Chloë Sevigny Joins ‘Lovelace’

Now that Demi Moore has dropped out of the upcoming Linda Lovelace biopic to seek professional help, our favorite stylesetter Chloë Sevigny is stepping in. According to The Hollywood Reporter, Sevigny will play "a feminist journalist on freelance assignment for a men’s magazine to find out who the real Linda Lovelace is."

Directed by Rob Epstein and Jeffrey Friedman, Lovelace features Amanda Seyfriend as the famous porn star, supported by the likes of Sharon Stone, Juno Temple, Peter Saarsgard, and James Franco as Hugh Hefner (really). You may recall the film’s revolving door of cast members first triggered when Lindsay Lohan was fired, so we’re not sure if this is the final-final star roster, but we really hope Sevigny sticks around.

Watch Michael Cera and Juno Temple in the New Trailer for ‘Magic Magic’

Can we all agree that Michael Cera has always been creepy and that his face his matured into the perfect mold for a psychologically disturbing character? Okay, great. Because with the new trailer for Sebastian Silva’s Magic Magic, the actor seems to have taken on perhaps his most interesting role yet.

After playing at the Director’s Fortnight at Cannes this year,the psychological thriller starring Juno Temple, Emily Browning, and Catalina Sandino Moreno will be heading straight to DVD. Focusing on an American girl (Temple) visiting Chile with her cousin, she’s soon left alone with her cousin’s less than normal friends who lead her down a path of total mental unhinging. Check out the first chill-enducing trailer below.

Rachel Shukert’s Blissful ‘Starstruck’ Brings Back the Golden Age of Hollywood

I don’t read a lot of young adult fiction, but when I found out my friend Rachel Shukert was penning a trilogy of novels about young Hollywood starlets in the 1930s, I knew it was right up my alley. Known for her two hilarious memoirs, Have You No Shame and Everything Is Going to Be Great, as well as the fantastic recaps of the ill-fated Smash on Vulture, Shukert brings an astounding voice to her writing, one that is both irreverently raucous and sweetly endearing. Starstruck, Shukert’s first foray into fiction, embodies all of her traits, and it’s a fantastic look at the Golden Age of Hollywood.

Focusing on a trio of young women (Margo Sterling, Amanda Farraday, and Gabby Preston), Starstruck brings alive those now-mythical years of movie-making with a campy behind-the-scenes look at the stars that caught the attention of the average American as well as the studio heads who capitalized on them. Think of it as Valley of the Dolls starring Shirley Temple—it mixes the seediness of showbiz drama with the melodiousness chase of stardom.

This week, Rachel Shukert and I corresponded via email to talk about her obsession with old Hollywood, her ideal audience, and how the nature of celebrity has changed over the last century.

What about this time period inspired you to write about it?
Well, look, since I was a startlingly small child, I’ve been moderately to massively obsessed with old movies and the idea of Golden Age Hollywood, the stars, all of that stuff–the glamor of it, the secrets, and the incredible confluence of insanely talented people working in Hollywood at the time. I love stories about show biz back when it was show biz, you know, and people lived out these huge larger than life stories, and all this seamy stuff happened behind the scenes. It was something I always wanted to be a part of. 

But in a more general sense, I think the ’30s are my favorite era. You can kind of see most of the 20th century as series of reactions to various disasters. The frivolity and the decadence of the ’20s was a direct reaction to World War I and the Spanish flu and all this death and destruction; it was like, honey badgers no longer gave a shit. And then you can also look at the kind of proscribed suburbanism and conformity of the ’50s and early ’60s as this direct response to the horrors of World War II, where the world looked straight into the heart of darkness and responded by regressing into this weird, repressed, idealized kind of childhood where nothing bad could ever happen again as long as you had the right vacuum cleaner and Mother didn’t work and everybody forgot that sexual intercourse of any sort existed (or at least never acknowledged so verbally.) But in the ’30s, everyone was dealing with the Depression, and just didn’t have the time for self-delusion, so everything was very self-consciously sophisticated and witty and cynical and hard-boiled. There was a frankness in the culture that appeals to me. Unless, of course, you were one of the increasing number of people seeking refuge in one of the ascendant ‘isms’—you know, like fascism. Which is also one of my favorite things about this period, as you know, and as I’ve written about. I never get tired of Nazi stuff. Hollywood and Hitler were my two favorite things to read about/think about when I was a kid. They remain so to this day. I don’t think the fact that they were both ascendant at the same time is exactly incidental to my interest in either. 

