PARIS issue
aRUDE comment
ONLINE content
ARBITERS
Sexually Speaking Catherine M. interview by Iké Udé
State of Grace Stephen Greco Examines the Divine Jewels of JAR Paris
Choirmaster Chistophe Barratier interview by Brandon Judell
Make it Dada Delano Greenidge focuses on Marc Dachy's Points of Light
The Intoxicating Fumes of '70s Paris Madame de Baron Rigmor Trolle by Johan Falkman
BEAUTY
Beauty Illustrated photography by Wolfgang Ludes
A Girl's Best Friend photography by Kimio Takeyama
BON APPETIT
Questions for Eric Ripert
Questions for Christian Delouvrier
FASHION
Christian Louboutin's Moulin Rouge interview by Patrick McDonald
Enfant Terrible Foujita Photography by Makiko Takehara
The Only One Shoes of Olga Berluti interview by Iké Udé
Kiki of Montparnasse photography by Iké Udé
Chez Josephine Baker photography by Wolfgang Ludes
KULTURE & ART ART
Hardcore aRude interviews Orlan
I Love it Here 14 Questions for Henri Loyrette interview by Barbara Polla
KULTURE & ART CINEMA
Oh Yes Nicole Kidman interview by Brandon Judell
Frankly Yours Arnaud Desplechin interview by Brandon Judell
Like It Is Susan Sarandon interview by Brandon
Cover Her Face Laetitia Masson interview by Anh Duong
Look at Me Agnes Jaoui interview by Brandon Judell
LEGEND
As Young As You Feel Catherine Demeuve interview by Brandon Judell
Mothers and Sons aRUDE interviews Jean Claude Baker on his Mama Josephine
The Temptations of St. Jean Scot D. Ryersson and Michael Orlando Yaccarino Unearth Jean Lorrain
Black Prince of Elegance Charles Baudelariean an excerpt by Valerie Steele
OFF THE WALL GREEN IS OUR COLOR
Selima Salaun
Jean Chatelus
REVIEW
aRUDE Comment by Iké Udé
Telescope A close-up of the stars, notables, scenesters and picturesque dilettantes
ARCHITECTURE & DESIGN
Flora Painting by Henri Matisse
Winner Takes All Alex Ulam gets Vertical with Christian de Portzamparc
Dusted & Finessed Jean-Christophe Poggioli's Design for Living interview by Alex Ulam
Towel with Attitude D. Porthault's Secret Treasures by Alex Ulam
STYLE
Pardon Our Apparance photography by Iké Udé
Element of Style aRUDE's template for style
Style File erotic jewelry designer Betony Vernon
Style File costume corset designer Mr. Pearl
Fantasy & Simulacrum photography by Iké Udé
aRUDE comment
paris_issue_nkidman.php
ONLINE content
ARBITERS
Sexually Speaking Catherine M. interview by Iké Udé
State of Grace Stephen Greco Examines the Divine Jewels of JAR Paris
Choirmaster Chistophe Barratier interview by Brandon Judell
Make it Dada Delano Greenidge focuses on Marc Dachy's Points of Light
The Intoxicating Fumes of '70s Paris Madame de Baron Rigmor Trolle by Johan Falkman
BEAUTY
Beauty Illustrated photography by Wolfgang Ludes
A Girl's Best Friend photography by Kimio Takeyama
BON APPETIT
Questions for Eric Ripert
Questions for Christian Delouvrier
FASHION
Christian Louboutin's Moulin Rouge interview by Patrick McDonald
Enfant Terrible Foujita Photography by Makiko Takehara
The Only One Shoes of Olga Berluti interview by Iké Udé
Kiki of Montparnasse photography by Iké Udé
Chez Josephine Baker photography by Wolfgang Ludes
KULTURE & ART ART
Hardcore aRude interviews Orlan
I Love it Here 14 Questions for Henri Loyrette interview by Barbara Polla
KULTURE & ART CINEMA
Oh Yes Nicole Kidman interview by Brandon Judell
Frankly Yours Arnaud Desplechin interview by Brandon Judell
Like It Is Susan Sarandon interview by Brandon
Cover Her Face Laetitia Masson interview by Anh Duong
Look at Me Agnes Jaoui interview by Brandon Judell
LEGEND
As Young As You Feel Catherine Demeuve interview by Brandon Judell
Mothers and Sons aRUDE interviews Jean Claude Baker on his Mama Josephine
The Temptations of St. Jean Scot D. Ryersson and Michael Orlando Yaccarino Unearth Jean Lorrain
Black Prince of Elegance Charles Baudelariean an excerpt by Valerie Steele
OFF THE WALL GREEN IS OUR COLOR
Selima Salaun
Jean Chatelus
REVIEW
aRUDE Comment by Iké Udé
Telescope A close-up of the stars, notables, scenesters and picturesque dilettantes
ARCHITECTURE & DESIGN
Flora Painting by Henri Matisse
Winner Takes All Alex Ulam gets Vertical with Christian de Portzamparc
Dusted & Finessed Jean-Christophe Poggioli's Design for Living interview by Alex Ulam
Towel with Attitude D. Porthault's Secret Treasures by Alex Ulam
STYLE
Pardon Our Apparance photography by Iké Udé
Element of Style aRUDE's template for style
Style File erotic jewelry designer Betony Vernon
Style File costume corset designer Mr. Pearl
Fantasy & Simulacrum photography by Iké Udé
NICOLE KIDMAN oh yes
Brandon Judell
Nicole Kidman photography courtesy of NYPL click image to enlarge Brandon Judell: It appears you're now working for Chanel. Your ads are everywhere—including bus stops!
