Kristens favorit scen ur hela Twilight sagan
Kristen Stewart and Robert Pattinson have had so many amazing moments throughout their Twilight journey, so it’s hard to pick a favorite. But when Kristen was asked to rank her all time favorite Twilight moments, only one scene came to mind for her top choice…
Edward and Bella’s dance at prom!
“This is number one on my list for a reason,” Kristen reveals to Entertainment Weekly. ”I remember stepping on Rob’s feet in my sneakers, and we listened to that song ['Flightless Bird, American Mouth' by Iron & Wine] all night.”
How adorable! According to K-Stew, the memories from shooting the scene is what makes it so emotional for her.
“It was the end of the shoot, and we were all so close and not wanting to go home yet. That’s the one scene I look at and always start crying,” Kristen explains. “And I’m not a bit embarrassed about it.”
/Kimberly
Ny/Gammal intervju med Scoop with Raya
Från Cannes.
/Erica
Ny intervju med Kristen i Now Toronto
Kristen Stewart swears a lot. This instantly makes her a human being rather than the tabloid icon she’s unwillingly become at age 22 thanks to the Twilight saga and its constant media presence.
Stewart’s at the Toronto Film Festival with On The Road, an adaptation of Jack Kerouac’s classic beat novel in which she plays Marylou, the sexually adventurous child bride of the charismatic Dean Moriarty. (Yes, there are nude scenes. No, they aren’t explicit.) She’s been paired with Garrett Hedlund, who plays Moriarty, and the two of them are at their most animated when discussing the freewheeling, improvisational style director Walter Salles encouraged during the rehearsal process.
“I tortured myself in the most amazing, wonderful way for four weeks,” she says, “and then as soon as the four weeks were done it was like, ‘You need to stop thinking, because if you don’t you’re gonna regret this entire experience. You’re gonna look back and say: I fucked up. I thought too much.’”
Stewart says the fact that she was playing a real person – the aforementioned Henderson, who was the basis for Kerouac’s fictional Marylou – made her a little more careful about her own improvisations.
“It’s always fun to have freedom and have, like, happy accidents where you go, ‘Wow, that’s cool, I didn’t expect that,’” she says. “But when you’re playing somebody who’s [actually] existed, you know.…” And she stops herself, rethinking her position on the fly.
“I don’t want to discredit what it feels like to play a character who’s been written by somebody,” she continues.“You feel just as responsible to the writer and to everyone who’s been affected by that character.”
There is no doubt in my mind that she’s referring to Bella Swan. And I have to respect her instincts; given how many millions of people worship the Twilight movies and could turn on her in a second for a valid observation taken out of context, it’s the savvy thing to do. But it’s also crap, and she knows it, because as soon as she’s finished that statement, Stewart returns to her real point and her energy shoots right back up.
“I’ve played Joan Jett,” she says, “and because she was on set every day I couldn’t improv. I couldn’t. Everything I said, I spoke to her about it. You know – you can’t put words in their mouths unless you know. Unless you really feel it, and it’s coming from the right place.”
Stewart’s at the Toronto Film Festival with On The Road, an adaptation of Jack Kerouac’s classic beat novel in which she plays Marylou, the sexually adventurous child bride of the charismatic Dean Moriarty. (Yes, there are nude scenes. No, they aren’t explicit.) She’s been paired with Garrett Hedlund, who plays Moriarty, and the two of them are at their most animated when discussing the freewheeling, improvisational style director Walter Salles encouraged during the rehearsal process.
“I tortured myself in the most amazing, wonderful way for four weeks,” she says, “and then as soon as the four weeks were done it was like, ‘You need to stop thinking, because if you don’t you’re gonna regret this entire experience. You’re gonna look back and say: I fucked up. I thought too much.’”
Stewart says the fact that she was playing a real person – the aforementioned Henderson, who was the basis for Kerouac’s fictional Marylou – made her a little more careful about her own improvisations.
“It’s always fun to have freedom and have, like, happy accidents where you go, ‘Wow, that’s cool, I didn’t expect that,’” she says. “But when you’re playing somebody who’s [actually] existed, you know.…” And she stops herself, rethinking her position on the fly.
“I don’t want to discredit what it feels like to play a character who’s been written by somebody,” she continues.“You feel just as responsible to the writer and to everyone who’s been affected by that character.”