Who were some of the real-life starlets you used as inspiration for your cast of characters? 
Well, the obvious one is Judy Garland, who is almost entirely the basis for Gabby Preston, and who is my favorite actress of all time. Margo Sterling has a little bit of Lana Turner in her, particularly in the way she is discovered [at Schwab’s Pharmacy in Hollywood], but she also has some of that classic society girl thing, like a Gene Tierney or a Dina Merrill. Amanda Farraday is a little bit Rita Hayworth, a little Hedy Lamarr, mixed with a lot of shadowy rumors that there were about a lot of stars at this time, that they had these kind of scandalous pasts the studios would try to cover up. But except for Gabby, none of them are really based on any one person, it’s sort of lots of little bits of things. And no matter how you try to base a character on someone, they take on a life of their own, and that life is almost always reflective of you in some way. So they’re all loosely based on the real-life starlet Rachel Shukert. 

I know you started acting in Omaha as a girl—did any of those experiences make their way into the novel? Did you base any of your characters on your young adult self?
Ha, see above! I mean, yes, of course they did. Not in a hugely literal way, but that feeling of desperately wanting more, of being sure you’re destined for great things, that has a lot to do with me as a young (or younger!) adult. And Margo’s fantasy life, the way she is constantly referencing these movies in her head, and how they inform her behavior, that has a lot to do with me as well. And obviously, I know the feeling of auditioning, of that incredible anxiety that I think actors—especially younger actors—have that they’re falling behind, that it’s not happening for them, that it’s never going to happen, that everybody else has what they want (and should rightfully be theirs): that’s all very personal. But for me, the most painful realization in my acting was getting out of drama school and realizing that I had zero interest in being an actual actress in New York in the 2000s, that all I had ever really wanted was to be a movie star in Hollywood in the 1930s. So the book was therapeutic in that way.  

Starstruck is the first part of a series—how far have you written, and can you give us any details for where these characters are headed?
I’ve finished the second book, and am working on the third now. I don’t know how much I can tell you without totally giving away the ending of Starstruck, but I will say, the overarching theme of the whole series is really about finding yourself as an artist. So all of the characters are going to go through a kind of a period of refining, of figuring out that what they’re good at isn’t necessarily what they thought they wanted—and that goes for love as well. Margo has had this dizzying rise—now what? Can she sustain it? And more importantly, does she want to? Gabby is going to push more boundaries, trying to prove to everyone that she’s a grown-up, and we’ll see how that conflicts with her talent and potential. Amanda is trying to pick up the pieces of her life and move forward with some dignity, but it’s not working that well. I’ll tell you this, it’s all very juicy. We’ve only peeled back the first few layers of the onion–there are still a lot of secrets to be revealed. There’s more sex, more drugs, more jazz. Things are about to get very "Hollywood Babylon" up in this shit. Minus the Black Dahlia murders and speculation about lesbian incest between the Gish sisters. You know what I mean. 

What was it like to write a novel, since your first two books were memoirs? Was it a challenge to write for a younger audience? 
Honestly, the biggest thing was having to continually remind myself that I could make stuff up. That sounds stupid, but when you’re writing a memoir, the challenge is that all the pieces are there, and it’s your job to figure out the most pleasing, most effective way to arrange them. If something doesn’t fit, you can leave it out, but you can’t change it, you know? And with this, sometimes I would get to a point in the story where I’d be like, this isn’t working, and I would actually have to say out loud: "Fine, so make them do something else!" The other thing, which I didn’t expect, is how protective I would become of these characters, in a way that I never was about myself when I was the main character. It’s weird, it’s very maternal, sort of helicopter-mom like. Are they getting enough attention? Do people love them enough? DON’T SAY ANYTHING ABOUT MY BABIES! If someone doesn’t like the book—and this, thankfully, hasn’t really happened much—I am furious on their behalf, not mine. It’s insane. 

As for a young audience, I mean yes. There are many fewer dick jokes in this book than there have been in my past works. There are, however, a lot more super-queeny Joan Crawford jokes, which I know are VERY relevant to this generation. Let’s just be honest: I wrote this book for members of the drama club and middle-aged gay men. Fin. 

