Interview: 10 Questions for Kristen Stewart | Film reviews, news & interviews
Interview: 10 Questions for Kristen Stewart
The Twilight star on transforming from a teen vampire to a Beat heroine in Kerouac's On the Road
The cast of On the Road is an embarrassment of riches. There’s Viggo Mortensen, high on many people’s lists of favourite contemporary actors, with a rum portrayal of William Burroughs; talented British actors Sam Riley and Tom Sturridge as those other Beat colossi Kerouac and Ginsberg; Kirsten Dunst and Mad Men’s Elizabeth Moss, and indie stalwart Steve Buscemi.
But the film’s biggest box office draw is the youngest of all. Kristen Stewart may just be 22, but having started acting aged nine she’s now a veteran of 26 movies; moreover, her best-known role is as a certain Bella Swan, heroine of the vampire franchise Twilight, whose four films to date have grossed $2bn, and made her one of the world’s most recognisable faces. It’s no surprise that she is front and centre of all the posters.
I find it ridiculously embarrassing to consider myself worth selling
Not that director Walter Salles has cynically cashed in Stewart’s success, having cast her as Marylou when she was a teenager, before the Twilight phenomenon. “The composer Gustavo Santaolalla had seen one of the first cuts of Sean Penn’s Into the Wild and was so impressed that he told me, ‘Don’t look anymore for Marylou – just meet this girl’,” the director recalls. “Kristen was indeed everything we were looking for. She knew the book extremely well and she understood Marylou's essence – an independent spirit, a young woman who was way ahead of her time.”
Twilight’s pulpy, bland, teen success has obscured Stewart’s potential as an actress. It was there for all to see in the tomboyish, Sid Vicious T-shirt wearing daughter of Jodie Foster (herself an estimable child star) in David Fincher’s Panic Room, and as the teenage singer with a crush on the doomed young adventurer of Into the Wild; and it’s there in the first Twilight, where she convincingly conveyed the awkward lust of the 15-year-old Bella, looking as hungry, frankly, as her vampire beau.
Kerouac based Marylou on Neal Cassady’s first wife LuAnne Henderson, who joined Cassady and Kerouac on their road trips across America, and was one of the women Salles describes as “the silent heroines” of the piece. theartsdesk spoke with Stewart about the role when the film premiered at the Cannes Film Festival earlier this year, where the famously media-shy young woman seemed to come out of her shell in passionate advocacy of the film.
Watch the trailer to On the Road
DEMETRIOS MATHEOU: When did you first read On the Road?
KRISTEN STEWART: When I was 14. It was on a reading list, actually, in my freshman year. I went to a pretty free-form school. The other titles included The Scarlet Letter and The Great Gatsby – which I love – but On the Road looked more fun than any of them. I knew that it was about counter-culture and when you’re 14 years old and putting anarchy signs on your backpack it’s just what you’re drawn to.
Can you say more about what attracted you?
The characters. I’m from the Valley, I come from a very comfortable, very fortunate household, but the kind where you can become lazy and complacent. When I first read On the Road I realised that I was in a point in life when you can start to choose who your family members are, in the sense of who your friends are, rather than just being put around people and circumstantially becoming close. Obviously when you’re a kid you don’t have too much control of that. But when I read about these characters I thought, "I have to find people like this, who will push me, who don’t compromise on their desires, even if they’re different to the norm." It’s a very fundamental book. And it really did inform how I would want to live.
And how is that working out? It must be difficult to live freely, to buck the trends, when you’re part of the Hollywood machine.
It’s funny, from an outsider’s perspective I know it looks like I've got no freedom, but it’s so not true. I have more freedom now. I feel very at liberty to do whatever I want to do. It’s hard not to sound trite, but I don’t deprive myself of anything, and I don’t allow others to deprive me of anything.
Having said that, you often look uncomfortably trapped in the spotlight.
I find it ridiculously embarrassing to consider myself worth selling – and that’s literally all they’re doing. I never, ever want to be a commodity. Some actors have perfectly formed, cultivated, fabricated personalities that they present to the public, and they’re very good at it – they’re great actors – you watch any talk show and think, "How do they do that?" But by the end it takes a serious toll. You start giving away bits of yourself, and you don’t get them back. In trying to satisfy so many different people you lose your identity, you’re no one. I think when you suddenly believe that the person in the bar is looking at you for any reason other than the fact you make movies, it’s over.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
George Clooney and Julia Roberts star in enjoyable anti-Wall Street drama
Artwork/documentary about an old couple in the Chernobyl isolation zone is quietly beautiful
Nicholas Ray's masterful thriller ponders the screenwriter's art and impossible love
Kate Beckinsale shines in a stylish but uneven adaptation of Austen's early novella
Journalists are untarnished heroes in the Oscar-winning tale of the Boston Globe and the Catholic Church
A film master’s first steps: reappraising Tarkovsky
From Texas über-normal to San Francisco rock chick: at last the Janis Joplin story
Tom Hanks is the reason to see Dave Eggers's sentimental Saudi comedy
theartsdesk recommends the half-dozen top movies out now
Are we suffering from a surfeit of superheroes?
Dublin high school musical romcom is almost too winsome
Restrained moral drama from the director of ‘A Hijacking’