There is no doubt in my mind that she’s referring to Bella Swan. And I have to respect her instincts; given how many millions of people worship the Twilight movies and could turn on her in a second for a valid observation taken out of context, it’s the savvy thing to do. But it’s also crap, and she knows it, because as soon as she’s finished that statement, Stewart returns to her real point and her energy shoots right back up.
“I’ve played Joan Jett,” she says, “and because she was on set every day I couldn’t improv. I couldn’t. Everything I said, I spoke to her about it. You know – you can’t put words in their mouths unless you know. Unless you really feel it, and it’s coming from the right place.”
/Erica
Ny/gammal intervju med Time Warner Cable
/Erica
Kristen pratar om "cinematic crush" med W Magazine
/Erica
Kristens intervju med Sidewalks
/Erica
Kristens HuffPosts 'No Filter"-utmaning
What's your guiltiest pleasure?
Hmm. I take these things very seriously. Whenever anyone's like, "Oh, we're just gonna do a fun quick-fire-question thing." My guiltiest pleasure? Shit. God. Dude, what's yours?
Oh, God, I probably wouldn't want to say, now that I think about it.
See?
Have you ever stolen anything?
Actually, no. I stole a pack of gum when I was younger and literally turned right around and gave it back. And he was such an asshole to me. I was like, "I should have just walked. I am being a good person." And he literally chastised me for 15 minutes. I was like, "Why did I even give this back to him?"
If failure weren't an option, what's one thing you would do?
Oh, god. God. That is too -- dude, these are not quick-fire questions. They're heavy questions.
What shows are on your DVR?
I actually don't watch TV.
Do you ever text in the movie theater?
Um, I don't typically sit in a movie theater.
If you could ask Kim Kardashian one question, what would it be?
Um, wow. I have no idea.
Hmm. I take these things very seriously. Whenever anyone's like, "Oh, we're just gonna do a fun quick-fire-question thing." My guiltiest pleasure? Shit. God. Dude, what's yours?
Oh, God, I probably wouldn't want to say, now that I think about it.
See?
Have you ever stolen anything?
Actually, no. I stole a pack of gum when I was younger and literally turned right around and gave it back. And he was such an asshole to me. I was like, "I should have just walked. I am being a good person." And he literally chastised me for 15 minutes. I was like, "Why did I even give this back to him?"
If failure weren't an option, what's one thing you would do?
Oh, god. God. That is too -- dude, these are not quick-fire questions. They're heavy questions.
What shows are on your DVR?
I actually don't watch TV.
Do you ever text in the movie theater?
Um, I don't typically sit in a movie theater.
If you could ask Kim Kardashian one question, what would it be?
Um, wow. I have no idea.
/Erica
Intervju med DIRECTV
/Erica
Intervju med Kristen i tidningen Salon
I met Kristen Stewart somewhat unexpectedly. And I really liked her! I mean, she’s a cagey, cautious person; you can feel her sizing you up while she decides whether you’re an idiot or a nutjob and discerns how much she should stick to polite, neutral remarks. You might be like that, too, if you were 22 years old and the highest-paid actress in the history of Hollywood.
I did not ask her anything about Robert Pattinson or the current state of her love life. Because it’s not my business, and I really don’t care! So if that’s what you want to read, you might have to look elsewhere. But even in a brief and necessarily superficial conversation, I got a few flashes of real personality: Stewart is a young woman with a mischievous wit and a penchant for murmured, foul-mouthed asides who is enthusiastic about her work and also aware that her rocket-like ascension from the little-known indie ingénue of “Into the Wild” and “Adventureland” to a huge superstar has been an incredibly strange story.
Earlier this week, the virgin-turned-vampire of the just-concluded “Twilight” series was in New York for the premiere of a vastly different sort of film: the long-brewing adaptation of Jack Kerouac’s “On the Road” from Brazilian director Walter Salles (of “The Motorcycle Diaries”). A passion project that Salles has been working on for five years – and which he inherited from Francis Ford Coppola, who once hoped to make the film with Brad Pitt and Ethan Hawke in the starring roles – this “On the Road” is decidedly a mixed bag, visually lovely and packed full of music and atmosphere, but only sometimes capturing the syncopated, drug-fueled effervescence of Kerouac’s prose.
Stewart has been working hard to promote the film since its Cannes premiere in May, which is remarkable considering that she plays a supporting role and that it seems unlikely “On the Road” will attract much of a mainstream audience. (Her scenes were actually filmed more than two years ago, just before she shot the next-to-last “Twilight” film.) Her character, known as Marylou in the book and movie, is based on a real person named Luanne Henderson, who was the on-and-off partner of Kerouac’s charismatic, bisexual pal Neal Cassady, who became Dean Moriarty in “On the Road.” (Dean is played by Garrett Hedlund in this movie’s real star-making performance.)
