The latest News & Updates on Kristen Stewart!
Tuesday, May 31, 2022
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Friday, May 27, 2022
Entertainment Weekly's 5 potential Oscars breakouts from the 2022 Cannes Film Festival including Crimes Of The Future
Photo credit to: EVERETT COLLECTION; ANNE JOYCE/FOCUS FEATURES; MUBI
Crimes of the Future
Horror never plays well with the Academy (Midsommar, Hereditary, and The Babadook would like a word), but even more so when it's body horror. Just last year, the Cannes Palme d'Or-winning car-sex-serial-killer epic Titanedidn't even make Oscar's International Feature shortlist prior to the official nominations. Pulling up in the spot vacated by Julia Ducournau's masterpiece is David Cronenberg's long-awaited big-screen return, Crimes of the Future, which the filmmaker even predicted would prompt walkouts from the Cannes crowd during its competition screening thanks to its gory content and peculiar narrative about organs, mutations, and general sci-fi oddities. Cronenberg couldn't have been further from the mark, though, as his work received a lengthy standing ovation from the crowd, with critics praising primary cast members Viggo Mortensen, Léa Seydoux, and Kristen Stewart. It's that kind of star power — with time-tested pedigree — that could push Crimes of the Future into the awards race, with Mortensen already shaping up to become a prestige contender in a performance that feels rife for critics groups to lift into the conversation at the end of the year.
Thursday, May 26, 2022
Kristen Stewart talks with Indie Wire on her Directorial Debut Of The Chronology of Water
The real crime of the future? Kristen Stewart not making her directorial debut in 2022.
The “Crimes of the Future” star told IndieWire at this year’s Cannes Film Festival that her highly anticipated adaptation of Lidia Yuknavitch’s memoir “The Chronology of Water” better be coming sooner rather than later.
“If I don’t make this movie before the end of the year, I’ll die,” Stewart said.
However, the Oscar nominee has yet to secure total financing for the film, partially due to the fact that she wants to work with a small crew of five people, with a loose shooting schedule along the Oregon coast.
Stewart meanwhile noted that with all her “Crimes of the Future” promotional duties, the cinephile hasn’t been able to see many movies at Cannes. “To be honest, I prefer links,” she said. “I have a great projector.”
Stewart has been linked to “Chronology of Water” since 2018, confirming at the Cannes Film Festival four years ago to the date that novelist Yuknavitch’s prose was deeply personal to her: “She’s in my blood,” Stewart said at the time, “and I knew that before I met her. As soon as I met her it was like we started this race without any sense of competition…My only goal is just to finish the screenplay and hire a really spectacular actor: I’m going to write the best fucking female role. I’m going to write a role that I want so badly but that I’m not going to play.”
The Chronology of Water” focuses on author Yuknavitch coming to terms with her bisexuality, addiction issues, and involvement with the Boycott Divestment and Sanctions movement opposing Israeli oppression of Palestine. Stewart called Yuknavitch’s writing “so physical and so fiercely, ragingly female.”
Stewart noted previously noted to Variety that pre-production is “in process” as of March 2022. The lead role was also recently cast earlier this year, which was “monumentally relieving” to Stewart.
“I’ve been alone with this, in this vacuum, and it’s so nice to give something to someone, a friend and a partner, and say, ‘Help me,'” the “Spencer” star said of the yet-unannounced actress in the lead. “She’s the one who’s going to have to do it, and it’s really hard, so I’m over the moon.”
Stewart continued “I talked to someone with a lot of money two days ago, and she seemed excited about the prospect, but I want it to be small. I think the best version of it really is. The freezing water that I’m going to throw this girl into, I already feel terrible. It’s such a huge ask to invite someone onto this particular thing.”
Wednesday, May 25, 2022
Kristen Stewart talks with AP News on Crimes Of The Future at the Cannes Film Festival
Photographed By: Chanel
CANNES, France (AP) — In David Cronenberg’s “Crimes of the Future,” in which an artist played by Viggo Mortensen has organs and tumors plucked from his body in performance art excavations, Kristen Stewart plays a timid bureaucrat swiftly turned passionate devotee.
