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P: Is doing a movie always a bet?
KS: That's exactly it. The final result depends on a lot of factors and it's a miracle when our first intentions last until the end. Flaw free paths are rare, in particular in big budget movies where people are scared because of the funds in play, the commercial expectations and finally products that are calibrated, lukewarm and souless. I'm biased, I know, but I find Snow White and the Hunstman really good and unique in its own genre. It's even more striking when it's a story that everyone is supposed to know by heart. The final result is really cool.
more after the cut
P: When did you realise, on an artistic level, that you won that bet?
KS: Pretty early on, to be honest. Rupert had a great reputation as a commercial director but he never shot feature films. He landed the job of Snow White and the Huntsman by preparing this sort of demo tape in which he exposed his aesthetic choices. In the movie, we travel between several worlds and it just so happens that Rupert was as inventive in his description of the enchanted forest than the one of the dark forest. It was important for me to know that he would be convincing on both plans because it's truly the heart of the story: the fight of the light against the darkness.
P: Let's talk about your personal relationship with the myth of Snow White. I think I understood that you weren't a fan of Walt Disney when you were a child...
KS: That's not true, I love Dinsey movies! It's just that I'm not a fan of cartoons with princesses in it. I prefered the Jungle Book or Robin Wood to Snow White and the Seven Dwarves. Our Snow White marks a return to basics. We play it classic, she's very faithful to the Grimm Brothers'. Of course, since the tale is short we had to develop and invent new twists and turns. The movie is darker, more violent. Disney adapted the Grimm's story with their own colors. We darkened the picture.
P: During the shooting of the movie, you mentioned the things Snow White and Joan of Arc had in common. Did you know that Jennifer Lawrence took Joan of Arc as a model too for her role in The Hunger Games?
KS: Oh really? That's funny ... and logical in the sense that women don't have many historical figures to look up to - unlike men who have plenty to choose from. It's normal for Jennifer and I to be interested in Joan of Arc since she's the mother of all modern heroines.
P: From Joan Jett in The Runaways to Snow White, you always chose roles of rebels, of heroines that defy the rules. Do you see those similarities, those echos between your roles?
KS: Yes, but mostly I feel like I find an interest in characters that are honest, righteous, whether it's Joan Jett, Bella in Twilight or Marylou in On the Road. I haven't played yet someone that I didn't like 100%, or someone whom I didn't approve the choices. It'll be my next step: to face a role really wicked and twisted.
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