Back to the Old Hollywood setting of Starstruck: do you see a lot of similarities in the way stars were manufactured in the past as they are now?
I think it’s totally different, actually, which is part of what I like about the old studio system. You would go into this sparkle-factory, and come out an entirely different person—new name, new look, whatever they needed you to be, that’s what they’d make you. There’s this inherent unreality to that culture, with these larger-than-life stars, that feels so foreign now to what the fame-industrial complex has become. Now, it’s all about "authenticity." We want stars to be "just like us." They have to be relatable, and if they’re not, they have to be punished. In a certain way (and a very tacky way) I actually think reality stars have become more like what old Hollywood stars were—these personalities that people gossip about, who are basically actors playing some bigger, more dramatic version of themselves. The whole Bravolebrity concept, where we obsess about these characters like they’re real, their relationships with each other–that has really replaced the daytime soap world, which I think was the closest corollary to the old Hollywood star system. But each iteration becomes somehow less than—it’s like Xeroxing a Xerox. You go from real stars to soap opera characters to like, Kyle Richards, and it’s all because of our obsession with the "real," which I think is really a kind of cultural sickness. We’ve become so unimaginative. 

If you were to cast actors to play these roles in a movie version of Starstruck, who would you pick?
Oooh, my favorite question!!! Who would you pick? 

Clever, lady! I could see a Taylor Swift-type (begrudgingly) as Margo, and part of me wanted to imagine Kirsten Dunst as Amanda Farraday (and a little bit with Diana Chesterfield). I could totally see Chloe Grace-Moretz as Gabby, too. 
I LOVE Chloe Grace Moretz for Gabby! She’s adorable and just very slightly evil, which is perfect. Can she sing? I demand to know if she can sing. I also like the idea of Kirsten Dunst as Diana Chesterfield, because she needs to be a bit older, and a little bit like, I’ve seen it, oh the things that I have seen. That’s perfect. For Margo, you know, you want this kind of lovely ingénue who can have a little bit of an edge and not be boring. I think Elle Fanning looks really right, but she’s still a few years too young. But by the time anyone makes this, she’ll be perfect. Or Saoirse Ronan, who has a kind of gawkiness that I like, and always seems smart. For Amanda, you need someone who is tough, but also vulnerable, sort of hard and soft at the same time. I like Emilia Clarke, Mother of Dragons. She’d be good, if she dyed her hair red. Or Juno Temple, who actually has red hair already! Budget saver!

Juno Temple Cast As Princess Margaret In ‘Girls’ Night Out’

British "It" girl Juno Temple has been cast as the late Princess Margaret in Girls’ Night Out, a fictionalized story of how the two princesses left Buckingham Palace for a night to celebrate the end of World War II in the streets with the common folks. 

The film will show the princesses partying amongst the revelers unnoticed on VE Day in 1945, a sort of historical fiction of Roman Holiday. Actress Alexandra Roach, who played a young Margaret Thatcher in The Iron Lady, has been cast as Queen Elizabeth; Michael Hoffman from The Last Station is directing. 

A piece in the Guardian announcing Temple’s casting as a princess was an exercise in pearl-clutching: it noted that Temple "made her name playing an American serial killer beauty queen, a 1970s prostitute, a lesbian werewolf and an abused teenager from a Texas trailer park." It also noted she’s in two films debuting at Sundance, Afternoon Delight, which is about strippers, and Lovelace, which is about porn star Linda Lovelace.   

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New Image of Amanda Seyfried as Linda Lovelace; Biopic Set for Sundance Premiere

Yesterday we brought you the fifteen movies we’re most excited about at this year’s Sundance Film Festival, but it seems we forgot one big one: Lovelace, the biopic about Linda Lovelace and her starring turn in the classic ’70s porno Deep Throat. Stills from the film have been trickling online in the fast few months (and there’s something about that phrase that makes me a little uncomfy considering the subject matter of the film), but a new image of Amanda Seyfried in the titular role’s groovy hairdo popped up this morning.

Entertainment Weekly shares the image as well as more details about the film, which has an impressive cast assembled.

Sharon Stone, Juno Temple, Wes Bentley, Hank Azaria (in the directors chair), Robert Patrick, Bobby Cannavale (partially obscured in the upper right corner), and Chris Noth (standing beside the camera) co-star in Lovelace. Peter Sarsgaard also stars as Lovelace’s husband, Chuck Traynor, the man she later claimed abused her and coerced her into the porn world. James Franco will appear as Playboy founder Hugh Hefner, and Adam Brody (seated in the chair) is fellow porn actor Harry Reems.

Will Lovelace be a hit? Few movies have been able to capture the essence of porn the way that Boogie Nights did nearly sixteen (sixteen! it’s been that long!) years ago. It’ll definitely be a movie to keep an eye on. 