One of the virtues of Stewart’s post-“Twilight” position, as she reflected in our conversation, is that she gets to do whatever she damn well pleases in a business and an era where most working actors have limited choices. She may or may not return to the role of Snow White in a sequel to the darkish fantasy “Snow White and the Huntsman,” and although she’s been cast opposite Ben Affleck in a screwball comedy for “Crazy, Stupid, Love” creators Glenn Ficarra and John Requa, that movie hasn’t begun production. In the meantime, her publicists suggested (with about 12 hours’ notice) that she might be willing to chat for a few minutes in her New York hotel before the “On the Road” premiere.
Although she was photographed later that night in a lacy, sheer and leggy designer dress and alarmingly high pumps, when I met Stewart she was dressed more anonymously, almost tomboyishly, in a pinstripe shirt, tan pullover and slim-fitting blue jeans.
You’ve been incredibly loyal to this film, even through a period when you’ve been getting tons of press for other stupid reasons.
It’s hard because we’ve been working on this since we were in Cannes [in May]. When you’re promoting something like this, that you believe in, you want to be honest and open and empathetic, but when you get asked the same question …
I did not ask her anything about Robert Pattinson or the current state of her love life. Because it’s not my business, and I really don’t care! So if that’s what you want to read, you might have to look elsewhere. But even in a brief and necessarily superficial conversation, I got a few flashes of real personality: Stewart is a young woman with a mischievous wit and a penchant for murmured, foul-mouthed asides who is enthusiastic about her work and also aware that her rocket-like ascension from the little-known indie ingénue of “Into the Wild” and “Adventureland” to a huge superstar has been an incredibly strange story.
Earlier this week, the virgin-turned-vampire of the just-concluded “Twilight” series was in New York for the premiere of a vastly different sort of film: the long-brewing adaptation of Jack Kerouac’s “On the Road” from Brazilian director Walter Salles (of “The Motorcycle Diaries”). A passion project that Salles has been working on for five years – and which he inherited from Francis Ford Coppola, who once hoped to make the film with Brad Pitt and Ethan Hawke in the starring roles – this “On the Road” is decidedly a mixed bag, visually lovely and packed full of music and atmosphere, but only sometimes capturing the syncopated, drug-fueled effervescence of Kerouac’s prose.
Stewart has been working hard to promote the film since its Cannes premiere in May, which is remarkable considering that she plays a supporting role and that it seems unlikely “On the Road” will attract much of a mainstream audience. (Her scenes were actually filmed more than two years ago, just before she shot the next-to-last “Twilight” film.) Her character, known as Marylou in the book and movie, is based on a real person named Luanne Henderson, who was the on-and-off partner of Kerouac’s charismatic, bisexual pal Neal Cassady, who became Dean Moriarty in “On the Road.” (Dean is played by Garrett Hedlund in this movie’s real star-making performance.)
One of the virtues of Stewart’s post-“Twilight” position, as she reflected in our conversation, is that she gets to do whatever she damn well pleases in a business and an era where most working actors have limited choices. She may or may not return to the role of Snow White in a sequel to the darkish fantasy “Snow White and the Huntsman,” and although she’s been cast opposite Ben Affleck in a screwball comedy for “Crazy, Stupid, Love” creators Glenn Ficarra and John Requa, that movie hasn’t begun production. In the meantime, her publicists suggested (with about 12 hours’ notice) that she might be willing to chat for a few minutes in her New York hotel before the “On the Road” premiere.
Although she was photographed later that night in a lacy, sheer and leggy designer dress and alarmingly high pumps, when I met Stewart she was dressed more anonymously, almost tomboyishly, in a pinstripe shirt, tan pullover and slim-fitting blue jeans.
You’ve been incredibly loyal to this film, even through a period when you’ve been getting tons of press for other stupid reasons.
It’s hard because we’ve been working on this since we were in Cannes [in May]. When you’re promoting something like this, that you believe in, you want to be honest and open and empathetic, but when you get asked the same question …
/Erica
Intervju med Kristen och Garrett i Movie Fanatic
Kristen Stewart has left Twilight behind and is hitting the highway on the big screen version of the iconic book by Jack Kerouac, On the Road. She stars with Garrett Hedlund and the duo sit down with Movie Fanatic to take us inside their film's long journey to fruition and even clue us in to what makes a good road trip.
