Chloe Sevigny

[chicandcool]

^ aww so cute in that gif

 

[TheCheekyCritic]

The Slits - "Lazy Slam"



... As much as I wish to respect the death of Ari Up, I had to turn off the sound after the first minute.

 

[Florecita86]

Love that article on Chloe, especially the bits about her career as an actress and how she is not like most actresses who are all over the covers of magazines. I have so much respect for her as a person because she is herself and what she wears reflects that. Thanks for posting that

 

[TheCheekyCritic]

HBO has officially announced Big Love will be ending after Season 5 this winter.
http://ausiellofiles.ew.com/2010/10/28/big-love-to-end-season-5/

Can't say I'm majorly surprised, as the creators of the show kinda already hinted towards that in an interview some time after Season 4, but I must say I'm gonna miss Nicki and her prairie chic. I hate it, and yet on Chloë I secretly love it.

But it was time, and at least now they get to end the show in style. Should be a pretty exciting season.

 

[lightningfields]

i commend her for her unique style but am i the only one that isn't bored to death of her?

 

[alyabebo]

Can anyone tell me what's the costume? Chloe on Halloween.

Her hat look a bit like russian folk, but rest i don't get.

This is the best photo of her.

recent of pictures here http://epiclylaterd.com/halloweenneckLA.html

 

[RedAzalie]

wowza she is crazy XD

 

[marjanthelion]

saywho

 

[Adam Green]

I really like her new style, I haven't seen it yet but I've heard she wears her hair like a Chelsea-girl and dresses in roman-gladiator sandals and a Mighty Ducks jacket. It's hard for someone who's become an icon since she hit puberty to be so political, but she's pulling it off slowly and it's fashion forward. She's been trading in a lot of those vintage looks for gag/novelty shirts and other clothes she bought at the joke shop. God bless her hope she comes around some more.

 

[unwrapmypackage]

​

Having both exploded on the scene and pierced through the seams of the documentary world with his highly-acclaimed first foray, Tarnation, Texan-born filmmaker Jonathan Caouette returns to the screen with just as much alternative bravado — this time with his new haunting ‘narrative’ film, All Flowers In Time.
Caouette also returns to the New York Film Festival this year with this buzzed North American premiere. His dark, hallucinatory dreamscape-ish short takes its audience again to a place of mystery. Starring Chloe Sevigny (Brown Bunny; Party Monster) — the cinema darling of ‘other worldliness’, the story follows the tale of a malevolent signal emitted by a Dutch television program that bewitches viewers and possesses young girls and boys. The damning effect: making watchers believe that they can actually morph into other people, and monsters. But who knows — maybe they can in Caouette’s world?
V caught up with Caouette and his partner on this project, filmmaker Stephen Winter (Chocolate Babies), who — alongside Gus Van Sant and John Cameron Mitchell — produced Tarnation with Caouette. The pair has re-teamed for another trippy, enigmatic, cinematically intriguing journey into the abyss of psychological delirium and surveillance, where dreams and nightmares blur. Don’t say we didn’t warn you: beware of the ‘red eye’; and no, we’re not talking Jet Blue flights.

L.A. Collins: From Tarnation to All Flowers in Time, you have an amazing way of blurring dreams and nightmares on film. Taking that literally, do your dreams impact your work?

Jonathan Caouette: Gosh … I really love these questions so far. Tarnation was certainly one kind of unprecedented animal … It was a film that I felt that I needed to do in the most urgent way. It was this kinda amazing set of circumstances that really made the film burst out all the while I was doing it; while I was filming it; and editing the initial cut of it. With AFIT, it was an amalgam of 2 different projects that were shot over two different periods…actually several different periods. I tend to sometimes work in a rather fragmented non-linear way that I now call ‘Cinema Poverte’…

L.A. Collins: Nice!

Jonathan Caouette: The Chloe [Sevigny] section of the film was done in one day at my apartment with an amazing cast and crew. It was for a very very short version of the film — with Chloe and actor Chandler Franz and David Rankin. The short version was to be part of an omnibus of several other films that were created by other filmmakers that I loved being David Lynch, Harmony Korine, James Franco, Abel Ferrara, Asia Argento, Sean Lennon and many others.

L.A. Collins: Now that’s a cute director line-up …

Jonathan Caouette: And after I did the short short version of the film, I realized that we had shot enough b-roll from that day — and I had a cacophony of content that I had shot two years prior one day with Chloe. It was very similar thematically — enough to do a mash up with. I really don’t like the idea of shooting something and having it simply collect dust on a shelf on some hard drive somewhere … I like using things even if what I use the footage for was not for the original intent — i.e., ‘Cinema Poverte’….. I contacted the editor Jessica Brunnetto, Special FX guru, Robert Morris and some other friends to help me weave it all together into one big fever dream of a film.

L.A. Collins: Which gets us back to, when you close your eyes …

Jonathan Caouette: Yes dreams impact all of my work and everything that I am … I am truly interested in cinematically transposing all of my dreams and fears onto the screen; even if it comes out completely abstract for some people … I am very obsessed and attracted to what we can’t see that is beyond our perception of normal reality. Films to me are like recurring dreams. My continued interest in making films is gonna be all about seguewaying from making docs to narrative fictional films that feel like dreams … Can’t wait to be back on the wagon again with putting out new work. I am also into the idea of attempting to tell stories cinematically in ways that have never been attempted before perhaps … 2011 is going to be an exciting year! Dang… it’s nice to be back off my hiatASS …

L.A. Collins: Chloe — a screen goddess in her own right, no? Tell us about watching her bring your story to life.
Jonathan Caouette: Chloe is a true amazing pro and she came out for that one day shoot, just after getting off a plane from Europe. And she just aced it — with barely rehearsal, and thriving on pure instinct … I loved LOVED watching her work and seeing her own internal process … She is all at once completely grounded and is able to go to so many unexpected places at the same time emotionally. She is truly one of the most beautiful amazing actresses in the world today. I would work with her again anytime.

