Jennifer Lawrence being adorable on Jimmy Kimmel

  • Talks about being starstruck at the Golden Globe awards, fangirling over Tilda Swinton;
  • Skinning a squirrel for Winter’s Bone;
  • Being run over by a car when she was 18 months old;
  • Her upcoming role as Mystique in X-Men: First Class.

Plus: The new Hollywood Reporter looks at the actress, once passed over for Bella in "Twilight," and the year she’s had since becoming a Sundance sensation for "Winter's Bone

Jennifer Lawrence cried when Winter’s Bone was accepted into the 2010 Sundance Film Festival. The picture, set in the Ozark Mountains, might have been tiny, but the actress had recognized that the part of Ree Dolly — a teen struggling to hold her family together and keep their home — was a gritty, uniquely tenacious role. So she pursued it with unabashed commitment, even taking a spontaneous red-eye flight to New York to press the producers for the part. At the time, her highest-profile role had been in Guillermo Arriaga’s stark low-budget drama The Burning Plain, which had just scored her the Marcello Mastroianni Award at the 2008 Venice Film Festival. Lawrence expected maybe a dozen people would see Bone, so its selection by Sundance was a splendid bonus for the cast, crew and co-writer/director Debra Granik. It was only a few days after its first screening that she realized that perhaps she had underestimated its impact.
“I got recognized on the street, and someone said, ‘I loved Winter’s Bone,’ ” the 20-year-old actress recalls. “And I was like, ‘You saw Winter’s Bone?’ ”
By now, Lawrence no longer is asking that question. The winner of the Dramatic Grand Jury prize at Sundance, Bone became a genuine indie hit after Roadside Attractions released it in June, grossing more than $6 million domestically. Lawrence herself was propelled into the awards melee: She was nominated for best female lead at February’s Spirit Awards, and was a Golden Globe nominee, which signals the likelihood that her name also will be among the Oscar noms announced Jan. 25 (right in the middle of Sundance, where her new film, Like Crazy, is set to debut).
Lawrence had been working the audition rounds for several years — failing to win roles like Bella Swan in Twilight while slowly building a résumé in indie film — but that all changed once she was hailed as the latest Sundance breakthrough. Money may be the blood that pumps through Hollywood’s veins, but it’s that sudden sense of discovery that nurtures its battered soul. Indie film history — and the Sundance Film Festival in particular — is rife with actors who “popped” out of nowhere with standout roles.
Lawrence’s name is now part of an impressive honor roll that Sundance has nurtured: Carey Mulligan in An Education in 2009 and Melissa Leo in Frozen River the year before; Amy Adams in Junebug in 2005; Ryan Gosling in The Believer in 2001 and again with Half Nelson in 2006; Aaron Eckhart in the 1997 drama In the Company of Men. The enthusiastic chatter in Park City propelled all the actors forward with sudden momentum and an irrefutable credibility.
But if suddenly finding oneself in that intense spotlight can be disorienting, Lawrence is adjusting to the exposure with real equanimity.
At a casual lunch at the Snug Harbor diner in Santa Monica on a January weekday, she sits at the counter unrecognized in a gray belted sweater, blue jeans and boots. Taller in person than she seems in Bone, Lawrence periodically twirls her straight blond hair as she works through scrambled eggs and bacon and talks about the past year with a straightforward, relaxed manner and the occasional husky laugh. Later that day, she’ll be heading off to an industry screening of the film hosted by Kathryn Bigelow. But for now, she’s focused on making sense of just who or what is responsible for her current trajectory.
“I’d love to take credit for it,” says Lawrence, a Louisville native who took off for New York with her mother at 14 before landing a regular role on TBS’ The Bill Engvall Show and the part of the young Charlize Theron in Burning Plain. “But I was just like every actress in L.A. that auditions for everything, and those were the roles that picked me. I could try to plan everything — and I have, of course, because I’m controlling — but I’ve watched my career take shape, and I love what it’s done. I never could have designed that in a million years. I did go further for Winter’s Bone than I probably would have for other things because I loved the script and because it was the best female role.”
(…) Variety seems to be what appeals to Lawrence, who cites Alec Baldwin, Cate Blanchett, James Franco and Michelle Williams as actors whose careers she admires. Even as she shines in the glow accorded the newest indie discovery, Lawrence has moved quickly to consolidate her new status. She recently completed filming Fox’s big-budget X-Men: First Class (which required eight hours a day in makeup to become the blue-tinted Mystique), and she has the horror film House at the End of the Street in the can. Her next film, offbeat family drama The Beaver, will have its world premiere in March at the SXSW film festival before a wide theatrical release. Beyond those, she’s considering roles that range from fringe to colossal.
“I’ve never cried over not getting a role,” Lawrence says. “I’m a big believer in what’s meant to be will happen. I’ve watched fate play out so wonderfully without me being in control of it. To be honest, I don’t know if I’m any better than anyone. I think I got really lucky with a really good movie.”
However things develop — every career has missteps — a celebrated Sundance debut can leave a lasting impression. Lawrence will always have Ree Dolly in her pocket. And future directors, producers, financiers and fans aren’t likely to forget it.

You can read the full article, which talks a lot about Sundance and the role of indies in establishing actors at the source. There’s also a short clip of Jennifer talking about the Festival.

tHR; YouTube