In Cronenberg’s film, a Cannes Film Festival entry opening June 3 in theaters, Stewart’s character, breathlessly excited by what she’s witnessed, transforms into a fan and, maybe, an artist.
It’s a literally gut-wrenching film thick with metaphorical meaning about art making that Stewart deeply connects with. It’s appropriate, too, that the film again brought Stewart to Cannes, a prime platform for Stewart’s own transformations for the last decade.
“There is a certain commitment to what feels like radical art here that is so unabashed and audacious and so sort of arrogant in a beautiful way,” Stewart says on a rooftop terrace overlooking Cannes’ Croisette. “Nobody has to defer and say, ‘Well, I guess what we do isn’t saving lives.’ It’s like: ‘Yes it is! Art actually saves lives.’”
In an interview, Stewart reflected on how the themes of “Crimes of the Future” encapsulate and dovetail with her own artistic journey.
AP: The attitude about “radical” film that you’re describing certainly applies to “Crimes of the Future,” but Cronenberg has had difficult getting funding for films. Do you ever feel frustrated by how dissimilar Hollywood is to Cannes?
STEWART: Yeah, it’s an industry. It’s driven by how much money you’re making. We call it the movie business over in Los Angeles. I’m into that because I want everyone to see the stuff that we do, but it’s perspective. If you don’t focus on it, it doesn’t touch you. But, oh, I resent it so deeply. (Laughs)
AP: You do?
STEWART: Yeah, but I also recognize that it’s expansive. That’s a cool thing. There’s no way around it in a capitalist society. It’s nice to actually own how obsessed you are with something instead of having to pretend it’s not that big of a deal. And feeling like every interview you’re doing is under the guise of a conversation but what you’re doing is plugging the date of the release and the studio is listening to every word you say, and they’re saying, “Don’t say that word. That’s triggering.” It’s like, what?
AP: Did you see your character in “Crimes of the Future” as like a fan? How did you connect with her?
STEWART: One of the things that the movie asks is who’s allowed to deem art “art” or not? What we’re doing now could be art to someone. But there are certain people that become so frenzied around human beings that are compelled to externalize their inner life, and there’s a jealousy thing that drives people crazy. It’s a beautiful thing to excavate yourself and show it to the world. Not everyone does it and not everyone is capable of it. But it’s definitely something that humans lean toward. It was fun to play someone who is so self-suppressed and locked up and wants to do a good job. She believes in the myth. She believes in the government. She believes in all of these things that we all make up. (Stewart waves her arms around at everything around.) We made all this up! When she sees someone do something different, her heart starts beating out of her chest. Then there’s this desire to have a vicarious experience. I thought it was cool playing someone who has a full awakening.
AP: Was there some version of what happens to her that once occurred for you?
STEWART: I used to be like, “Acting, you’re just a really good liar.” I think I turned 13 and realized I was so moved by certain experiences and so drawn to certain people. I would leave with memories that took place within scenes and I felt like they were my own. They were so personal. I didn’t really know where I stopped and where all of this started. I was like, “Oh, I’m an artist.” Then I started to become the opposite. I was always really embarrassed. I’d say if you can walk and talk, you can act. I do still think that. It’s just a willingness to go there. But I absolutely had a moment. It was a like a religious experience. You take the theology out of that word and it’s pretty interchangeable with faith. I started to believe. And it really, really changed my life.
AP: The central metaphor of the movie is about pulling art out of yourself, sometimes painfully, often beautifully, even if it’s grotesque. Do you identify with that idea?
STEWART: Definitely. In retrospect, I did not understand that Saul Tenser (Mortensen) is David. I think David’s going to outlast us all and make a lot more movies. But there’s a sort of last gasp thing that an artist can feel even at 15 years old. Is this the last thing I’m going to be able to do? Can I still make something? Is something going to come out? When Viggo is hacking up these organs, I’m like, “David, you’re just never going to be able to stop.” Obviously you give yourself, you feel like you’re excavating these chunks to present as offering. But you get so much in return. It’s so reciprocal.
AP: You don’t ever feel like you’re ever given too much of yourself?
STEWART: No, pain is the most cathartic pleasure. This thing about having to slice into each other to feel each other — I would really go to any extent. In the moments that I’ve had the most wrought moments in my person life, any moments I’ve been in full tumult, I look back on them with shining eyes. I’m like: “Wow, I was on real body drugs.” There is a euphoria in pain, so it’s nice to share it. It’s really horrible to sit with pain by yourself.