L.A. Collins: Is it fair to say there’s some sort of connection between awareness around surveillance and being a filmmaker? Particularly one who’s done ‘documentary’?

Jonathan Caouette: Oh god yes — and that really scares me … We are truly melding into a big brother era that no one seems to mind … It’s very weird …Trying to figure out now in my own mind where the line stands between everyone having a camera (and how passé that is), to how filmmaking still fits into all of this? … It seems like we are merging into a place where everyone is going to be a filmmaker now … It’s exciting and scary and overwhelming to think about.

L.A. Collins: A person, place or thing — what is it that sparked you to tell this story?


Jonathan Caouette: My fear of what is BEHIND what we see in day to day moment to moment life is always my perpetual fear of everything … I guess that covers person/place and thing — ha ha?!

L.A. Collins: Can you share — what are you working on now? Possibly doing something again with Stephen?

Jonathan Caouette: It’s hard to say!!!! I LOVE working with Winter! He is one of the few people in this world that speaks Caouette ha ha — in a way that most people don’t get or were afraid to ask/try … You should ask him about that and what that means … I would work with him on anything in a heartbeat … I love Stephen and he is a good friend that I have a great rapport with and short hand with. He will always be in my life and I am sure we will be working on many things together in the future. He is one of the smartest, funniest, most selfless, and giving people I have ever known.

L.A. Collins: Growing up — your favorite ‘alternative’ filmmaker who shaped your choices in the films you’ve chosen to direct and/or producer?

Stephen Winter: I think the most thrilling and influential alt producer I looked up to growing up was Mel Brooks. ‘Cuz who woulda guessed the funny man from Sid Cesar live television and the brilliant comedy writer/director of broad silly comedies would know to hire David Lynch for The Elephant Man after seeing Eraserhead! Mel Brooks produced The Elephant Man AND Blue Velvet, which are about as fine and important a pair of movies one could do. And then Mel kept his name off it so people wouldn’t expect a comedy. It was over a decade before it became wildly known that Brooks not only had a hand in Lynch’s career but pretty much gave him the break that put him over. That’s really putting the sawdust on the floor, isn’t it? Mel Brooks is a producer-god.

L.A. Collins: Do tell — what was the response like for All Flowers In Time at this year’s New York Film Festival?

Stephen Winter: People seemed really buzzed about the film. One of the great things about it is that it goes off in so many different emotional and visual directions. It’s a horror film, that’s also a lullabye, that’s also a fever dream of memory. I think the movie lulls you into a dream like experience and then WALLOPS you with its FX climax. One dude who had his hand over his eyes, here and there, said to us afterwards, “That wasn’t a film — it was an event!” And that’s definitely the kind of response we were hoping for. It was an absolute thrill to be back with Jonathan at NYFF. Very much a dream come true for us to have that return engagement.

L.A. Collins: What simply wows you every time you see this film?

Stephen Winter: I’m constantly amazed how unique Jonathan’s vision is and how he can just bring his alternate reality to life. The pieces are always disjointed as we’re putting the film together, then somehow magically it all falls into place. As the guy who was there from the beginning, when I watch the film I can see all the ingredients standing out saying “Hi, remember when you had no idea who I was — now look at me?!” And the film is just so wonderfully cohesive. Jonathan’s just a magician that way.

http://vmagazine.com

 

[fritze]

I did not know she was working with Jonathan Caouette... that's exiting!

 

[MartiniKiss]

"The Artist's Museum Happening" MOCA Los Angeles Gala held at MOCA Grand Avenue on November 13, 2010 in Los Angeles, California.

zimbio

 

[North]

Chloe's lost me, seriously.

 

[RedAzalie]

^ hep i know what you mean. I still visit this place but seriously i don't remember when latly she take me with her event or candid style

 

[LolaSvelt]

I really like this outfit, actually. It reminds me of Diane Kruger's androgynous Chanel looks.

 

[donnie darko]

I really like this outfit, actually. It reminds me of Diane Kruger's androgynous Chanel looks.

this is exactly why I am not impressed with this look- diane kruger is basically a commercial, consumer friendly version of chloe, which is a down grade for ms sevigny who's looks are usually somewhat avant garde and ahead of the crowd. This is something a clone like alexa hung would wear...I swear this whole cutesy/'quirky' bow look went out like 2 years ago? and I also think she looks like colonel sanders in this get up..

 

[Melly5525]

^i have to agree, i see nothing to like about this look whatsoever, she hasnt wowed me in awhile.

 

[ForChicSake]

Chloe's lost me, seriously.

me too

 

[TheCheekyCritic]

I really like this outfit, actually. It reminds me of Diane Kruger's androgynous Chanel looks.

Exactly what I thought when I saw this look. Diane + a little character. Nice!

I really don't see what's so remarkably uncharacteristic for Chloë about this outfit, except that it isn't as challenging as some of her previous looks, or as we've already established, much of a novelty. Next to e.g. Rose McGowan here, Chloë is anything but boring, and I for one would take this over for example that odd and gloomy Fendi getup from last month any day, less surprising a look though it may be. If I have any complaints at all re her style this year, it would be that it has been rather unvaried, but in any case this outfit doesn't fit that bill.

Looks great on her, too. I especially love the way the bottom half fits on her in just the right places.

 

[LolaSvelt]

Exactly. One of Chloe's trademarks is her androgynity (if you look back in the early noughties). Just because it's suddenly become trendy to dress like a man, doesn't mean she has to change her style.