Check out the new still below:


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It Brit Girl Juno Temple Bares All

Standing at a petit 5’2” and topped off with a wild, wavy blonde mane, 23-year-old actress Juno Temple is not your average young Hollywood starlet. With four films out this year, and five in post-production, the British bombshell is literally everywhere. From the moment you see her on screen, she commands a presence that’s at once deeply endearing and frighteningly captivating, taking on roles that are provocative and challenging. This past year, Temple portrayed the innocent-yet-sultry Dottie in William Friedkin’s grease-fried pulp hit Killer Joe alongside a gritty and grizzled Matthew McConaughey and Emile Hirsh. This summer Temple also made an appearance in Christopher Nolan’s Dark Knight Rises and will star in the darkly romantic flick Jack and Diane, locking lips with Riley Keough.

While the captivating ingénue has already proven her theatrical dexterity, it’s with her latest film Little Birds that Temple really shines. The film tells the story of Lily, a tough and rebellious young girl who longs to escape her hazy and mundane life by the Salton Sea. After meeting a pack of beer guzzling drifter skateboarders, Lily experiences a life-altering event after an impromptu excursion to Los Angeles. We recently caught up with the charming actress to discuss character-building, exploring sexuality on screen, and the drama school of life.

You’ve been in a ton of films this year alone. How does that feel to keep putting out one thing after another?
It’s exciting, and I feel really fucking lucky, because with this business it’s so unpredictable and you never know when you’re going to work or not going to work. I also feel nervous about it, too, because with movies coming out back-to-back people are really going to be judging how much of a chameleon you can be if the roles are really similar or really different. Whatever it ends up being you want to be different in each movie. You want to be forgettable as Juno Temple but memorable as your character.

Does it becoming sort of addicting working so much and throwing yourself into these characters?
It’s always hard to keep tabs. What’s hard is when there’s two things going on at one time and then you really keep like [asking yourself], “Who am I right now?”

Tell me a little bit about how you started acting, I heard about how you watched La Belle et La Bête and decided you wanted to be an actress.
Yeah, that’s when I was a baby. But when I decided I wanted to get my start in the business I told my parents when I was 14. They both went, “Well okay, good luck to you, you’re going to be pretty miserable and unemployed a lot of the time.” And I was like, “Yeah, well, I want to give it a shot.” And they found out about an open audition in London and sent me out for it and I waited in line for about three hours to take a Polaroid picture. They said they’d let me know by the end of the week. I got a phone call two-days later and the director asked me to come in and audition. It was for Notes on a Scandal with Richard Eyre directing, which is amazing. And I was like, “Shit, an audition, what do I do?” And I went in and got it like two days later.

So you started off on a pretty high note.
Yeah right, I know. My mom told me it would all go down hill after that, and then my second job was Atonement.  

Your parents are both in the film industry, so it was good they were able to warn you about it. But they didn’t try and hinder your desire for it.
Yeah, that’s kind what I love about it too because it can be hard when you don’t get that job that you fucking want so bad and you think you’re so right for. Oh, it’s like a stab in the heart.

So how did you meet Little Birds director, Elgin James?
My agent organized it. I got sent the script and sat with Elgin for, it must have been two-and-half hours, and we just chatted, and chatted, and chatted. And then I got a phone call from my agent saying they wanted me to pick which role I wanted to play.

Did you see yourself right away as Lily when you read it?
Yeah, I think so. I was definitely more of Lily for sure. And we waited—we had to wait for like eighteen months before the movie actually got green lit. Me and Elgin would meet three-times a week if we could and just sit at this diner and he’d eat French toast. We’d sit there and talk about this character and the script. We became amazing friends because of it. It was instantaneously quick. Rather than waiting, we really did spend time together and came up with this entire backstory for Lily. And then, you’ve got so much time on your hands that you just open up to each other and he’s now a very, very dear friend of mine. He’s like family out here for me.

And once you did start shooting, that must have made it very easy to trust him as a director, especially because there were many really emotionally challenging scenes.
Totally. He would have taken a bullet for me. I know that.

Did you find a lot of yourself in Lily?
Not really. I think as more of a shadow of myself from when I was sixteen. I guess I know a lot of girls like that, or did know a lot of young girls like that, and they’re heartbreaking. The young girls that just make those decisions that lead to another bad decision and another bad decision, and you can’t say, “Don’t do it,” because they’ll turn around and say, “Why? Why not?”

