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INTERVIEW COVERS SIX: Interview magazine will pay tribute to photographers in its September issue, which hits newsstands on Thursday. The magazine tapped six well-known photographers, who chose women whom they felt represented beauty. Steven Klein selected Nicole Kidman, Mert Alas and Marcus Piggott picked Naomi Campbell, Patrick Demarchelier chose Keira Knightley, Craig McDean tapped Amber Valletta, Peter Lindbergh selected Léa Seydoux and Mikael Jansson photographed Daria Werbowy.
“It was like doing six cover shoots,” said Interview editor in chief Keith Pollock, who noted that different copies of the September issue would feature one of the six covers. “There were no restrictions. There was a lot of travel. We shot in Sweden, Ibiza, London, Paris, New York. No photographer was in the same place.”
Inside the issue, each muse interviewed the photographer on their vision, except in the case of Alas and Piggott, who were interviewed by Riccardo Tisci.
“It was like doing six cover shoots,” said Interview editor in chief Keith Pollock, who noted that different copies of the September issue would feature one of the six covers. “There were no restrictions. There was a lot of travel. We shot in Sweden, Ibiza, London, Paris, New York. No photographer was in the same place.”
Inside the issue, each muse interviewed the photographer on their vision, except in the case of Alas and Piggott, who were interviewed by Riccardo Tisci.
Keira Knightley Makes Her Broadway Debut in the Torrid New Thérèse Raquin
by ADAM GREEN | photographed by MIKAEL JANSSON
For Keira Knightley, the current state of the relationship between life and art could best be described as ironic: On the one hand, she’s a new mother (she and her husband, James Righton, welcomed their daughter, Edie, in May) getting ready to make her Broadway debut in the Roundabout Theatre Company’sThérèse Raquin; on the other, she’s playing a depressive, homicidal adulteress who kills herself at the end of the play.
“It’s a totally wonderful, happy moment in my life, and here I am doing . . . this,” she says, laughing and breaking into her famously sunny smile, more benediction than mere facial expression.
“It’s bizarre. I said yes to it before I knew I was pregnant. And then there was the question of, Oh, God, do I need to pull out? My mum and another friend of mine said, ‘Absolutely not! You’re a working woman. Your daughter has to know that’s where she comes from, and that’s part of you. You stick to your plans.’ So I did what I was told.”
As the repressed title character of Helen Edmundson’s new adaptation of Émile Zola’s 1867 novel, under the direction of Evan Cabnet, Knightley always does as she’s told, including marrying her sickly, narcissistic cousin Camille (Gabriel Ebert) at the behest of her aunt (Judith Light). Soon, though, Thérèse falls into a torrid affair with Camille’s friend Laurent (Matt Ryan), awakening her long-submerged sexual hunger—and rage—and leading to the two of them drowning Camille before succumbing to fear, mutual loathing, and double suicide.
Knightley, who’s proved with terrific London stage performances in The Misanthrope and The Children’s Hour that she’s no slumming movie star, was offered the chance to play Thérèse in two earlier productions and turned both down because, she says,
“it scared me—melodrama is a tricky fucker, and I think that I just didn’t get it.” But she fell in love with the almost
by ADAM GREEN | photographed by MIKAEL JANSSON
For Keira Knightley, the current state of the relationship between life and art could best be described as ironic: On the one hand, she’s a new mother (she and her husband, James Righton, welcomed their daughter, Edie, in May) getting ready to make her Broadway debut in the Roundabout Theatre Company’sThérèse Raquin; on the other, she’s playing a depressive, homicidal adulteress who kills herself at the end of the play.
“It’s a totally wonderful, happy moment in my life, and here I am doing . . . this,” she says, laughing and breaking into her famously sunny smile, more benediction than mere facial expression.
“It’s bizarre. I said yes to it before I knew I was pregnant. And then there was the question of, Oh, God, do I need to pull out? My mum and another friend of mine said, ‘Absolutely not! You’re a working woman. Your daughter has to know that’s where she comes from, and that’s part of you. You stick to your plans.’ So I did what I was told.”
As the repressed title character of Helen Edmundson’s new adaptation of Émile Zola’s 1867 novel, under the direction of Evan Cabnet, Knightley always does as she’s told, including marrying her sickly, narcissistic cousin Camille (Gabriel Ebert) at the behest of her aunt (Judith Light). Soon, though, Thérèse falls into a torrid affair with Camille’s friend Laurent (Matt Ryan), awakening her long-submerged sexual hunger—and rage—and leading to the two of them drowning Camille before succumbing to fear, mutual loathing, and double suicide.
Knightley, who’s proved with terrific London stage performances in The Misanthrope and The Children’s Hour that she’s no slumming movie star, was offered the chance to play Thérèse in two earlier productions and turned both down because, she says,
“it scared me—melodrama is a tricky fucker, and I think that I just didn’t get it.” But she fell in love with the almost
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