AP: At the festival press conference, Cronenberg spoke about the possible overturning of abortion rights for women as “the real body horror.” Do you agree?
STEWART: We think about body in relation to legislation almost exclusively to abortion and gender. Pretty much absolutely every thing is about physicality. It’s hard to put words to this because it’s probably not the right format to start screaming right here, on this balcony. Maybe this is totally naïve and so America, I just really didn’t think the ball would come crashing down the hill so violently and so quickly. Everything they pushed forward is being disassembled. The acceleration is so overwhelming it’s hard to fathom. It’s (expletive) and terrifying and scary. If I had grown up somewhere else, maybe I’d feel differently. I’m not trying to tell anyone else that they’re wrong. All of this is so asinine and so unnecessary.
AP: You’re preparing to direct your first feature film. How’s it going?
STEWART: I’ve been working on this project for five years. I didn’t want to jump the gun. It didn’t want to be made yet. It’s based on a memoir and the beauty of the memoir is that it feels like true memory in a way that has an emotional intelligence and chronology — it’s called “Chronology of Water.” It is really about a wash of memories that aren’t seemingly connected by anything lucid but always something emotional. It’s really hard to do that visually. I also didn’t want to apply a structure that was more formal. It wouldn’t be the same story. It’s the most physical text I’ve ever read. The way she talks about having a body, I need to see that in a movie. It’s like (Celine Sciamma’s) “Water Lilies” and (Lynne Ramsay’s) “Morvern Callar.” My favorite stuff is always about how artists find their voices, because it kind of screams at you to find yours. Even if you don’t consider yourself an artist, you write your own story.
Kristen Stewart talks with Indie Wire on Crimes Of The Future
Photographed By: Greg Williams
Stewart also said the unsettled Cannes applause for "Crimes of the Future" felt like "the fucking Will Smith moment where everyone was like, 'Yes? No? No. OK, actually no!'
Kristen Stewart thinks David Cronenberg can see the future, or at least the nevitable ruin leading to it on a global scale.
The “Crimes of the Future” star recalled her surprise at learning the script for Cronenberg’s new dystopian body horror drama was over two decades in the making. The film premieres June 3 in theaters.
“I had a lot of questions about where it came from and why right now, because it seemed so completely urgent and vital,” Stewart told Vulture after the film’s premiere at Cannes. “He was like, ‘I wrote it in 1996, actually.’ I was like, ‘Oh, cool, cool, so you’re a fucking oracle.'”
The Oscar nominee added, “Not to say we haven’t been on this path for a very long time, towards a quite certain destruction. Not to sound too dark, but it is true. The movie takes place in a future that’s in ruins and we’re not far off.”
Stewart plays a National Organ Registry investigator who becomes fascinated with a performance artist (Viggo Mortensen) who is growing new organs and surgically removing them onstage. In the film, the government believes the organ harvesting process will lead to the next phase of human evolution.
The coolest part of making a movie is that you figure out why you’re doing it either on the film or after,” Stewart shared, after telling Cannes press members that she didn’t know what the film was truly about until its premiere. “The way humans have gotten here is just such a mind fuck. So I thought, ‘This movie is about basically everything you’ve ever considered.’ How did we get here? Are we capable of change? Is there any way to come together? It was really fun to let my freak flag fully fly. I’m very rarely asked to play weird little characters like that. It’s usually like, ‘Come play the strong woman facing adversity.’ And I’m like, ‘Fuck that!
And although writer-director Cronenberg was correct in predicting that the film premiere would be met with walkouts, “Crimes of the Future” also landed a seven-minute standing ovation from the audience members that stayed.
“Before the credits lifted, it was dead silent. I was like, ‘Ooh, people don’t know how to feel. They don’t know if they should clap or not,'” Stewart explained. “I felt like it was the fucking Will Smith moment where everyone was like, ‘Yes? No? No. Okay, actually no!’ Like, do people have to look to their left and right to see if people like it before they clap? It’s a lot to take on at first, I guess.”
