Kristen Stewart (Spencer, Twilight, Charlie’s Angels) is a Golden Globe-nominated actor and filmmaker. Kristen joins the Armchair Expert to discuss her experience starring in movies at a very young age, how she secretly is really into cars, and the personal similarities she felt when playing Princess Diana. Kristen and Dax talk about how they feel their best movies never make any money, how they listen to the same song over and over if they love it, and how Kristen jumped on Dax’s Halloween hayride without him knowing it. Kristen explains that she never remembers the stuff she says during press events, how she thinks horoscopes can be weirdly accurate, and how she learned to stop dreading uncomfortable situations.
W MAGAZINE – Kristen Stewart may not care if she gets an Oscar nomination for her stirring turn as Princess Diana in Spencer, but the odds are in her favor. The 31-year-old says she plunged new depths of emotion in order to channel the fragility and disquietude of the beloved royal at a moment when she was on the verge of coming undone. Meanwhile, the actress’s personal life has been on a much more blissful trajectory. Last November, she announced that she was engaged to her longtime girlfriend Dylan Meyer and joked that Guy Fieri should officiate. For W’s annual Best Performances issue, Stewart discusses growing up on camera, bringing Diana to life, and why singing Blink-182 is her safe place.
You started acting when you were 9. Did you know immediately that this was what you wanted to do with your life?
When I made my first film, The Safety of Objects, I was like, “This is it. This is the feeling.” I’ve been chasing that ever since. It’s that sense of creating something together with others. It was exciting to see how many versions of myself I could find.
How did Spencer come to you?
Pablo Larraín called one day and said that he endeavored to make a movie about Diana Spencer. I was like, “Who is that?” It’s actually Princess Diana. And that was her real name. His movie is a three-day meditation, fever dream–poem, attempting to imagine what a certain period of time felt like for her, as she was trying to carve out what her identity was.
Was it difficult negotiating the external—the hair, the dresses, the look of Diana—with her internal state?
The whole movie’s perspective is incredibly internal, so I never had to deliver a heightened performance. I was actually just reacting to the elements that were in the room with me. Physically, it was about seeing how much I could put myself through, how cold I could get, how skinny I could get, how tired I could get. I still felt 10 feet tall, though. There’s something about her, even just by osmosis, just imagining her as a figure, the things that I’ve been impressed by, the things that I’ve felt protective of, the things that worry me about her, they’re still oddly, unshakably strong. By the end of the movie, I was like, “Okay, I actually could keep going.” I really tried to pummel myself into the ground on this one. I definitely attribute that to this spooky transference, her energy, who she was, it was unstoppable.
Was Pablo surprised when you said yes? Were you surprised when you said yes?
I just couldn’t say no. I’m stunned by Pablo’s presence. As an actor, looking at directors to work with, obviously you look at their work, but also it’s how they fill a room, how they talk to you, what the feeling is on the phone call when they’re presenting a new idea. It felt in that moment—I could assign a million words to it—it would just be truer to say it was too tempting to shy away from.
DOCUMENT JOURNAL – For Document’s Winter 2021/Resort 2022 issue, Stewart joins Cronenberg to discuss technology, transformation, and the reality of the human condition
The radical theoretician Régis Debray described it as “a double miracle, an astonishing marriage of ancient and modern, like an outdoor Apollinaire poem.” To the anthropologist Marc Augé, the televised spectacle was nothing less than a work of “great art,” tailor-made for a British public newly liberated from Tory austerity into the arms of Blairite spin and sound-biting. Across the English Channel, the documentarian Mark Cousins examined Princess Diana’s televised funeral proceedings through the lens of shifting spatial relations: Writing alongside Debray and Augé in After Diana, published by Verso Books in 1998, Cousins recalled the mass ovation that Earl Spencer received from a mourning public watching the private service on televisions outside Westminster Abbey. As Spencer took aim at the British tabloids for turning his sister, named for the ancient goddess of hunting, into “the most hunted woman of the modern world,” the thunderous clapping was picked up by the cameras inside the Abbey and fed back to its audience-creators on the same screens they had been applauding at.