"What I love about road trips is that, if you don't have a time frame or a destination, what could derail it is a passenger! But, for this film, Walter (Salles) and I got to take the 1949 Hudson from New York all the way to Los Angeles, which was awesome. The greatest thing about that was that we didn't have a time when we had to get home," Hedlund said.
Easily seen in the On the Road trailer, filming a movie -- literally -- on the road also proved challenging because of that old car. "We broke down over nine times across the country, in different locations, and met some of the most wonderful mechanics across the States!"
Of all their travels filming the movie -- from New York to California and even a jaunt into South America -- each had a special place in the stars' hearts. "New Orleans was incredible, as well. We went out to the Bayou, and that was special," Hedlund said.
"Just being in the city there was amazing," Stewart concurred.
"All the locations were all unique," Hedlund continued. "We were on such a move, right off the bat. We got to catch the snow in the winter in Chile, and then book it down to Argentina and head over to Patagonia and up into No Man's Land."
The iconic book has been toyed with becoming a movie for decades since it was released in 1957. Stewart appreciated how the author took the reader on a first person journey.
"When you can literally Google anything, you don't feel like you have to go see it in person. You can do a lot of traveling in your bedroom, but you're not touching anything and you're not feeling it," Stewart said.
"What I love about road trips is that, if you don't have a time frame or a destination, what could derail it is a passenger! But, for this film, Walter (Salles) and I got to take the 1949 Hudson from New York all the way to Los Angeles, which was awesome. The greatest thing about that was that we didn't have a time when we had to get home," Hedlund said.
Easily seen in the On the Road trailer, filming a movie -- literally -- on the road also proved challenging because of that old car. "We broke down over nine times across the country, in different locations, and met some of the most wonderful mechanics across the States!"
Of all their travels filming the movie -- from New York to California and even a jaunt into South America -- each had a special place in the stars' hearts. "New Orleans was incredible, as well. We went out to the Bayou, and that was special," Hedlund said.
"Just being in the city there was amazing," Stewart concurred.
"All the locations were all unique," Hedlund continued. "We were on such a move, right off the bat. We got to catch the snow in the winter in Chile, and then book it down to Argentina and head over to Patagonia and up into No Man's Land."
The iconic book has been toyed with becoming a movie for decades since it was released in 1957. Stewart appreciated how the author took the reader on a first person journey.
"When you can literally Google anything, you don't feel like you have to go see it in person. You can do a lot of traveling in your bedroom, but you're not touching anything and you're not feeling it," Stewart said.
/Erica
Intevju med Kristen och Garrett i Collider Frosty
Question: Because you fiercely held onto this project, since before even Twilight, what is it that spoke to you about Marylou, that made you still want to be a part of this, after all this time?
KRISTEN STEWART: I really had to dig pretty deep to find it in me to actually play a person like this. It took a long time. Initially, I couldn’t say no. I would have done anything on the movie. I would have followed in a caravan, had I not gotten a job on it. But, I was 16 or 17 when I spoke to Walter [Salles], for the first time. I was 14 or 15 when I read the book, for the first time. It was easy to connect the dots, after having gotten to know the person behind the character, to see what I would need to pull off a lifestyle like that, but that didn’t happen until deep into the rehearsal process. At first, I was just attracted to the spirit of it. I’m the type of person that really needs to be pushed really hard to be able to really let it all hang, and I think Marylou is the type of person that you can’t help but be yourself around because she’s so unabashedly present, all the time, like this bottomless pit of really generous empathy. That’s a really rare quality to have. It makes you capable of living a really full, really rich life without it taking something from you. You couldn’t take from her. She was always getting something back. She was amazing.
GARRETT HEDLUND: Being in the presence of someone so non-judgmental, gives you the freedom to shed inhibitions and fears, and be more honest with yourself and with somebody that’s more like that than you’ve ever been.
As much as you wanted to do it, how hard was it for you guys to stay attached to this, as time went by? How did that life seasoning, during that time, help inform things for you?