But any applause doesn’t stifle the surefire message of the film: “We’re barreling towards certain death for sure,” Stewart summed up. “But there’s a delicacy to the movie that even in the gory stuff, I was really bewitched by it. Everyone talking about walking out and how intense it was. I was like, ‘It’s not intense! It’s really beautiful.'”
Source: https://www.indiewire.com/2022/05/kristen-stewart-end-is-near-crimes-of-the-future-1234727995/
Tuesday, May 24, 2022
Kristen Stewart talks with WWD at the Cannes Film Festival
Fashion risk-taker, former child actor, queer icon, movie star. There’s no one way to define Kristen Stewart, who has managed to transcend the labels pinned on her early in her career.
It’s also nearly impossible to pin down her style. Her look at Chanel’s pre-party on Monday was a sheer beaded smock, tailored black pants and talons not at all beach friendly. She’d changed from the cut-off jeans she sported as she arrived in Cannesearlier in the day, and was on her way to slip into her outfit for the premiere of David Cronenberg’s “Crimes of the Future”: a multicolor top with graphic embellishments and white skirt with a bow from Chanel’s spring couture collection.
The film, from the director of “Crash,” who has a reputation for toying with body horror, is one of the most hotly anticipated films of the festival. The trailer alone stirred up controversy, though on the Chanel beach Stewart maintains it’s not about the gore one might see on the surface.“People associate David with body horror, and sort of a critical eye on the world that we live in. But what is always present is desire and sensuality, there’s always a reason why he’s stepping toward fear,” she told WWD. “In this movie, it just feels like a testament to his entire life. He’s given so much in every film he’s ever made.”
She costars with Lea Seydoux and Viggo Mortensen plays the film’s main character, a performance artist who creates new organs to attach to his body. “He’s almost to the point of dying for his art. So it kind of feels like a mixture of joy, but pain.”
The idea resonated for Stewart, she said. “Yeah, of course, you should always get that close. And the thing is, that sounds dramatic and negative, but if you can give all of yourself what you get in return is just as great if not more.”
The actress has poured herself into several challenging roles in the last few years — among them Princess Diana in last year’s “Spencer,” which earned her an Oscar nomination.
She’s motivated entirely by instinct, she said, and less grand PR plan. “You step toward something because it intrigues you, there must be an intellectual reason why, but you never really know how to articulate that until you’ve made the film. It’s just having that question mark inside of your body going, ‘Oh, that wants to come out.’”
Growing up in front of the camera — she got her first role at age 11 — and in the Los Angeles bubble might inhibit other actors. But Stewart has taken early PR hits and grown completely into her own. In fact, she finds the public eye motivating.
“I think it’s an evolution. It’s kind of nice to be uncomfortable in public because it really forces you to be confrontational with your most inner self, and you’re not allowed to ignore who you are. It’s sort of like you shine a light on something and so you really have to stare at it,” she said. “I’ve gotten comfortable with being uncomfortable. You just sort of have to find a way to exist in any space.
“I probably would never have done [that] if I wasn’t an actor, I would always just sort of default and settle. It’s nice to sort of always be like, ‘stay on your tippy toes, lean in, like try to reach for the stars.’ I know that sounds totally cliché, but if you’re not forced to, or if you’re not encouraged to and supported throughout, you won’t.”
Stewart credits working with great directors who have given her creative freedom and support to be able to speak her truth. “So few people are given that opportunity. It’s scary, but it’s beautiful.”
She acknowledged there are now more opportunities for women to take the reins in Hollywood projects and that the tide is shifting away from conventional storytelling. “I mean, probably because people want brownie points for being progressive, but now we reap the benefits of taking up more space,” she shrugged. “As long as it’s changing.”
Stewart famously took off her heels right in the middle of the Cannes red carpet in 2018 — festival rules be damned — and sported very hot HotPants to this year’s Oscars. When most people are trying to get on a best dressed list, Stewart takes risks. What is behind the bravery?
“I would feel worse not doing it,” she said. “I would feel more scared being tamed.”
All were Chanel, of course, as she has worked with the house for nearly a decade. But if nonchalance reads as disregard, that’s not quite accurate. It’s more about curiosity, experimentation and authenticity.
