plays the evil witch Ravenna in the contemporary reworking of the classic Grimm brothers fairytale - and not only when she was in character.
"Everyone knows when she walks into a room. I think me and Chris and everyone, including possibly even (director) Rupert (Sanders) just wanted to impress her. It's good. It makes you a little bit better."
----------------Hemsworth and his Snow White and the Huntsman co-star Kristen Stewart are in Australia for a couple of days promoting the film and kept each other laughing throughout the interview.
Hemsworth said he and Stewart haven’t really had the chance to do anything except press since they arrived.
‘I’ve pointed out of the window of the hotel and said, you go check that out, that’s pretty cool,’ Hemsworth said.
‘Yeah, what’re we going to do?’ Stewart prompted him, saying ‘he has built it up’.
‘Oh yeah, ferry, the beaches,’ he said. ‘We’ll do some fun stuff.’
----------------Stewart, who some fans had camped out over night to see, admitted she was never a fan of the Snow White – that is until she met Sanders, who was also at the premiere.
“No it’s not my favourite,” she said.
“I saw the title (of the film) and I was like ’Really, why?’ But it became really obvious after reading the first five pages of the script, especially after talking to Rupert about why he wanted to do it and why it was important to do now.”
And of course she couldn’t complain about working with Hemsworth.
“Yeah Chris is a good Aussie boy,” she said with a smile. “You guys really know how to pump them out. He’s a twinkle.
----------------As hundreds crammed the barricades Stewart, whose mother is from Australia, said she wished she could visit more often.
“I’ve only been here a few times, maybe like two or three times for not work,” she said from the sidelines of the event at Bondi Junction.
“God, it’s ridiculous. I would like to come back more. I love the Aussies, I love coming here.”
Her director Rupert Sanders described Stewart was “very fiesty in real life”.
“She gives a powerhouse performance and I’m very proud of the work she did,” he said.
Stewart responded by saying she needed to be fiesty to play a delicate Snow White.
“We kind of rip her heart out at some point and throw it back in her chest,” she said.
“You need to be kind of fiesty to be able to withstand that.”
----------------“He’s got that sparkle,” she said on Wednesday.
“You Aussies, you know how to do it! Good Aussie boy, can’t really beat that.”
But Stewart makes no apologies for accidentally punching her Snow White and the Huntsman co-star during an on-set fight scene.
“Before everyone gets angry at me, I felt really bad afterwards and he’s being a baby about it,” she told Seven Network.
“I did not alter his face in any way. We were both so into the scene at that moment … and you know, it made it into the movie.
“I think it looks really good, couldn’t have faked that.”
The starlet said she had her Australian mum, director Jules Mann-Stewart, to thank for getting into the film business.
“I wanted to start doing this because of my family, I’ve always looked up to them,” she said.
She said filming Snow White and the Huntsman was physically gruelling.
“I put myself through it absolutely. It’s one of the things I was most excited about, I knew that me and Chris and Charlize (Theron) were going to be dropped into this world of absolute make-believe.
“We didn’t have to fake it.”
au.news.yahoo.com
Kristen Stewart may have just been named the highest paid actress in Hollywood - but it appears the Twilight star was the last to know. Stewart, who is in Australia promoting Snow White and the Huntsman, raked in $US34.5 million ($34.2 million) in the past year, helped by her new movie, in which she co-stars with Australian actor Chris Hemsworth.
However, the 22-year-old had no idea about her new title until she was asked by Access All Areas during an interview in Sydney yesterday how she felt about knocking Angelina Jolie off the top of Forbes' list.
"Oh wow," a clearly embarrassed Stewart said, just hours after the news hit the internet. "What are you talking about? I didn't know that."
While her bank balance proves otherwise, sitting alongside SWATH director Rupert Sanders at Sydney's exclusive Park Hyatt hotel yesterday afternoon, Stewart looked like any other 20-something girl, dressed casually in worn-out leggings and a grey flannel shirt.
Even at the Australian premiere of SWATH on Tuesday night, she ditched her Christian Louboutin heels for a pair of comfy Converse sneakers.
"I just don't like teetering over all those young girls," she said. "I want to be able to run around and talk to them. I acknowledge the heels do look better, but that's OK."
