Kristen Stewart was not a global superstar when "Motorcycle Diaries"
director Walter Salles cast her in his long-gestating adaptation of "On
the Road." It was 2007 and she had just appeared in "Into the Wild,"
playing a trailer-park siren who almost but doesn't quite tame Emile
Hirsch's wanderlust. It would be another year before she become known to
millions of fans around the world as Bella Swan from "Twilight."
It would have been easy -- and maybe even prudent -- for Stewart to back
out on Salles as her star inexorably rose, but she stayed on board and
delivered a performance that is all the more powerful because it comes
from a woman with so much to lose. Yes, Kristen takes off her clothes --
she talks about that below -- but that's not the half of it: her
character, Marylou, the teenage bride of Beatnik hero Dean Moriarty
(Garrett Hedlund), may exist as a mere plot device in the
testosterone-fueled novel, but at the hands of Salles and Stewart she
becomes a symbol of unapologetic feminine self-gratification. As I wrote
after seeing "On the Road" at the Toronto International Film Festival, "Stewart's Marylou is pure Id: she steals what she needs and she screws who she wants, when she wants." The point is not that she's admirable; it's that she comes alive, fully and indelibly, which is the only job an actor has.
The creative team behind the film wants the Academy of Motion Picture
Arts and Sciences to recognize Stewart for her role by nominating her
for an Oscar for best supporting actress, and although she doesn't
appear on any of the short lists I've seen, I think she's earned a place
in the conversation. "On the Road" has its slow and meandering moments,
but it roars to life when Stewart appears on screen -- and if you don't
believe me, take a look at these fan-produced animated gifs and tell me
you're not at least intrigued. Stewart and I spoke on the phone for
about 20 minutes on Saturday/
Michael Hogan: I remember reading On the Road as a teenager, and the
women didn't register for me so much as characters. So I wonder, as a
teenage girl reading it, how the women seemed to you when you first read
the book?
Kristen Stewart: Yeah, it's funny, they didn't really register with me,
either. People do love to say that this is a boy book and that the
female characters tend to be treated as play things and are peripheral.
When you read the book, they tend to seem as though they're almost like a
tool for Kerouac to show that life's crazy, that things are wild and
sexy. That's why, playing the part, we were privy to information that
made this thing so different. I think getting to know the women behind
the characters and getting to know Jack's relationships with them and
Neal's relationships with them, it made it easier to play the character.
Did you meet LuAnne Henderson, whom your character, Marylou, is based on?
She had passed away, like, right before we started. But I met her
daughter and there were hours and hours of tapes where she recalled her
life in great detail, and very much within that time frame as well. When
I first read the book -- I have brothers, and so I always felt like
there wasn't a huge distinction. I kinda wanted to be one of the boys
for a while, and in some cases still do, and I think there are a lot of
girls who read "On the Road" who feel [that way]. I wasn't aware then
that the females weren't at the forefront of the story. I was just so
into the main characters, I was so enamored by them, I wanted to meet
people in my life that were going to shock me and pull something out of
me that I didn't expect --
Marylou's a little bit that way too, isn't she?
Oh, definitely. She was such a formidable partner for Neal [Cassady, the
real-life inspiration for the book's Dean Moriarty]. Men, especially,
love to identify with me and go, "Well, you know, it's kind of a
misogynistic viewpoint. The book has a fairly chauvinist feel to it. How
do you feel about that?'
Kind of like my first question.
No, no, no. Not at all. That was actually really different. Because
their thing is, 'Oh, how could they have allowed all those terrible
things to happen to them?' It's like, What makes you think that they
were not absolute equal partners in that? What makes you think that they
were taken from more than they gave, or more than they got back from
the men that were apparently taking from them. I feel like getting to
know LuAnne and who she was, and why she did the things that she did,
and how she felt about them afterward, there was no thievery going on.
She loved his life so much that she didn't want to deprive him of any of
that life, and he felt the same about her, and she very, very much
carved her own path.
What was the most surprising thing that you learned when you were talking to these folks and listening to the tapes?
I think the most surprising thing for me, given the way [Marylou's]
storyline ends in the book and in the movie, was that [LuAnne and Neal]
maintained their relationship in some capacity until his death. He could
never stop going back to her. And that for me kind of was like the key.
She wasn't leaving him. It was just this sliver of life that you see
that's not expounded upon because it's not her story. Like, there's an
entire "On the Road" for every single one of those characters. It's just
that who you follow is Sal and Dean. [Sal Paradise is the fictional
stand-in for author Jack Kerouac.]