“I’ve been allowed to excavate my own story within Chanel’s continuous stories,” she said, noting there are several awards shows a year with different looks and themes and she looks for pieces, not trends. “The reality outside of a narrative is interesting, because when I watch a show it seems like a movie. Anytime I ever feel curious about a certain look or averse to a certain look, they always encourage me to just take my own path. I never feel dressed by another person. I never feel like I’m selling a product. I always feel encouraged to like, you know, find myself,” she said of her relationship with the house.
Though she works with stylist Tara Swennen, she said Swennen just brings a ton of options because she never knows what mood might strike her on any given day. “I drive these people crazy,” she joked, saying she likes to cut things in half or try it on backward. “But no one ever really gets mad at me, I’m always encouraged to do my thing.”
As for her upcoming nuptials to Dylan Meyer, Stewart famously said she wanted TV chef Guy Fieri to officiate — an offer he gladly accepted. But for now, that is on hold. “I think we’re just gonna get hitched. We’ve got, like, all these like grand plans and then I think honestly, we’re just gonna keep it so tiny. And then who knows, maybe a year from now we do a huge wedding. But at this point, I think we might just marry each other.”
On the beach, she was wearing a tiny Chanel ring in the shape of a palm leaf, reminiscent of the festival’s top prize, the Palme d’Or. “That’s what we’re going for,” she joked of hopes for the festival, which she said is her favorite festival for the way it promotes dialogue around film, art and acting.
“It’s much more about why you made it and who you’re with and who you love, and to walk those stairs with your cast and crew instead of being picked off and sort of isolated like a celebrity commodity. It’s so different than any other place in the world,” she said, stating that the Cannes festival is about cinema, not celebrity. “What we love is what this place loves. And even though there’s like a sort of element of kind of like surface frenzy, the thing that rises to the top is always the person that had an actual voice.”
She has been welcomed here with Olivier Assayas’ “Personal Shopper,” which made her the first American actress to win a French César award, and last year her own short film, “Come Swim,” was shown.
“It’s amazing to realize that what you’re fitting into is something you’ve revered your entire life, like the people that have had movies, here are the people that I look up to and have always and to think that you’re like, kind of, you know, in that rhetoric, like suddenly you’re a part of the vocabulary.”
She’s stepping behind the camera again with an adaptation of Lidia Yuknavitch’s “The Chronology of Water,” which she will direct at the end of this year. “Whether or not we come to Cannes is an obvious question mark, but I mean, that’s the goal.”
She is unafraid to reach for the stars.
Source: https://wwd.com/eye/people/kristen-stewart-cannes-chanel-1235187030/
Kristen Stewart talks with Vulture on her movie Crimes Of The Future
About halfway through David Cronenberg’s Crimes of the Future, Kristen Stewart sticks her hands directly into Viggo Mortensen’s mouth and peers into it like it’s a dark tunnel. It’s an attempt at seduction — she tells him she wants him to “cut into” her, then massages the side of his face and dives tongue-first into his open jaw. He’s aroused by the more clinical probing, but he politely demurs when it turns into something vaguely resembling a kiss. “I’m not so good at the old sex,” he says apologetically. On a rooftop the morning after the film’s Cannes premiere, Stewart tells me she came up with the idea to inspect his mouth on the spot during filming. “I’m really fucking proud of that,” she says. “I didn’t tell anyone I was gonna do that.”
The new sex, as Stewart’s character puts it in the film, is surgery. Crimes is set in a dystopian near future in which humans are spontaneously sprouting new organs, are unable to experience pain or infection, and are starting to merge with their synthetic environment. As a result, they’re all whacking away at one another, some as a sensual act and others as performance art. Stewart’s Timlin is a self-described “bureaucratic insect” at the National Organ Registry, a secret government entity that tracks and subdues new organ growths in order to suppress the “Accelerated Evolution” syndrome that’s sweeping the globe. When we meet Timlin, she’s squeaky-voiced and shaky, a scolding government stooge, but over the course of the film, she falls into a sort of lusty obsession with Mortensen’s Saul Tenser, an underground performance artist who’s prolifically growing new organs and surgically removing them onstage with the help of his devoted partner, Caprice (Lea Seydoux).