So is she uncomfortable with her new title?
"No, I think pressure is kind of a big part of the job and I really appreciate pressure, but it's not really from stuff like that" she said. "Any pressure I feel is self-inflicted."
Stewart was last in Australia to promote the massively successful Twilight. However, she said the reception she received at the SWATH premiere on Tuesday in Bondi, which saw some fans camp out for 48 hours to get a glimpse of the star, was just as emphatic.
"I got really emotional when I got there," she said. "We've got lucky enough to share that energy and that feeling with so many people with Twilight but when I got there for Snow White and saw the same thing it was baffling. It was really cool."
Cameron Diaz, who brought in $US34 million in the past 12 months with films like What to Expect When You're Expecting and Bad Teacher, was second on Forbes' list. Oscar winner Sandra Bullock was third with $US25 million in earnings between May 2011 and May 2012 while Jolie was fourth with $US20 million.
'I just don't like teetering over all those young girls (on high heels) … I want to be able to run around and talk to them. I acknowledge the heels do look better, but that's OK.' KRISTEN STEWART
Hemsworth and his Snow White and the Huntsman co-star Kristen Stewart are in Australia for a couple of days promoting the film and kept each other laughing throughout the interview.
Hemsworth said he and Stewart haven't really had the chance to do anything except press since they arrived.
'I've pointed out of the window of the hotel and said, you go check that out, that's pretty cool,' Hemsworth said.
'Yeah, what're we going to do?' Stewart prompted him, saying 'he has built it up'.
'Oh yeah, ferry, the beaches,' he said. 'We'll do some fun stuff.'
SMH.com
Kristen Stewart is set to make her mark, writes Craig Mathieson.
IN HER new film, the fantasy epic Snow White and the Huntsman, Kristen Stewart plays a young princess who escapes deprivation and confinement, survives testing trials and acquits herself as a leader ready to claim what is rightfully hers. The story is derived from a Brothers Grimm fairytale, but it has no shortage of contemporary relevance, especially for the American actress.
''She's been imprisoned by Twilight and this is her breakout,'' says Rupert Sanders, the British director making his first feature with Snow White and the Huntsman. ''Kristen's very talented and she's got a huge career ahead of her where she will constantly surprise people.''
As one of the few successful child actors to transition without a hitch into adult roles, Stewart feels like a familiar screen fixture despite being merely 22 years old. She was just 17 when she was cast as Bella Swan, the chaste teenage girl who falls in love with Robert Pattinson's brooding vampire in 2008's Twilight. That overwrought franchise finally ends this November, and it appears that while she's grateful for the exposure, Stewart is ready for the next phase of her career.
''I'm not trying to distance myself from Twilight, but there are several films coming out this year that are going to compound the sense of change,'' Stewart says. ''I've done things that are far and away from anything I could imagine, and right now I'm bursting with emotions and questions.''
The media image of Stewart established through the various Twilight cycles is that of an uncommunicative young woman alternating between disdain and boredom in her promotional appearances. However, on a quick visit to Australia with Snow White co-star and former Phillip Island lad, Thor lead Chris Hemsworth, she spoke in swift, excitable sentences and referred to roles in films she believed in as ''causes''. Stewart repeatedly used ''tactful'' in a pejorative sense, as if it was plainly preferable to shake things up.
Stewart was widely praised at the recent Cannes film festival for her turn as the libidinous, forthright Marylou in Walter Salles' adaptation of Jack Kerouac's seminal Beat-era text On the Road, but right now it is Snow White and the Huntsman that is fortifying her commercial leverage. Sanders' film has quickly earned more than $250 million overseas in a season where several expensive blockbusters, such as Battleship, have failed commercially.
The revised storyline, rich with bloody ill-doing and tactile physical textures, has Charlize Theron as the evil queen, Ravenna, who literally kills young women for their youth, and needs to recapture the stepdaughter she locked away when she killed the girl's father. In a landscape alternately bleak and idyllic, Ravenna's unwilling agent is Hemsworth's widowed Huntsman. In this swords-and-spells edition there are seven dwarves, but they definitely do not sing.