Obviously, you're really asked to go places in this role. After I saw
"On the Road" in Toronto, I wrote an analysis of it, and one of the
things I focused on is that you're committing to the role to an
admirable degree, with nudity, with sleeping with two men at the same
time, with all this other stuff, and some people attacked me, saying,
"Just because she takes off her clothes, you think that's real art?" But
what I meant is that it's an actor's job to do the role she's given
without holding back. Can you help me defend myself a bit here?
[Laughs.] Actresses love to stand up and say, after they've shown their
tits in a movie, that it was done tastefully and that it was, you know,
far from gratuitous. I mean, projects that really require it are really
few and far between. And I think that in this case, it needed to be.
This book celebrates being alive and it celebrates being human, and if
you want to cover up and deny any aspect of that, you are denying the
spirit of the book. I think that it would have been so wrong to shy away
from anything in this movie. I think that I would have gotten flak for
that. I think that it would have been that I was scared to disappoint my
"Twilight" fans or something.
And I do hate also when people go, "Oh, wow, great performance. So
brave." Oh, because I'm naked? That's very annoying. But at the same
time, if that's what they're focusing on, then "On the Road" probably
isn't for them anyway. Also, I understand when people are already
successful, you try to control some perception or you try to choose
parts based on some expectation of what people are going to think.
You're clearly doing things because you want to be in some position of
power and fame, which is not why I do what I do. And people, anyone that
consumes that is then obviously going to think that you must have some
consideration for those types of things, like what people are going to
think.
But how hard is it ignore those considerations when you really are
one of the biggest celebrities in the world? I mean, there's no way
around that.
It's really not that hard. I can't pragmatically approach anything in
terms of my career. I need to be so rocked by something, so moved by
something that the idea of letting it down or ruining it is painful, and
that's what gets you through the shoot. You read material and it
provokes you on some level, and the reason you make the movie is to find
out why it made you feel all those things. Those things are so rare to
find that if you start also considering what people are going to think,
you'll never make a movie.
At the Toronto Film Festival, you took a full hour to come out and be
with all your fans, and that was at a difficult time. How important was
it for you to come out for the film and reconnect with your fans that
day?
You should never step outside of your life and look at it like it's this
malleable thing you can shape so that people view it a certain way. I
would never not have gone to something like that. I've been working on
this for five years. I love this movie. I'm so proud of everyone
involved -- I feel so strong standing next to them. I was asked a few
times whether I was going to do it or, "Oh, was it difficult for you?
What made you stand up and do this?" It was like, why wouldn't I? It
made so much sense to me. I mean, the only time I feel comfortable being
on TV or doing any sort of public appearance or anything, it has to
have context. I don't like just being a famous person, but with "On the
Road" it's so clear why I'm there. With the fans and stuff, it's just
human energy that you simply cannot deny. People are standing there and
sort of screaming for you and I'm not about to turn my back and walk
away and go get warm inside, you know what I mean? So I didn't plan
anything. I just went to the opening of the movie and there were a bunch
of people there and it was really nice to see them.
Have you heard from your "Twilight" fans about this movie yet?
I mean, not really. "Breaking Dawn 2" just came out and we carted that
one around the world for a bit. And there were a bunch of people in the
crowd in Europe -- because the movie's out already in Europe -- who
said, "Oh, my god, 'On the Road, we loved it." Everyone likes to think
that we just have teenage fans -- we have girls, women in general, it
literally is every single age, well into peoples' 70s. So yeah, people
were into it, I think.
What's your feeling about awards season and all the events and
interviews it entails? Is it enjoyable? Is it a nightmare? Is it
somewhere in between?
I love talking about this movie and everyone involved and the book and
everything I've been through since the start of it. I would do anything
to get the word out. The fact that it has something to do with the
Academy, I simply personally can't acknowledge it in any way because
it's a ridiculous notion to suddenly go, like, "Yep, I'm really gunning.
I'm really gunning for it."
There's a rumor that you're going to star alongside Ben Affleck in a movie called "Focus."
I can confirm that rumor. It's a comedy, I'm really excited about it, we start shooting in April.
Are there any other projects on the horizon?
Not yet. I would love to find some microproject before then, because
April is kind of a ways away, but not yet, haven't been "taken" yet.
"On the Road" opens in limited release on Dec. 21, 2012.
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