It’s a freaky, fascinating performance from Stewart, made even richer because it reflects back on her own life as an artist and a longtime object of public sycophancy. The through-the-looking-glass life Stewart leads is even more apparent in a place like Cannes: After the festival’s premiere on Monday night, as is tradition, a cameraman trained his lens directly on Stewart’s face as she reacted to the audience’s reaction to the film, broadcasting that reaction on a gigantic screen to the entire audience, which then reacted to her reaction. At the press conference the next morning, Stewart was swarmed by fans both inside and outside the press room as she spoke about playing a character desperate for a piece of the object of her own manic fixation. Minutes after the conference wrapped, I met Stewart — looking calm and Cannes chic in a red checked Chanel two-piece and big yellow sunglasses — to discuss making a film about being up for public consumption while being publicly consumed.
I love this outfit. How did you get here from the press conference and change so quickly?
I actually didn’t change, which is very unlike me. I’m never in an actual outfit for more than five minutes.
Yeah, I saw you at the after-party last night, and you had instantly changed from your premiere outfit into jeans and a crop top.
I actually had an outfit I was supposed to change into just to watch the movie in and then change into jeans after, but I lost it. I was very angry at myself. I was sitting there completely unable to breathe. That top was way too small for me. I was like, “Why did I do this to myself?” I walked out with these red, like, fuckin’ lacerations on my stomach. It was very in keeping with the movie. I cut myself open.
So how did you end up in this film?
David and I actually met at this festival 12 years ago. When he called me on the phone, he was like, “Hey, honey, how are you?” I had just read the script, and I had a lot of questions about where it came from and why right now because it seemed so completely urgent and vital. He was like, “I wrote it in 1996, actually.” I was like, “Oh, cool, cool, so you’re a fuckin’ oracle.” Not to say we haven’t been on this path for a very long time, toward a quite certain destruction. Not to sound too dark, but it is true. The movie takes place in a future that’s in ruins, and we’re not far off.
No, it is true.
I was so excited to play Timlin because I think she kind of — even though I only have a few minutes to come in and tell a story, it’s really fun to have three scenes. If you don’t nail it, you’re wallpaper. Timlin is so locked up, self-oppressed, wants to be good at her job, and totally represents the rigidity of the government that they live under. And she experiences an awakening in a split second. A huge mission statement of the movie is that art triumphs. It saves. It’s something that doesn’t die because we’ve left it behind; it’s outside of the body but it feels reflective. So it was really fun to let my freak flag fully fly. I’m very rarely asked to play weird little characters like that. It’s usually like, “Come play the strong woman facing adversity.” And I’m like, “Fuck that!”
Timlin’s voice and her mannerisms — was that coming straight from you, or was that something you and David discussed?
I really thought he wrote it like that. I don’t know that he made reference to any type of squeaky voice, but she was described as a creepy little bureaucratic gnome. And so I was like, Okay, I think that’s what this sounds like. I kind of tried to change my voice as it went. At first, it was completely locked in, and as I started to become obsessed with this artist, I was trying to speak in a more full way that he might find sensual or something, trying to do an impression of Caprice. Lea Seydoux, she’s a walking, talking ad for sensuality. So I was trying to be her toward the end.
What kind of direction did David give you, if not that?
Very little. Small, gentle massaging. Like, if he was feeling something wasn’t right, it was like, “Don’t do that.” “Pull back on that.” “It’s not quite right.” Or if he enjoyed it, he’d be like, “You’re on the right path! Go further!” It was subtle support. And we never did more than two takes of anything, which is really scary because you’re like, “Wait!” But he only wants your first instinct. He doesn’t want you to strain. There’s something about straining or pushing that’s dishonest. And also he just doesn’t have the patience for it anymore. He’s like, “Nope! We’re done.”
The scene where you stick your hands into Viggo’s mouth as a way of seducing him is so weird and great. Was that in the script, or did you come up with that together?
