Wednesday, December 10, 2014

Scout Willis Considers Miley and Rihanna 'Performance Artists'


Photo: Getty Images
The tabloids are right! Celebs really are just like us—at least when it comes to stalking their kids online. “My dad [Bruce Willis] doesn’t have any social media presence, and my mom [Demi Moore] doesn’t any more, either,” Scout Willis said this weekend at Art Basel. “But they’ve figured out how to follow me anyway. They know what I’m doing,” she confirms, referring to her topless #FreeTheNipple photos on Twitter. “Believe me,” she said with a laugh, “they know!”
Okay. But what do they think? “They’re totally behind me,” she said. “They support me 100% in whatever I do, which is such a gift. But I’d be lying if I said they didn’t question my methods sometimes.”
23-year-old Willis was visiting the week long art festival to help Glenn O’Brien host his famous TV Party, a annual ritual that began a decade before she was even born. “When he asked me to come, I didn’t really know what ‘TV Party’ meant,” she admitted, “so I started researching it. And the more I discovered, how Debbie Harry and The Ramones were part of it, but so were modern artists and random people off the street, the more I loved it. It was an honor to be part of something so historical and also so punk rock—but still something so rooted in art.”
Willis also considers megacelebrity to be a kind of art, especially when it defies social norms. “I grew up in the [Hollywood] culture, and it’s always been weird. But lately, celebrity has gotten pushed to a place of such absurdity because of the way we can consume images 24/7. So the cool thing is that now it’s become a kind of performance art, where certain celebrities—especially young women—are taking ownership of the invasiveness that comes with fame, and they’re turning it on its head. Rihanna’s a good example. She’s like, 'I’m gonna do whatever I want,' and that’s cool. People like her, and like Miley Cyrus, they’ve been told they have to play into this role of being a ‘glamorous’ young woman, and they get shit on with this madonna-whore complex. And if they refuse to play the game—be a perfect, prim, good girl and have your shit together and wear what your stylist tells you—then you’re labeled crazy, like Miley.”
“So this reaction against looking perfect, wearing perfect runway looks on the red carpet—there’s obviously a hunger to push against that ideal in a public, visual way. And so Miley and Rihanna have become performance artists, they’ve become surrealist artists, they’ve taken ownership of their own image back. In a much smaller way, I guess, that’s what happened with me and #FreeTheNipple. I made my Instagram public because I wanted to have a little ownership of my public image. Other people had been writing about me and my family for my whole life. And the stories out there—they didn’t sound like me. That moment on social media was the first time I ever made myself public about something I believed in. And I’m really impressed by celebrities like Rihanna and Miley because they’re doing that on a much bigger scale.”
Someone else who impresses Willis: Kim Kardashian. “I admire her a lot,” Willis said earnestly. “Not necessarily from an art perspective, but definitely as a businesswoman. I really do. To parlay being friends with Paris Hilton into making every single member of her family individually famous for basically nothing—you can’t knock that hustle even if you want to.”

Thursday, November 27, 2014

Director Jennifer Kent on Her Sundance Horror Hit 'The Babadook'

Photo: Courtesy of Company
Heading home from any big film festival, you can't help gnawing your manicure, knowing that you must have missed something amazing. At Sundance this year, for me it was The Babadook, pegged as a horror film and repeatedly shown at midnight. When I caught up with it later, I just had to talk to its Australian writer-director, Jennifer Kent, if only on the phone from Sydney.
I love this line from your director's statement: "Despite its horror, The Babadook is a love story, a mother moving through the center of hell towards her child."
I wanted this film to be scary and have an emotional quality, but also be quite beautiful.
Is the mother in this story based on an actual woman?
I had a friend who was finding it very hard to love her son. She just couldn't connect with him, didn't like him. I felt he was killing her in a lot of ways emotionally, and it was really having an effect on him. He was seeing what he was calling a monster man everywhere, and the mother found that the only way to deal with it was to see it as real. And then I had this thought—Well, what if it was real?
How are audiences responding to this theme?
I thought maybe I'd be criticized for showing a mother in this light, but I've encountered the opposite reaction. Women have been relieved and grateful to see a complex female character up there who's struggling with motherhood and many other things.
Essie Davis is amazing as the mother, and Daniel Henshall, the boy, is extraordinary. So much is conveyed in his eyes, and you don't expect that from a child.
Davis is a highly skilled, extremely talented actress, but she's not yet someone you'd call a star. And Henshall is a very deep soul. On the set, his mother once asked him why he was so focused here but not at school, and he said, "Well, this is important."
Your movie is singular, in that most horror movies offer up a kind of cookie-cutter menu of brutality and terror.
Horror is a very underrated genre, and it's seen by a lot of people as trash, but when you look at films like Werner Herzog's Nosferatu remake, or the original one, there's a lot of beauty. I think horror gets a bad rap. Its origin lies in fairy tale—these dark, dark stories that were myths, really, and that's why they still survive. They have the power to reach us all.
This article appears in the November 2014 issue of ELLE magazine.