And how was the actual shooting of the film? Was it a short shoot?
We shot it in 17 days. It was quick. We shot in the Salton Sea, which is like World War III happened there, but it’s so beautiful. It’s insanely beautiful. And then we shot a lot in East L.A.

How were things on set? Did you have to keep things light?
We make it light, where you just have to roll with it and be like, this feels crazy dark and foreign but at the moment we’re making a movie. I can go home to my bed at the end of today. Elgin is incredibly protective and incredibly loving so if you ever felt uncomfortable with anything he would figure out a way to make it feel okay. And it’s tough because with this subject matter you’re obviously faking it, but only to a certain extent. You have to feel things, you know?

Another thing I’ve noticed, especially from seeing some of your films in close succession, is that you take on these roles that are really interesting for a young woman. They’re quite fearless roles, and you’re not afraid to explore your sexuality on screen.
No, I’m definitely not. I’m fascinated by it. I think it’s a magic moment in a young girl’s life and it can be something that can be very destructive or can be very liberating. That’s interesting.

Does that ever intimidate you at all or is it something you just feel that really just serves a purpose in the film for the character?
I feel like it’s definitely my choice to show off my body in a way I want to, and it’s interesting to me because there’s such an image about what it is to be perfect naked and I’m definitely not that. I’m 5’2" and extremely curvy. And so I think it’s a good thing in that department to not be afraid to show my body. But I also think it’s something that, almost when you’re rolling you forget. You think, “Well, if I was in this moment, I would take my bra off, it would be weird for me not to.”

Well, it’s not like there was nudity without a reason for it. Like when you’re in the bathtub, what are you supposed to be wearing?
Yeah, and I’m not afraid of nudity. The scariest thing to me ever has been firing a gun. I’m not a violent human being and I don’t like the idea of guns; they frighten me, so that’s way scarier than taking my clothes off.

Speaking of guns, I saw Killer Joe the day before I saw Little Birds. Did you see similarities between Dottie and Lily?
Not at all. They are such different women from such different walks of life. The only similarity would be that they live in trailer parks.

You’ve worked with so many amazing actors and directors in your career so far, have you transformed and a learned a lot as an actor with each film you’ve made?
Honestly, it’s like being at drama school for ten years. You watch people and you learn and they’re so giving. It’s about being a sponge, you want to suck up all that knowledge and just use it. I’m very, very lucky with the people I’ve had teach me things and direct me. I think every time I make a movie someone teaches me something, I hope someday I can teach other people things too. If you get, you want to give. I think that’s the best way to explain it, it’s better than any drama school you can imagine. 

‘Dirty Girl”s Juno Temple Plays by Her Own Rules

Juno Temple’s striped underwear is visible beneath the fur-and-plastic dress that’s just been pulled over her tiny frame. The 22-year-old actor is readying for a photo shoot in Ozone Park, an outlying residential section of Queens, and she’s concerned that the pattern will show through as she poses between puffs of Marlboro Seventy-Twos and repeat visits to the stylist’s chair to tame her tangle of blonde hair. Not that she particularly minds; lingerie is one of her obsessions. “I’m always dressed in ripped-up, nasty clothing, so it’s almost like this surprise package when I undress myself or someone else undresses me,” she says. “I wanted to design this line of surrealist underwear with, like, eggs and bacon, eyes and a mouth. I have an entire book of crazy designs.”

While crafting Man Ray–inspired unmentionables remains on Temple’s list of to-dos, performing has always been her primary career fixation. This month, she’ll star in Dirty Girl, a cherry-scented teen flick set in 1987 Norman, Oklahoma, as Danielle, the town’s wedges-and-halter-top–wearing provocateur. Danielle’s knack for sticking her polished fingers into other people’s soft spots—a talent that can also make her mean—is tested when she and Clarke, a tubby, gay misfit played by newcomer Jeremy Dozier, decide to steal Clarke’s bigoted father’s car and set off in search of Danielle’s own long-lost dad. A lightly anthropomorphized sack of flour, a “baby” assigned to them in a pro-abstinence sex-ed class, rides in the back seat, its Sharpied mouth moving from a complacent smile to a curlicued expression of angst as their exploits unfold. Somewhat puzzlingly, country stars Dwight Yoakam and Tim McGraw costar as Clarke and Danielle’s respective dads, occupying opposite ends of a spectrum that runs from physical violence to khakis and burger flipping. While it’s difficult to gauge exactly who Dirty Girl’s intended audience might be—a male prostitute shares the screen with talent show–finale teen pandering—Temple’s performance is alternately vulnerable and chafing, childlike and precociously knowing. Says Temple, “I really hope people love that movie and want to go see it, and I hope that for so many reasons,” not least of which is Dozier himself—the two became extremely close while filming. “This is his major moment, and he’s fucking extraordinary in it.”