So that was not in the script. I’m really fucking proud of that. That’s my favorite part of the movie — or my part in the movie, at least. In the script, it was described as a “pas de deux.” They were sort of dancing together. And I took that really literally, so I was so scared that day. I was like, “How are we gonna learn this pas de deux?” And there was so much dialogue. They’re all very strange things to say and therefore not the easiest to remember. The vocabulary itself was toothsome. So I was scared! I was like, “I’m not gonna be able to dance and keep my connection with you.” But it ended up being that I just chased Viggo around the room. And in the script, it says that at some point I find myself “entwined with him and I stick my tongue down his throat.” It’s so hard to come near someone that you’re so obsessed with. My hands were shaking because we only did it one time. So I was like, If I want to be Caprice and I want him to cut into me and I want to cut into him and I want to get as close as I can to possibly feel something — if I can’t actually do it, maybe I can unhinge his jaw and get as deeply inside his head as I possibly can and examine the actual anatomy of his mouth. So I didn’t tell anyone I was gonna do that. I was like, “Is it cool if I just try this one thing, and just go with me?”
So I massaged his jaw for a second to get it to open and then I went all the way in, like, How do I get more of you? And we didn’t have to do it again. David came in and was like, “Well, that was an extraordinary fucking take!”
hat was Viggo’s reaction when you did that?
We had the best time. Because we were both a little intimidated by the scene itself, when David came out and said that, we literally looked at each other and were like, “I guess we’re done!”
When I spoke to David yesterday, I was surprised by how normal and gentle he was, which he says happens to him a lot. Were you surprised by him on set?
Pretty much from the jump, yeah. Even in the way he was answering questions at the press conference. The most simple answer comes from a place of wisdom. You don’t have to complicate certain ideas. Like, “The body is reality.” At first, I was really trying to shove that concept in my head: What does it mean to me and the world and on every level? But he was like, “I shoot people.” That’s it! It’s a body. All of that is surprising. These are really lofty concepts, but also they’re not at all.
His relationship to pain is kind of admirable. I feel like I share a certain instinct to enjoy pain. Not in a masochistic way, but pain holds hands with pleasure. And I don’t even just mean sexually. I mean that if you can enjoy the sort of excruciating nature of having a body, it means you’re also able to accept the good parts in a way that is deep. He has a fearless and accepting approach to life that is contagious. It feels like your dad or grandpa being like, “Look, we’re all in this together. And there’s no way out. This is it. [She slaps her thighs.] So … enjoy it.” That’s fucking dark and scary. But there’s something really beautiful about his philosophy.
I know. I asked him if he had done therapy and he was like, “No!”
Goddamn. You’re like, “We’re all in therapy!”
You said at the press conference that the cast would all go back to your hotel at the end of the day and be like, “What the fuck are we doing?” What were those conversations like? Did you ever come to any conclusions?
I don’t think we ever came to any conclusions. The coolest part of making a movie is that you figure out why you’re doing it either on the film or after. I had read Sapiens and Homo Deus [books by Israeli author Yuval Noah Harari] right before I did this movie, so I was already trying to figure out why I think the way I think. Like, I’m totally a product of my environment.If I was from Kentucky, maybe I would be pro-life. The way humans have gotten here is just such a mindfuck. So I thought, This movie is about basically everything you’ve ever considered. How did we get here? Are we capable of change? Is there any way to come together?
The only way we’ve gotten here is by shared myths. You believe in a thing, therefore it’s true. The only thing that keeps us bound and cumulative as a society is that we tell each other lies and we go, “Co-signed! Baby, I got you. I believe you. I’m with you.” We just made all this shit up! Money, God, everything. When I say “God,” I mean, sex, power, art, all of it. They’re interchangeable words for me. So yeah, we had these kinds of conversations all the time. What does it take to make art? What does it take from you, and what does it give you back? Is everyone an artist, or are there only some people who are compelled to externalize their inner life? Are there people that just want to be close to that? Or is everything we do art? Is everything we do political? Like, right now, what we’re doing is art, maybe. Who the fuck is defining what that is? Who owns it? It totally makes sense that art is radicalized, because it scares people. All of this shit is what we were talking about the whole time.
So, casual!
Yeah! And also it’s really funny. I read the script and I loved it, but I didn’t find it funny. Then being on set, there was just no way to not laugh at everything. What David says is really true: Some of the hardest stuff that you do, you laugh through. Because those emotions are parallel.
When I was at the premiere last night and at the press conference today, people were shoving me to get photos of you guys. I was struck by how it all related to the film and your character and this idea of sycophantic fandom. I’m interested in hearing about your experience of being here and having cameras stuck in your face relative to the character you play.
