Plus thought pro­vok­ers, day­dream­ers, rebels & odd­balls


Some­where be­tween Beliebers, Trump en­dorsers and Man­son Fam­ily mem­bers lies a group of in­di­vid­u­als who pore over their shared ob­ses­sions. But if you’ve re­peat­edly found your­self at a loss for fan-girl be­hav­iour, we have your an­swer. En­ter: Chloë Se­vi­gny. Ul­ti­mate ’90s ‘It’ girl, star of off-beat in­die films and a weapon on the fash­ion circuit. Can’t pic­ture her? Jump onto lit­er­ally ev­ery sin­gle fash­ion blog­ger’s In­sta­gram, she’s the one in the cor­ner of their mood board rock­ing a hair­style that can only be com­pared to the trau­ma­tis­ing trim your dad gave your brother in the early ’90s. She's that cool, she makes bowl cuts cov­etable.

Af­ter be­ing plucked off the streets of New York to model and in­tern for Sassy magazine, Se­vi­gny scored her first role in the cult-movie clas­sic Kids, a drug-fu­elled film fol­low­ing Man­hat­tan teenagers amidst the HIV-AIDS pan­demic. From there, she went on to ap­pear in a host of eclec­tic film roles ( The Last Days of Disco, Boys Don’t Cry, Amer­i­can Psy­cho) and en­joyed her fair share of suc­cess on the small screen – in­clud­ing a ma­jor role in Big Love (for which she won a Golden Globe for Best Sup­port­ing Ac­tress), Amer­i­can Hor­ror

Story and Blood­line. Hav­ing made her di­rec­to­rial de­but at this year’s Cannes Film Fes­ti­val with the short-film Kitty, Se­vi­gny steps back in front of the cam­era for Love & Friend­ship, an adap­ta­tion of Jane Austen’s un­fin­ished novella, Lady Su­san, that re­unites her with her Last Days of Disco di­rec­tor Whit Stillman and co-star Kate Beck­in­sale. With the film out this month, we spoke with Se­vi­gny about the cult movie scene, fash­ion, women in film and selfie cul­ture. Your ca­reer seems to be revving up... I’m work­ing a lot more now, which makes me happy. I’m also get­ting to be part of a lot of dif­fer­ent kinds of projects that has al­lowed me to play some very in­ter­est­ing char­ac­ters. Some­times you go through stages where you’re not find­ing roles that please you and it can be frus­trat­ing. I would love to be able to do films that are re­ally cut­ting edge and have a cult ap­peal, like Boys Don't Cry or Amer­i­can Psy­cho, but un­less you’ve made

films that have made big money, of­ten you won’t get cast in them. I hope that some of the work I’ve been do­ing lately, like Amer­i­can Hor­ror Story and Blood­line will help. You’d wanted to di­rect for some time right? What

pre­vented you from di­rect­ing sooner? What pre­vented me? I think my in­se­cu­ri­ties mostly. I think when I first started out I said, “I want to di­rect, I want to try this.” I was on the set of Gummo and my boyfriend at the time [Har­mony Korine] was di­rect­ing it and it was see­ing the process in a way that I’d never seen be­fore. Of course I’d only done two films prior to that so I was still pretty green. But be­ing so in­volved with it with him I was like, ‘Wow, this is some­thing I re­ally want to try and do as well.’ And then I kept work­ing and then work­ing with big­ger di­rec­tors and more im­por­tant di­rec­tors and real artists and then I started to get re­ally in­tim­i­dated by the process. So it’s just like my own psy­cho­log­i­cal jour­ney through like how I felt about my­self and my con­fi­dence in my­self and whether or not I could pull it off and whether or not I could pitch some­thing or sell an idea to some­one. Just re­ally com­mu­ni­cat­ing with peo­ple on set even was like a real fear for me, you know, talk­ing to ac­tors and stuff. And at 40 I over­came all of that and was like, ‘Al­right, let’s do this.’ Do you think part of the prob­lem is there aren’t enough ex­am­ples of women di­rect­ing movies? I’m not re­ally sure be­cause one of my great­est film ex­pe­ri­ences was Boys Don’t

Cry, it was the best role I’ve ever had on film and that was di­rected by Kim­berly Peirce. I also did Amer­i­can Psy­cho, which be­came an iconic movie and it was di­rected by Mary Har­ron. So early in my ca­reer I had re­ally strong fe­male di­rec­tors who re­ally in­flu­enced me. But I did kind of fol­low their careers and I saw how dif­fi­cult it was for them but I don’t think that re­ally in­flu­enced me be­ing scared of try­ing. So mak­ing your di­rec­to­rial de­but, did you know you wanted to do a short? Would like to do a fea­ture? For sure

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