Pablo Larraín’s fictionalized drama Spencer, starring Kristen Stewart as Princess Diana in the throes of an existential crisis over the course of three days in 1991, offers little such emotive pageantry. Stewart’s performance is an externalization of Diana’s inner world as she navigates paparazzi culture and historical conventions to confront a terrifying, exhilarating truth of the human condition: We are responsible for creating our own reality. Within the confines of the royal family’s country estate in Sandringham, where Christmas dinners are executed with military precision, madness starts to look like resistance, and physical sickness is symptomatic of an impending release. (In the first of many ominous meal scenes, Stewart devours spoonfuls of giant pearls and putrid-green soup before purging in the toilet of a palatial restroom, evoking Roquentin’s dizzying epiphanies about the absurdity of existence in Jean-Paul Sartre’s Nausea.)
Larraín cast Stewart after seeing her in Olivier Assayas’s Personal Shopper, a similarly introspective ghost story about grief. But in Spencer, it’s Diana’s (and Stewart’s) exuberance that prevails, allowing her to transcend fate, tragedy, and the realities constructed in history books and newspapers. “It was really good for me that I didn’t have to get it all right,” Stewart says, “because to do her real justice would be to make sure that she was fucking alive.”
Stewart is now in pre-production on her feature directorial debut, an adaptation of Lidia Yuknavitch’s 2010 memoir, The Chronology of Water, which has gained a devoted following for its frank handling of sexuality, violence, and transformation. But she’ll next be seen on screen in Crimes of the Future (2022), a sci-fi thriller directed by legendary Canadian filmmaker David Cronenberg. Cronenberg has had his share of clashes with the British tabloids. His adaptation of J.G. Ballard’s postmodern opus Crash caused a moral panic when it premiered at Cannes in 1996, a year before Princess Diana’s death, prophetically diagnosing the psychosexual perversions of Western culture in the dying moments of the 20th century: celebrities and car crashes. Cronenberg has long been hailed as an oracle for the prescient fusions of flesh and machine he engineered in cult classics like The Fly, Scanners, and Videodrome. But the director maintains that he was only illustrating the inevitable when he predicted YouTube, transhumanism, and stem cell technology. Cronenberg’s philosophical cinema is indebted to the thinking of Sigmund Freud, Edmund Husserl, and René Descartes more than it is to special effects; he mines the depths of the human condition with the analytical audacity of a biotechnician. “The essence of coming to terms with what you are is to come to terms with the body,” Cronenberg says. “There’s a complete interpenetration between the inside and the outside of your body. In a strange way, I guess, Crimes of the Future is very literal about that.”
Kristen Stewart: I think you can hear us now, I can feel it.
David Cronenberg: I’m only hearing you faintly, I don’t know why.
Kristen: Well, shit! Do you want to call me? I’m trying to MacGyver the situation. [Typing] Maybe, David, you should call me because we can’t hear you.
David: I fixed it. [Laughs] Thanks for the suggestion, anyway.
Hannah Ongley: Well, David, thanks for joining us. I know you’ve been very busy with post-production on Crimes of the Future.
David: I’ve been spending time with Kristen every day, but in the editing room. It’s a weirdly intimate relationship because you become so sensitized, as a director, to every hesitation, every body movement, every vocal inflection. So you have this strange relationship with an actor who doesn’t know that you’re doing that.
Read more at the source
Yesterday (November 30), Kristen attended the 2021 Gotham Awards where she received the Performer Tribute Award presented by Julianne Moore. So proud and happy for her! She looked beautiful wearing an August Getty Atelier fuchsia velvet column dress and Tamara Mellon ‘Flatline’ sandals. You can find photos from the event in the gallery!
Public Appearances > 2021 > Nov 29 | 2021 Gotham Awards (Inside)
Public Appearances > 2021 > Nov 29 | 2021 Gotham Awards (Show)
Public Appearances > 2021 > Nov 29 | 2021 Gotham Awards (Winners Room)
Kristen is featured as part of The Hollywood Reporter’s Drama Actress Roundtable magazine. You can find scans in the gallery as well as some outtakes of Kristen!
Photoshoots > 2021 > 12 | The Hollywood Reporter
Yesterday, Kristen attended the 11th Hamilton Behind The Camera Awards. Check out the photos from the event in the gallery!
Public Appearances > 2021 > Nov 13 | 11th Hamilton Behind The Camera Awards (Inside)
Yesterday, Kristen attended a screening of Spencer at MoMA’s The Contenders. Check out some photos from it in the gallery!