I’m always torn between wanting to be such an exhibitionist — being out there and open and showing everything about myself — and being protective. To think that you’re misinterpreted is super-narcissistic anyway because everyone is just having their own experience with what you’re putting out there. But I just have a physical aversion that I can’t actually control. I was at the PGAs, and I was having a great time. Steven Spielberg was behind me! It was a room full of people that I was just like — I was like a kid in a candy store. And then this guy with a camera went like this — [mimics camera in face]. Which is completely normal. I’m an actor, and I’m at an awards show. It’s fine. And my body literally went like this — [raises both middle fingers sarcastically]. I couldn’t understand. I was like, Kristen … But it wasn’t like I was angry that he took my picture. It was just a weird, knee-jerk physical reaction to being looked at in a moment where I wasn’t expecting it. At Cannes, I just have to focus on the things that are good. You can stare at shit, or you can stare at the things that are pretty in the world. So I was like, Okay, focus on David. This movie is so personal to him. It took me watching the movie to realize that Saul Tenser is David. He’s excavating these organs and coughing them up, and he’s like, How long am I going to be able to do this? I was like, Duh, Kristen. Obviously, that’s him. It’s such a testament to everything he’s done. He said at the press conference that everything he does is intimate, but this does feel personal in a way that’s new. So I focused on that.
Then the cameras moved over to me, and I was like, Dude, just get back to David! And also, why so close? My gosh! Just a medium close-up would be great. This is a literal micro-close-up. I’m like, Fuck off!
How did you feel after the premiere?
Before the credits lifted, it was dead silent. I was like, Ooh, people don’t know how to feel. They don’t know if they should clap or not. I felt like it was the fuckin’ Will Smith moment where everyone was like, Yes? No? No. Okay, actually no! Like, do people have to look to their left and right to see if people like it before they clap? It’s a lot to take on at first, I guess. But to me, the movie is so simply sweet. Yes, we’re barreling towards certain death, for sure. But there’s a delicacy to the movie that, even in the gory stuff, I was really bewitched by it. Everyone talking about walking out and how intense it was. I was like, “It’s not intense! It’s really beautiful.”
There’s a distancing effect and a grace to it.
Yeah. It’s kind of how I visualize the inside of my body. It’s not real. It feels all kind of tender and sensitive.
There’s a whole section in the film about an “inner beauty pageant,” and both you and your co-worker in the film, Wippet, are obsessed with Saul Tenser participating in it, initially in the name of “beauty” but then with his “star power.” It almost feels like a critique of the awards world and festivals like Cannes. Is that your experience of sort of being “consumed” as a celebrity?
Part of me really loves that — the novel David wrote is called Consumed. We do want to digest each other. That’s the closest you can get to a person. There are ugly parts of that, and people lose themselves in that. It’s nice when you don’t. If you can really be, like, present in your desire and your obsession, that’s one thing. But to have it tailspin into oblivion? Wippet is so obsessed with Saul’s star power, and in that moment, he really undermines his whole thing: “Oh, the beauty, the beauty, I can’t stay away!” I’m like, Is it the beauty, or are you just whipped into a frenzy by popularity?
You know so clearly which actors like to act and which actors just like to be famous. It’s so fucking obvious. It’s very clear. Why don’t we just say it? I mean, I do, but the people who just want to be the center of attention: I love it! That’s why I got into this. Instead of being like, Oh, it’s the art! I’m like, Is it?
But then again, what am I doing sitting here trying to define what art is for other people. The thing about doing these interviews for 20, 30 minutes is you start sitting here being like, Everything I just said is wrong. Actually, I feel the opposite in every way.
You’re like, “Strike all of that.”
I just chase my tail.
But you seem to have developed a healthy understanding of and relationship to all of this, having been in this world — and at Cannes — long enough to have come to a level place with it. Is that a fair assessment?
Yeah. It doesn’t scare me as much anymore because nothing bad ever actually happens. Even when the worst thing happens, you’re like, Oh, I’m fine.
Source: https://www.vulture.com/2022/05/kristen-stewart-is-bracing-for-quite-certain-destruction.html
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