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“Even if there’s one little clam to be plucked in a sea of shit, even if there’s one scene or a line, I need to get closer to that, I need to live that.
There’s no equation you can really rely on.”She tells me about the type of filmmaking that compels her—that might, I imagine, function as her compass when she directs her own film.
She tears toward emotional beats, designing her own architecture of impatience: climbing out of a car before it comes to a full stop ( very, very blonde, in a platinum Barbie wig that conceals her asymmetrical crop. She’s like, ‘Dude, just say it faster.’”—you find something in a moment.” Stewart, says Banks, “lands as many jokes in this movie as any comic actor.” Banks approached writing for Stewart as if it were fan fiction. Thanks to a generation of “Twi-hards” who came of age on social media during those five films, who made sport of obsessing over her concurrent relationship with costar Robert Pattinson, Stewart’s private life developed into a tabloid spectacle. In 2017 Stewart hosted and in her opening monologue, while recounting the 11 separate times Donald Trump tweeted about her—all related to her breakup with Pattinson—she goes, “And Donald, if you didn’t like me then, you’re probably not going to like me now, ’cause I’m hosting shoot with her—is futile.
Telling the story of a systems-engineer whistle-blower who goes underground and is protected by the Angels, the action comedy is directed by Elizabeth Banks (who also plays Bosley) and costars Naomi Scott and Ella Balinska. “What do I want to see Kristen Stewart do in a movie? She’s understated and (horse-racing in Istanbul, gunplay, Krav Maga) intercept the comedy. Stewart remains smart (and funny) about protecting her privacy. She answers, “I only date people who complement me.”The impact of that confining period in her life is still receding. My baggage was so minuscule in comparison to what [Reichardt’s and Assayas’s] story lines are, as filmmakers.
The of movies—freed of glitz—runs deep with her.“I hung out with my parents on set when I was little and asked [them] if I could start auditioning for shit because I saw other kids on set. I feel like I started reading her stuff, and she was articulating things that I’m like, ‘Dude, I didn’t have the words for that, but thank you.’”She wrote Yuknavitch an email.
Their connection was fast—they both paint it as fated, like some shared undercurrent. She’s read it out loud to Yuknavitch and her husband, who both then cried and held each other while Stewart threw her tattered copy of the book across the room.
She signals with her forehead or a messy flip of her hair, conveys apprehension through the stiff energy stored in her shoulders or the round attitude of her chin. For them, it’s vital.’” It’s an intense part that tests the audience’s stamina for suspense.
Her green eyes are searching—their undertow puffy—her sonic delivery is low-key and annotative.) or racing a Mustang wearing denim cutoffs (in a Rolling Stones video). It succeeds because Stewart, like Foster, developed a talent early on for going easy on sensation. Later, Stewart joined Jesse Eisenberg in the vampire-romance franchise that launched Stewart into the stratosphere—and shitstorm—of superstardom.
I’m more comfortable in the idea of making something from top to bottom, rather than giving myself to [it].
“Even though she went through circumstantially, really horrific, tragic things, there was something about [Seberg] that was energetically undeniable,” says Stewart. It’s not like you need to hero-worship a celebrity, they are just people you want to look at.
The fact that people stared at her and fixated on things that were not real, projections: That really ultimately destroyed her.”Stewart moves like a writer’s actor, speaking in gestural Morse.
accessed what Yuknavitch calls Stewart’s “nomad code.” The actor moved to Portland for a few weeks and wrote, occasionally parking outside of Yuknavitch’s home and sleeping in a Sprinter van with her dog Cole.
She tells me that she allows for stuff or story to occur in time, and for the miracle of instinct to kick in.
“I love movies that don’t proclaim to know anything but that literally splatter themselves all over the place, and then somehow, by the end of it, you realize that the only reason they were able to do so was because they were held so preciously by somebody, in that scaffolding. I love all the shit that made us think we can make small movies about things that aren’t plot-driven.