Chloe Sevigny is doing press for The Cosmopolitan, a half-hour pilot made for Amazon Studios that will appear on the site on August 28th, and in an interview she recently did with The Daily Beast, a lot was revealed. In addition to the pilot, Sevigny is working on a Rizzoli book called “Chloe Book,” which she describes as “an art book and collection of images and ephemera.” She is also working on another collaborative collection with Opening Ceremony called “Tri-State Represent,” which launches September 11th.
In the interview Sevigny also chats about the current state of New York and reminisces a lot about the ’90s era of her life. As usual she is a quote machine. Here are some of our favorites:
“After I did Kids, which I was paid $1,500 for—and no royalties—I took the money and used it to visit a friend of mine who was studying in London at art school.
“After ten years of living in the East Village, I was on 10th St. between 2nd and 3rd, I was like, ‘Get me thefuck out of here.’ I was looking around a lot in Manhattan, but the prices were exorbitant.”
“I looked in Brooklyn, and I didn’t want to live in hip Brooklyn, so I moved out to the dorkiest, hokiest neighborhood— Park Slope—and I’m really feeling the vibes out there.”
“Walking around the East Village, I just want to cry at the state of it. There are so many fuckin’ jocks everywhere! It’s like a frat house everywhere.”
“The real outcasts? They’re a vanishing breed here. Maybe New York isn’t drawing that anymore because it’s too expensive.”
“That’s what I call ‘Fashion Goths.’ You see these kids walking on the street and think, ‘Oh, look at that Goth kid,’ and then you realize it isn’t a Goth kid, it’s just a ‘Fashion Goth’ who’s dressed as a Goth kid.”
“I’ve never had a Twitter, and my Facebook is private. Maybe I should do a promotional, Instagram-y thing… but I don’t even have an iPhone yet. I have a BlackBerry. I like to evolve with the times, but it just seems like over-sharing. I already have to share too much with all the vampires of the world.”
“I knew [Michael Alig], but he never graced me with any acknowledgment. There was a big hierarchy in the club scene. He would never deign me with any sort of acknowledgment, because I was too low on the totem pole.”
“I was really shocked by how much of a hoopla was [made of the blow job scene in Brown Bunny]—I didn’t think it would turn into such a hoopla—and it was really painful to go through.