Temple’s father is legendary punk documentarian Julien Temple, whose early films about the Sex Pistols—most famously The Great Rock ’n’ Roll Swindle—helped define the ’70s London punk scene (“Whenever I listen to the Kinks it makes me miss my dad more than anything”). Her mother is movie producer Amanda Pirie, who she refers to as her “best friend in the entire universe.” Considering her familial ties to the industry, it’s all the more impressive that Temple’s first real acting gig, as Cate Blanchett’s daughter in 2006’s Notes on a Scandal, was one that she earned entirely on her own merits. But it was a role she wasn’t exactly meant to land. Recalling how her parents attempted to coax her from the spotlight, Temple, who’s changed back into her own black stockings, high-top Chuck Taylors, ’90s-era floral print skirt, and distressed “I Love New York” T-shirt, explains, “They sent me to the open audition and were like, ‘You want to see how many other girls want to be an actress? Good luck to you.’ Two weeks later I got a phone call to my parents’ house, and my mom came out crying. She said, ‘Guess what, you booked it. It wasn’t supposed to happen like this.’” image

Still, Temple’s early and stratospheric success, balanced equitably between searing indie roles and lighter Hollywood fare, wasn’t a surprise to anyone in her family, herself least of all. “I’ve been a drama queen since the moment I popped out. I’d do things where I’d dress up as a Russian refugee, someone with a very strange accent that I would wing completely, and I’d knock on the kitchen door having tiptoed around the house with a baby wrapped in swaddling clothes. I’d say to my mom, You…must… feed me, and she’d be like, ‘What?’ That was followed by a moment of, If you don’t play along, mom, there’s going to be drama.”

After Notes, Temple graduated from bucolic English boarding schools (St. Trinians, Cracks) to bucolic English manors (Atonement, The Other Boleyn Girl) before leaving London, at 19, for Los Angeles. “I think it’s important to be in a place where you can go meet people for auditions,” says Temple, who now lives in Los Feliz with her best friend, an Oklahoma native. “I’ve definitely benefited from being able to shake people’s hands and not just send in tapes.” Within a few months of the move, Temple had lined up supporting parts in Noah Baumbach’s Greenberg and Gregg Araki’s Kaboom (“It makes love affairs seem so enticing and romantic”), swapping in American Spirit for Rule Britannia. Before the year’s out, in addition to Dirty Girl, she’ll also have appeared as Queen Anne, who ruled France as a teenager, in the 3-D remake of The Three Musketeers. “That’s an intense thing to have to deal with, to have to run a country and be on top of your shit at 15.”

Temple’s biggest role to date, about which she remains tactfully but apologetically mum, won’t arrive in theaters until next July, when Christopher Nolan’s The Dark Knight Rises arrives in theaters. Speculators from Den of Geek to IFC have her playing everyone from Robin to Catwoman’s sidekick to a street urchin. “All I can say is that I’m fucking excited to be a part of it. It’s such an honor.” She admits that Nolan was on her Most Wanted list before Batman, and as for how she discerns which scripts to pursue, it all comes down to her directors. “It’s a give-and-give-otherwise-you-don’t-win kind of a relationship,” she says. “With all my roles, I’ve had moments where I’ve needed to trust whoever’s directing it because I need to go to a pretty dark place, so it’s very important that a director could then help me get out of that dark place afterward.”

From depictions of sexual abuse in Atonement and bleak Sundance favorite Little Birds (out this spring), to casual dorm-room sex in Kaboom, to lycanthropic lesbian makeout sessions with Riley Keough in Jack and Diane (also out next year), Temple is not an actress who shies away from sexually charged material. Explaining why she’ll take her top off when the script calls for it, she says, “Who goes home and fucks with their bra on when they haven’t seen their husband or boyfriend all day? I know that sometimes nudity can be risqué, but it’s also honest, and I want to be an honest actor.” A hint of frustration edging into her voice, she adds, “I’m not nervous about nudity. I’m more scared of reacting to an invisible monster that’s going to be added in green-screen when I can’t even fucking see it.” Lighting up a cigarette, she puts on a shaggy white coat, looking suddenly very punk rock.

JUNO LIKES Squaresville

Photography by Jeffrey Graetsch. Styling by Christopher Campbell.