''Our take on the whole idea of a fairytale is very elemental,'' says Sanders, a graduate of television commercials, who delivered the film on a painfully tight schedule to meet the studio's pre-ordained release date. ''But the fact that we've got two strong women playing masculine roles is very modern, and that's part of what excited me.''
The movie's take on femininity feels connected to a 21st-century world view, suggesting that in a world where men expect to rule, women will turn on each other in a bid to prosper. Ravenna's hunger to destroy Snow White could apply to the corporate world or to Hollywood, where female stars have narrower windows of opportunity than their male counterparts.
''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''''I'm not trying to distance myself from Twilight, but there are several films coming out this year that are going to compound the sense of change,'' Stewart says. ''I've done things that are far and away from anything I could imagine, and right now I'm bursting with emotions and questions.''
The media image of Stewart established through the various Twilight cycles is that of an uncommunicative young woman alternating between disdain and boredom in her promotional appearances. However, on a quick visit to Australia with Snow White co-star and former Phillip Island lad, Thor lead Chris Hemsworth, she spoke in swift, excitable sentences and referred to roles in films she believed in as ''causes''. Stewart repeatedly used ''tactful'' in a pejorative sense, as if it was plainly preferable to shake things up.
Stewart was widely praised at the recent Cannes film festival for her turn as the libidinous, forthright Marylou in Walter Salles' adaptation of Jack Kerouac's seminal Beat-era text On the Road, but right now it is Snow White and the Huntsman that is fortifying her commercial leverage. Sanders' film has quickly earned more than $250 million overseas in a season where several expensive blockbusters, such as Battleship, have failed commercially.
The revised storyline, rich with bloody ill-doing and tactile physical textures, has Charlize Theron as the evil queen, Ravenna, who literally kills young women for their youth, and needs to recapture the stepdaughter she locked away when she killed the girl's father. In a landscape alternately bleak and idyllic, Ravenna's unwilling agent is Hemsworth's widowed Huntsman. In this swords-and-spells edition there are seven dwarves, but they definitely do not sing.
''Our take on the whole idea of a fairytale is very elemental,'' says Sanders, a graduate of television commercials, who delivered the film on a painfully tight schedule to meet the studio's pre-ordained release date. ''But the fact that we've got two strong women playing masculine roles is very modern, and that's part of what excited me.''
The movie's take on femininity feels connected to a 21st-century world view, suggesting that in a world where men expect to rule, women will turn on each other in a bid to prosper. Ravenna's hunger to destroy Snow White could apply to the corporate world or to Hollywood, where female stars have narrower windows of opportunity than their male counterparts.
''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''
The media image of Stewart established through the various Twilight cycles is that of an uncommunicative young woman alternating between disdain and boredom in her promotional appearances. However, on a quick visit to Australia with Snow White co-star and former Phillip Island lad, Thor lead Chris Hemsworth, she spoke in swift, excitable sentences and referred to roles in films she believed in as ''causes''. Stewart repeatedly used ''tactful'' in a pejorative sense, as if it was plainly preferable to shake things up.
Stewart was widely praised at the recent Cannes film festival for her turn as the libidinous, forthright Marylou in Walter Salles' adaptation of Jack Kerouac's seminal Beat-era text On the Road, but right now it is Snow White and the Huntsman that is fortifying her commercial leverage. Sanders' film has quickly earned more than $250 million overseas in a season where several expensive blockbusters, such as Battleship, have failed commercially.
The revised storyline, rich with bloody ill-doing and tactile physical textures, has Charlize Theron as the evil queen, Ravenna, who literally kills young women for their youth, and needs to recapture the stepdaughter she locked away when she killed the girl's father. In a landscape alternately bleak and idyllic, Ravenna's unwilling agent is Hemsworth's widowed Huntsman. In this swords-and-spells edition there are seven dwarves, but they definitely do not sing.
''Our take on the whole idea of a fairytale is very elemental,'' says Sanders, a graduate of television commercials, who delivered the film on a painfully tight schedule to meet the studio's pre-ordained release date. ''But the fact that we've got two strong women playing masculine roles is very modern, and that's part of what excited me.''
The movie's take on femininity feels connected to a 21st-century world view, suggesting that in a world where men expect to rule, women will turn on each other in a bid to prosper. Ravenna's hunger to destroy Snow White could apply to the corporate world or to Hollywood, where female stars have narrower windows of opportunity than their male counterparts.