Nicole Kidman: No, I just did the No. 5 (campaign). That's a one-time thing? Yes. Everyone keeps saying, "Oh, you're the face of Chanel." I reply, "Oh, No! No! Just the No. 5 thing."
BJ: Well, that's more than enough. You do, by the way, do the Paris couture?
NK: I don't.
BJ: No! Well, in Birth, you were attired to the nines. How important is apparel to you?
NK: I love the beauty of clothes. In terms of a (film) character, you just do whatever is necessary for the character. I basically put myself in the hands of the costume designer. I want to work with the director and the designer and create a character. So whether it's a beautiful piece of clothing or just something that's out of the thrift store, I suppose it might determine what you're doing… But I like sometimes getting dressed up in my own life. (Laughs) I don't mind getting up in something looking lovely.
BJ: Do you spend much time in Paris?
NK: There are times when I get amazed. I went to Paris, and I sat in the Coco Chanel suite by myself on the bed and went, "Oh, my gosh!" And I called my sister and I said, "I wish you were here. We could really enjoy this." But at the same time, I have a little surf cottage just outside of Sydney where I go; I spend some of the happiest times in my life there. It's not even to relax. It's just like sort of walking on the beach and being with my kids. If I didn't have that, I'd feel crazy. I think there's something … when you are alone and you're not sharing it with somebody else. If you don't have a partner, then you're kind of struggling at times. You go, "Whoa!" But I've got very close friends and a great very-together family who are willing to get on a plane and be with me—which is rare. All I have to do is say: "Hey! I need somebody to hold my hand…," which sounds really simplistic. But sometimes the power of that is extraordinary.
BJ: Ann-Margret once said that after she played Blanche DuBois, a month or two later she still was Blanche; she just couldn't shake off the character. Do you snap out of your parts immediately?
NK: It's different every time. There are times when I get physically ill. There are other times when I just have to run away and be completely by myself, with my kids, or just…(she takes a deep breath)… put everything in perspective. I wish there was rhyme or reason to it. I never have any idea what I want to do next. (Laughs) I sometimes disappear. I leave a message on my cell phone, saying: "I'm absolutely uncontactable. Don't even try. I put on my email: Will not be available until…" (Laughs) That's a great thing to do. I really advise it because we're all so available now.
NK: Oh, that's why you're asking all these French questions. (Laughs)
BJ: Were you affected by the French New Wave? Jean Seberg, Breathless …
NK: Definitely. In terms of French cinema, I think it's been so influential on American cinema, and it still is. FranÁois Ozon and a number of really important directors still are working in France. I just wish I spoke French, because I'd love to go and work with them. But I have such an affinity for Europe. Whenever I go there, I certainly see it at its best. I was in a cafÈ in France. There was just the guy behind the counter. I had my hat on, I had my book, and I was just sitting there reading, and then I went to get a coffee. And he went… (whispering) "I'm not going to say anything, but we love your movies." (Laughs) And I felt, That's really nice.
BJ: By the way, do you still remember you first role as a bleating sheep?
NK: (Laughs) I thought you said, "The bleeding sheep." I was never in that film. I remember being a kid and being in the Christmas pageant, yeah. Life was easy then.
BJ: Are there other actresses you would like to emulate? Would you be happy being the American Catherine Deneuve?
NK: Deneuve's both a great beauty and a superb actress, and her career goes on and on.
BJ: Do you see such a progression for yourself?
NK: If I'm lucky enough. I think so much of it is protecting yourself enough that you're still able to give a part of yourself… which sounds like a very strange statement. But if I'm able to do that… Otherwise, it might just get too much, and I might not be able to do that.
