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KristenStewartHQ.com | Your online source for Kristen Stewart
► NOVEMBER 24 – Appearing on Jimmy Kimmel Live ► NOVEMBER 25 – Happiest Season released in the US ► NOVEMBER 26 – Happiest Season released in the UK



We talked in the deserted courtyard of the Los Angeles County of Museum of Art during a screening of “Clouds of Sils Maria,” with her reps at one table nearby, her stiletto heels and smartphone on another. She admits that all actresses limit the amount of time they spend wearing high heels–she’s wearing flats.

You had gone to Cannes with both “On the Road” and “Clouds of Sils Maria.” For which you won the César. What was that like? Not something you were expecting?
No. Those Frenchies [laughs] don’t like to pass accolades that are not their own. I was really shocked. Even Juliette was like, “Hey, it’s really cool that you got nominated. It’s insane that you got nominated, actually.” If you look at it, she looks more shocked. When they said my name, literally she screamed into my ear so loudly I had no idea what was going on. I didn’t even hear my name be called. I was like, “Wait, what?” She was like, “You won! You won!” She was so shocked, that that’s how I gauged my reaction. “Wow, this must be a really big deal, because Juliette cannot believe this.”

You deserved it. This is my kind of movie. But I respect your past choices too. There’s a modus operandi there — something you’re looking for — and it’s not comfort.
That’s always quite difficult to find. You could find a through line there… I’ve been lucky enough to play characters that really stick out as people that are telling unique stories. I read a lot. I get sent a lot of scripts that are very surface, things that we’ve seen before, and, recently, really incredibly talented people have called me to help them make their movies. But those things really do stick out, and I’ve been lucky enough to jump on them.

In other words, there’s an enormous pile. You’re wading through it, a lot of it’s dreck, and the ones you’ve done are the ones that have popped out at you as the smarter thing. What’s wrong with the stuff you’re getting sent, for the most part?
Probably just that they’re fairly archaic, boring, previously consumed ideas of what a woman can be in a mass-consumed story. I’ve done a lot of independent, smaller things recently that usually don’t lack interesting stories to tell about women.

You have lined up some impressive projects. I feel a maturity coming across now. I know you valued the “Twilight” franchise and the freedom it gave you — what they call “fuck-you money.” So you’re able to say, “I’ll do a Kelly Reichardt movie.” Can you give me a sense of what you’ve learned from these directors you’ve worked with in the last year?
I’ve been lucky enough, at a really young age, to work with people who affirm what I believe in, every catalyst that has existed for me. Everything that’s ever kicked me in the ass and gone, “That’s what you should be doing these movies for.” It’s always been a director; it’s always been somebody who’s telling a story who, subliminally, infuses a project with this honor that is just impossible to deny and disrespect. Therefore, you just give everything that you can to it.

Would David Fincher qualify with “Panic Room” ?
Absolutely. That was my second movie, and it starts there.

And Jon Favreau with “Zathura?” I discovered you in those two films.
Yeah. Those are two really great directors I worked with at a really young age. I’ve been shaped by every step that I’ve taken to the point that I’m in now. I mean, a whole lot of it has to do with luck, because I happen to have worked with these people who are incredibly influential, and in the right ways, but, at this point, I’ve carved out and identify very distinctly what I get out of what I do and why I do it, and it’s so easy to identify with or discard people who are with that or against it.

Read more from the interview at the Source


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