''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''
The media image of Stewart established through the various Twilight cycles is that of an uncommunicative young woman alternating between disdain and boredom in her promotional appearances. However, on a quick visit to Australia with Snow White co-star and former Phillip Island lad, Thor lead Chris Hemsworth, she spoke in swift, excitable sentences and referred to roles in films she believed in as ''causes''. Stewart repeatedly used ''tactful'' in a pejorative sense, as if it was plainly preferable to shake things up.
Stewart was widely praised at the recent Cannes film festival for her turn as the libidinous, forthright Marylou in Walter Salles' adaptation of Jack Kerouac's seminal Beat-era text On the Road, but right now it is Snow White and the Huntsman that is fortifying her commercial leverage. Sanders' film has quickly earned more than $250 million overseas in a season where several expensive blockbusters, such as Battleship, have failed commercially.
The revised storyline, rich with bloody ill-doing and tactile physical textures, has Charlize Theron as the evil queen, Ravenna, who literally kills young women for their youth, and needs to recapture the stepdaughter she locked away when she killed the girl's father. In a landscape alternately bleak and idyllic, Ravenna's unwilling agent is Hemsworth's widowed Huntsman. In this swords-and-spells edition there are seven dwarves, but they definitely do not sing.
''Our take on the whole idea of a fairytale is very elemental,'' says Sanders, a graduate of television commercials, who delivered the film on a painfully tight schedule to meet the studio's pre-ordained release date. ''But the fact that we've got two strong women playing masculine roles is very modern, and that's part of what excited me.''
The movie's take on femininity feels connected to a 21st-century world view, suggesting that in a world where men expect to rule, women will turn on each other in a bid to prosper. Ravenna's hunger to destroy Snow White could apply to the corporate world or to Hollywood, where female stars have narrower windows of opportunity than their male counterparts.
''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''The media image of Stewart established through the various Twilight cycles is that of an uncommunicative young woman alternating between disdain and boredom in her promotional appearances. However, on a quick visit to Australia with Snow White co-star and former Phillip Island lad, Thor lead Chris Hemsworth, she spoke in swift, excitable sentences and referred to roles in films she believed in as ''causes''. Stewart repeatedly used ''tactful'' in a pejorative sense, as if it was plainly preferable to shake things up.
Stewart was widely praised at the recent Cannes film festival for her turn as the libidinous, forthright Marylou in Walter Salles' adaptation of Jack Kerouac's seminal Beat-era text On the Road, but right now it is Snow White and the Huntsman that is fortifying her commercial leverage. Sanders' film has quickly earned more than $250 million overseas in a season where several expensive blockbusters, such as Battleship, have failed commercially.
The revised storyline, rich with bloody ill-doing and tactile physical textures, has Charlize Theron as the evil queen, Ravenna, who literally kills young women for their youth, and needs to recapture the stepdaughter she locked away when she killed the girl's father. In a landscape alternately bleak and idyllic, Ravenna's unwilling agent is Hemsworth's widowed Huntsman. In this swords-and-spells edition there are seven dwarves, but they definitely do not sing.
''Our take on the whole idea of a fairytale is very elemental,'' says Sanders, a graduate of television commercials, who delivered the film on a painfully tight schedule to meet the studio's pre-ordained release date. ''But the fact that we've got two strong women playing masculine roles is very modern, and that's part of what excited me.''
The movie's take on femininity feels connected to a 21st-century world view, suggesting that in a world where men expect to rule, women will turn on each other in a bid to prosper. Ravenna's hunger to destroy Snow White could apply to the corporate world or to Hollywood, where female stars have narrower windows of opportunity than their male counterparts.
''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''Stewart was widely praised at the recent Cannes film festival for her turn as the libidinous, forthright Marylou in Walter Salles' adaptation of Jack Kerouac's seminal Beat-era text On the Road, but right now it is Snow White and the Huntsman that is fortifying her commercial leverage. Sanders' film has quickly earned more than $250 million overseas in a season where several expensive blockbusters, such as Battleship, have failed commercially.