BJ: You seem so much stronger and happier now than when I interviewed you for Portrait of a Lady. You appeared rather fragile back then. Are you happier and stronger?
NK: It's a weird question. Am I happy? I'm happy at the moment and very happy at moments. I don't feel strong. I feel terribly weak, but I would hope there's an inner strength. I have two kids. You have to be strong when you are responsible for two other lives.
Brandon Judell
Nicole Kidman photography courtesy of NYPL click image to enlarge Brandon Judell: It appears you're now working for Chanel. Your ads are everywhere—including bus stops!
Nicole Kidman: No, I just did the No. 5 (campaign). That's a one-time thing? Yes. Everyone keeps saying, "Oh, you're the face of Chanel." I reply, "Oh, No! No! Just the No. 5 thing."
BJ: Well, that's more than enough. You do, by the way, do the Paris couture?
NK: I don't.
BJ: No! Well, in Birth, you were attired to the nines. How important is apparel to you?
NK: I love the beauty of clothes. In terms of a (film) character, you just do whatever is necessary for the character. I basically put myself in the hands of the costume designer. I want to work with the director and the designer and create a character. So whether it's a beautiful piece of clothing or just something that's out of the thrift store, I suppose it might determine what you're doing… But I like sometimes getting dressed up in my own life. (Laughs) I don't mind getting up in something looking lovely.
BJ: Do you spend much time in Paris?
NK: There are times when I get amazed. I went to Paris, and I sat in the Coco Chanel suite by myself on the bed and went, "Oh, my gosh!" And I called my sister and I said, "I wish you were here. We could really enjoy this." But at the same time, I have a little surf cottage just outside of Sydney where I go; I spend some of the happiest times in my life there. It's not even to relax. It's just like sort of walking on the beach and being with my kids. If I didn't have that, I'd feel crazy. I think there's something … when you are alone and you're not sharing it with somebody else. If you don't have a partner, then you're kind of struggling at times. You go, "Whoa!" But I've got very close friends and a great very-together family who are willing to get on a plane and be with me—which is rare. All I have to do is say: "Hey! I need somebody to hold my hand…," which sounds really simplistic. But sometimes the power of that is extraordinary.
BJ: Ann-Margret once said that after she played Blanche DuBois, a month or two later she still was Blanche; she just couldn't shake off the character. Do you snap out of your parts immediately?
NK: It's different every time. There are times when I get physically ill. There are other times when I just have to run away and be completely by myself, with my kids, or just…(she takes a deep breath)… put everything in perspective. I wish there was rhyme or reason to it. I never have any idea what I want to do next. (Laughs) I sometimes disappear. I leave a message on my cell phone, saying: "I'm absolutely uncontactable. Don't even try. I put on my email: Will not be available until…" (Laughs) That's a great thing to do. I really advise it because we're all so available now.
In terms of French cinema, I think it’s been so influential
on American cinema, and it still is. François Ozon and a number
of really important directors still are working in France.
BJ: By the way, this is for aRude's Paris issue.
NK: Oh, that's why you're asking all these French questions. (Laughs)
BJ: Were you affected by the French New Wave? Jean Seberg, Breathless …
NK: Definitely. In terms of French cinema, I think it's been so influential on American cinema, and it still is. FranÁois Ozon and a number of really important directors still are working in France. I just wish I spoke French, because I'd love to go and work with them. But I have such an affinity for Europe. Whenever I go there, I certainly see it at its best. I was in a cafÈ in France. There was just the guy behind the counter. I had my hat on, I had my book, and I was just sitting there reading, and then I went to get a coffee. And he went… (whispering) "I'm not going to say anything, but we love your movies." (Laughs) And I felt, That's really nice.
BJ: By the way, do you still remember you first role as a bleating sheep?
NK: (Laughs) I thought you said, "The bleeding sheep." I was never in that film. I remember being a kid and being in the Christmas pageant, yeah. Life was easy then.
BJ: Are there other actresses you would like to emulate? Would you be happy being the American Catherine Deneuve?
NK: Deneuve's both a great beauty and a superb actress, and her career goes on and on.
BJ: Do you see such a progression for yourself?
NK: If I'm lucky enough. I think so much of it is protecting yourself enough that you're still able to give a part of yourself… which sounds like a very strange statement. But if I'm able to do that… Otherwise, it might just get too much, and I might not be able to do that.
BJ: You seem so much stronger and happier now than when I interviewed you for Portrait of a Lady. You appeared rather fragile back then. Are you happier and stronger?
NK: It's a weird question. Am I happy? I'm happy at the moment and very happy at moments. I don't feel strong. I feel terribly weak, but I would hope there's an inner strength. I have two kids. You have to be strong when you are responsible for two other lives.
