I’ve updated the gallery with two of Shailene’s most recent shoots for Vanity Fair and Women’s Health. I’ll work on adding scans from both magazine features and also screen captures from her talk show appearances that we are missing in the gallery. For now, enjoy these beautiful photos!
Month: June 2014
Shailene is featured in the latest issue of V Magazine–looking beautiful in a photo taken during this year’s Sundance Film Festival in January.
V MAGAZINE – Shailene Woodley’s starring role in this spring’s Divergent might have catapulted her from buzzworthy-critical-darling status to full-fledged movie stardom, but the 22-year-old actress is still an indie cinephile at heart. “I find Sundance to be nothing but pure magic every year,” she says. “I’ve been going for a while, whether I’m with a film or not. The weather, the people, the dance moves, the films, the cozy attire… it’s swoon-worthy.”
And she should know. In a few short years, Woodley has won the hearts of critics and audiences alike as one of Hollywood’s most magnetic young talents by giving tearful reality checks to George Clooney in the art house (The Descendants) and throwing knives and jumping off buildings on IMAX screens (Divergent). “I love indie films, because there’s no slacking off,” she says. “The budget is so tight and the shooting schedule is so precise, there’s no room for error. Everyone is there for the love of the craft. [Indie films] are able to explore beyond the boundaries of what studios will allow. They take risks and diverge from mediocrity—by being sexual, mysterious, dangerous, or crude. I love them because the freedom is unbridled.”
Perhaps no director embodies these characteristics better than Gregg Araki, whose latest film, White Bird in a Blizzard, brought Shailene back to Park City this year. “I’ve been a major fan of Gregg’s work for a while now,” Shailene says. “My first impression of him was, Wow. This man does it all himself. He moves to his own rhythm… dances to his own unique tune. He owns himself. That isn’t necessarily the norm during this age of megafilms and studio franchises. He doesn’t make very many films, so when the opportunity arose, I jumped on it. I feel like being a part of the Araki clan is a rite of passage.”
In the central role of Kat Connor, a late-’80s alterna-teen on a quest to find her vanished mother, Shailene relished the chance to amp up the sex factor. “I connected with Kat because of her confidence and her way of coping with pain by masking it through her sexuality. I loved her strength and power to own her skin and to explore herself through her relationships with men.”
Next, the ingenue will tug at audience’s heartstrings in the much-anticipated The Fault in Our Stars. “It’s a beautiful cancer movie that isn’t about cancer,” she says. It’s about internal exploration, eternal connection, and universal, unconditional love.” Following that, she’s content to keep waiting for another fabulous script. “I’m going to lie low and explore some of life’s other artistic facets.”
USA TODAY – Pain demands to be felt.
That’s a key line in John Green’s beloved 2012 best-seller The Fault in Our Starsand a major component in the movie adaptation (*** 1/2 out of four; rated PG-13; opens Thursday night in select cities and Friday nationwide).
Pain is at the heart of a love story about two strikingly articulate teens living in “the Republic of Cancervania.” They cope with it daily and wryly acknowledge its torment. The pain depicted is not solely physical, though that’s a significant component. Emotional agony proves to be the toughest of all.
So, those unfamiliar with the book should be duly warned: Bring plenty of tissues.
Stars is an unabashed tearjerker, though it’s also about celebrating life. The movie is well-written, well-acted, acerbic, funny and wisely observed. Fans of the book will be glad to hear it is faithful to Green’s tale.
Hazel Grace Lancaster (Shailene Woodley) is a bright and irreverent 16-year-old. Diagnosed with cancer at 13, she has to breathe from a tube connected to an oxygen tank she must carry everywhere. But she will not allow illness to define her.
At the behest of her loving mom (Laura Dern), Hazel reluctantly attends a support group for cancer survivors. Still, Hazel’s biggest passion is losing herself in An Imperial Affliction, a novel by a mysterious Amsterdam-based author.
One afternoon, a new boy stops by the support group. Augustus “Gus” Waters (Ansel Elgort) is a strapping 17-year-old who has lost part of a leg to cancer. He and Hazel share an instant connection, and the whip-smart pair trade barbs, strike up a friendship, then fall in love.
One of the movie’s biggest assets is its spot-on casting. Woodley, so superb in last year’s The Spectacular Now and 2011’s The Descendants, comes across as a fusion of soulful, wickedly funny and vulnerable. Gus says adorably romantic things like, “It would be a privilege to have my heart broken by you.”
Young girls will swoon over Gus’ appealing blend of wholesome and rakish. Older audiences will appreciate the naturalistic dialogue.
Hazel shares her favorite book with Gus and they lament its abrupt ending, longing to know what happened after the last page. Gus cashes in a gift and arranges for the two of them to go to Amsterdam to meet the mysterious author, Peter Van Houten (Willem Dafoe).
Their encounter with Van Houten is strange, but intriguing. However, a scene in which they kiss in the Anne Frank House, inspiring strangers to applaud, stands out for its artificiality (to be fair, it’s also in the book).
As co-written by Green and the superb screenwriting team of Scott Neustadter and Michael H. Weber (who wrote (500) Days of Summer and The Spectacular Now), the script makes only minor modifications to the book, omitting extraneous characters and non-essential dialogue.