The revised storyline, rich with bloody ill-doing and tactile physical textures, has Charlize Theron as the evil queen, Ravenna, who literally kills young women for their youth, and needs to recapture the stepdaughter she locked away when she killed the girl's father. In a landscape alternately bleak and idyllic, Ravenna's unwilling agent is Hemsworth's widowed Huntsman. In this swords-and-spells edition there are seven dwarves, but they definitely do not sing.
''Our take on the whole idea of a fairytale is very elemental,'' says Sanders, a graduate of television commercials, who delivered the film on a painfully tight schedule to meet the studio's pre-ordained release date. ''But the fact that we've got two strong women playing masculine roles is very modern, and that's part of what excited me.''
The movie's take on femininity feels connected to a 21st-century world view, suggesting that in a world where men expect to rule, women will turn on each other in a bid to prosper. Ravenna's hunger to destroy Snow White could apply to the corporate world or to Hollywood, where female stars have narrower windows of opportunity than their male counterparts.
''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''The revised storyline, rich with bloody ill-doing and tactile physical textures, has Charlize Theron as the evil queen, Ravenna, who literally kills young women for their youth, and needs to recapture the stepdaughter she locked away when she killed the girl's father. In a landscape alternately bleak and idyllic, Ravenna's unwilling agent is Hemsworth's widowed Huntsman. In this swords-and-spells edition there are seven dwarves, but they definitely do not sing.
''Our take on the whole idea of a fairytale is very elemental,'' says Sanders, a graduate of television commercials, who delivered the film on a painfully tight schedule to meet the studio's pre-ordained release date. ''But the fact that we've got two strong women playing masculine roles is very modern, and that's part of what excited me.''
The movie's take on femininity feels connected to a 21st-century world view, suggesting that in a world where men expect to rule, women will turn on each other in a bid to prosper. Ravenna's hunger to destroy Snow White could apply to the corporate world or to Hollywood, where female stars have narrower windows of opportunity than their male counterparts.
''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''''Our take on the whole idea of a fairytale is very elemental,'' says Sanders, a graduate of television commercials, who delivered the film on a painfully tight schedule to meet the studio's pre-ordained release date. ''But the fact that we've got two strong women playing masculine roles is very modern, and that's part of what excited me.''
The movie's take on femininity feels connected to a 21st-century world view, suggesting that in a world where men expect to rule, women will turn on each other in a bid to prosper. Ravenna's hunger to destroy Snow White could apply to the corporate world or to Hollywood, where female stars have narrower windows of opportunity than their male counterparts.
''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''The movie's take on femininity feels connected to a 21st-century world view, suggesting that in a world where men expect to rule, women will turn on each other in a bid to prosper. Ravenna's hunger to destroy Snow White could apply to the corporate world or to Hollywood, where female stars have narrower windows of opportunity than their male counterparts.
''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''''I think that the reason the story has never been irrelevant is that it's so fundamental: you have to have heart,''Stewart says. ''I've met so many people who've become so ugly, people that I thought were really beautiful, because they don't come from anywhere apart from the purely superficial. What they do doesn't work and it doesn't move you. Women can see that, and they can sense it.''
Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''Sanders saw the possibilities in the respective roles for Theron and Stewart early on. The former, he says, had a beauty and a strength she was willing to turn into something destructive, while the latter has a rebellious streak struggling to get out from under the weight of the world on her young shoulders.
''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''''Sometimes you have qualities that you don't know about until you meet someone, or read something, or hear about a story and you realise, 'Wow, that's scary and it speaks to me, I should do that,''' Stewart says. ''Rupert presented a world I wanted to live in and so I believed in the cause.''
Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''Unlike some of her contemporaries, who are adept at promoting themselves but are workmanlike on the screen, Stewart struggles to banter with David Letterman but excels at playing someone else. In close-up, the most technically demanding camera set-up for an actor, she can convey complex emotions without saying a word. That's a blessing and a curse, but she's now completely comfortable with that.
''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''''I love close-ups,'' she says. ''I've never done theatre and although I started at a young age, I was never the kid in the middle of the room. I was never a performer. When there's a camera in my face there's just no going back, there's no excuse. It's better for me because as soon as you pull the camera back there are one hundred walls I can get behind. With a close-up, you can't hide.''
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