Hazel and Gus must endure far more suffering than anyone their age should. That these immensely likable young people should be stricken with terminal illness is supremely unfair, making their love story all the more poignant.
When things go south, they remind each other: “The world is not a wish-granting factory.”
The Fault in Our Stars does, however, grant the audience’s wish for a literate, exuberant and wise teen romance.
THE DAILY BEAST – “I just landed in New York!” exclaims a giddy Shailene Woodley. “I’m in the car coming from the airport and the skyline just appeared and I’m tearing up because it’s such a beautiful day!”
As far as movie stars go, the 22-year-old is one of the least affected actors around; a frank, perpetually optimistic aspiring herbalist who’s in tune with nature. That Woodley’s become one of the biggest names in Hollywood—thanks to Divergent—is surprising, to say the least. She’s become the go-to gal for silver screen adaptations of acclaimed YA novels, including The Spectacular Now and the aforementioned sci-fi franchise. Her latest film, The Fault in Our Stars, continues the trend.
Directed by Josh Boone and based on the novel by John Green, Fault centers on Hazel Grace Lancaster (Woodley), a teen who’s been diagnosed with terminal cancer. Her only companion is an oxygen tank—that is, until she meets Augustus Waters (Ansel Elgort), a sick boy with a prosthetic leg, at a support group. Before long, the two fall madly in love. Things, however, get complicated when the love-struck duo are forced to confront their mortality.
In an in-depth conversation, Woodley spoke to The Daily Beast about the summer weepie, the importance of sisterhood, the first time she smoked weed, and much more.
The chemistry between you and Ansel in this film is really what sells it. What gave you the sense while making Divergent that you two could be an onscreen romantic couple—because that dynamic is very different.
It’s so different. The thing with Ansel is he came onto Divergent and it was a big cast and everyone else on the movie had acted in a lot of different things before and had a lot of on-set experience. Sometimes when you’re around people who have been on movie sets a lot, people seem to lose the excitement versus the art, and the ability to be on a film set. Ansel came in with these fresh eyes and this beautiful innocence and excitement for what it meant to be making a movie. We instantly connected, and before Fault even came around for him, we struck up a really close friendship and instantaneously became very brother-sister. We have such deep reverence and pride for one another. We’re completely different in almost every way, but are very intrigued by each other’s differences, so when Fault came around, there was a fault in Hazel and Augustus’s stars, but there wasn’t a fault in our stars because we had that deep respect for one another. In real life, I look at him with such admiration and such love, and when you apply that to the rules and regulations of what it is to be in love with somebody, the natural chemistry is able to exist.
Shailene and her The Spectacular Now co-star Brie Larson are featured on the cover of the June 2 edition of New York Magazine. In addition to some beautiful photos, there is also a wonderful in-depth interview/article with the two. If you haven’t already, be sure to read on below.
NY MAG – Making a meal for two women who are, collectively, vegan, gluten-free, dairy-free, and actresses on the cusp of superstardom is not easy. And yet, on a Sunday night in early May, I decided to cook dinner for Shailene Woodley, the star of the international hit Divergent, and Brie Larson, who won a good deal of attention last year for her award-winning role in the film Short Term 12. I wanted to see them together, because Woodley and Larson are close friends and allies in their unique quest to raise Hollywood’s consciousness. It seemed to me that their common vision—a hippieish wish to alter the system while doing great work in a business that is tough for women—would blossom in an organic manner over dinner. Since both Woodley and Larson are throwback California girls who disdain the fake and impersonal, I reasoned that a restaurant would be too cold for them. So I invited them to my house.
They were both in New York: Larson was in town at the invitation of Prada to attend the Met Gala, and Woodley, who was also going to the Met extravaganza, was in the middle of a two-day press junket for her latest film, The Fault in Our Stars, which is out June 6 (both are adept at the Hollywood rules). When she’s not working, Woodley likes to disappear, and for a week it wasn’t clear if she was coming to dinner or not. She doesn’t have a permanent home or cell phone—preferring to couch-surf at her friends’ houses. Last December, after working on back-to-back films for a year, Woodley told her representation that she was going camping in New Zealand, but instead she stayed in Los Angeles and remained happily invisible for two months. During a break in April, she vanished again.
This free-spiritedness does not come without opinions. Both Woodley and Larson have been acting professionally since they were tiny children, and they are keenly aware of how Hollywood works and they aim to challenge conventional notions of emerging stardom, especially female stardom. They are outspoken about their goals and philosophy, part of a New Age continuum, on everything from what parts they want to play to what they want to eat. On the healthy-living front, both are particularly passionate: Larson is an avid locavore (as well as a vegan), and Woodley has seriously considered becoming an herbalist. When she’s feeling ill, she makes tea out of pine needles (apparently a great source of vitamin C); she brushes her teeth with clay and whitens them by swishing sesame oil in her mouth for 20 minutes. She staves off yeast infections by giving “my vagina a little vitamin D” sunlight.
Needless to say, as the person cooking, I found this near obsession with the righteous path to be almost paralyzing. Finally, I settled on dishes that I rarely make—vegetable soup with three kinds of beans, steamed asparagus, tomatoes in vinaigrette, and a vast array of desserts purchased at a gluten- and dairy-free bakery. I nervously set the table, worried that the five taxidermied chickens in my dining room would upset my sensitive guests.