HEDLUND: Well, it wasn’t hard to stay attached, at all. This was, for me, something that I so eagerly wanted to do. When Walter [Salles] cast me in this, I was so unbelievably proud to be a part it. I was such a fan of the book and, from eight years after reading the book to now, to be on set was insane. But, from the time I was cast, I had this faith that it would get made, and this fear that it would. Everybody grew a bit too old. That was one of my fears with it because, with this part of the book, Dean is 21 and Sal is 24. We started filming it when I was 25. I turned 26 on it. Now, I’m 28. When I first read with Walter on it, I was 22 years old. Now, looking back with four years in between, with that life experience and life seasoning, you gain much more knowledge and wisdom of the world, the ways things work, the people and how to get what you want, and to know America a little bit more. Obviously, doing drives across the country enhanced the wisdom behind the wheel, of all these remote locations, being broken down and not having a penny to your name. It helped me to be comfortable with those scenes.
Because getting comfortable with the intensity of some of the physical scenes between the two of you, just so that you could do those scenes yourself, were there teams of managers and agents debating whether you should do it or not?
STEWART: No.
HEDLUND: No. The torture for them wasn’t having to accept the fact that your ass would be out for anybody to see, but with the internet, it will never go away. But, it wasn’t really that. It was the fact that for two or three years, I was saying no to everything that came across the table, and they were just like, “All right, you go off and do that film. I hope Mr. Salles is happy. Where have you been for the last three fucking years?” That was the only thing. Agents and managers despise passion projects sometimes.
KRISTEN STEWART: I really had to dig pretty deep to find it in me to actually play a person like this. It took a long time. Initially, I couldn’t say no. I would have done anything on the movie. I would have followed in a caravan, had I not gotten a job on it. But, I was 16 or 17 when I spoke to Walter [Salles], for the first time. I was 14 or 15 when I read the book, for the first time. It was easy to connect the dots, after having gotten to know the person behind the character, to see what I would need to pull off a lifestyle like that, but that didn’t happen until deep into the rehearsal process. At first, I was just attracted to the spirit of it. I’m the type of person that really needs to be pushed really hard to be able to really let it all hang, and I think Marylou is the type of person that you can’t help but be yourself around because she’s so unabashedly present, all the time, like this bottomless pit of really generous empathy. That’s a really rare quality to have. It makes you capable of living a really full, really rich life without it taking something from you. You couldn’t take from her. She was always getting something back. She was amazing.
GARRETT HEDLUND: Being in the presence of someone so non-judgmental, gives you the freedom to shed inhibitions and fears, and be more honest with yourself and with somebody that’s more like that than you’ve ever been.
As much as you wanted to do it, how hard was it for you guys to stay attached to this, as time went by? How did that life seasoning, during that time, help inform things for you?
HEDLUND: Well, it wasn’t hard to stay attached, at all. This was, for me, something that I so eagerly wanted to do. When Walter [Salles] cast me in this, I was so unbelievably proud to be a part it. I was such a fan of the book and, from eight years after reading the book to now, to be on set was insane. But, from the time I was cast, I had this faith that it would get made, and this fear that it would. Everybody grew a bit too old. That was one of my fears with it because, with this part of the book, Dean is 21 and Sal is 24. We started filming it when I was 25. I turned 26 on it. Now, I’m 28. When I first read with Walter on it, I was 22 years old. Now, looking back with four years in between, with that life experience and life seasoning, you gain much more knowledge and wisdom of the world, the ways things work, the people and how to get what you want, and to know America a little bit more. Obviously, doing drives across the country enhanced the wisdom behind the wheel, of all these remote locations, being broken down and not having a penny to your name. It helped me to be comfortable with those scenes.
Because getting comfortable with the intensity of some of the physical scenes between the two of you, just so that you could do those scenes yourself, were there teams of managers and agents debating whether you should do it or not?
STEWART: No.
HEDLUND: No. The torture for them wasn’t having to accept the fact that your ass would be out for anybody to see, but with the internet, it will never go away. But, it wasn’t really that. It was the fact that for two or three years, I was saying no to everything that came across the table, and they were just like, “All right, you go off and do that film. I hope Mr. Salles is happy. Where have you been for the last three fucking years?” That was the only thing. Agents and managers despise passion projects sometimes.
/Erica
Intervju med ITN/Showbizz411
/Erica
Kristens intervju med HitFix
/Erica
Kristens intervju med Huffington Post
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.
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.
/Erica
Intervju från Variety Awards Studio
/Erica
Intervju med Fox Backstage
/Erica
Intervju med Kristen i Marie Claire (Australien)
‘Thankfully I was never told I needed a Prince Charming or anything more than what I already had in me,” she offered. “You have to find your own way in life. I’m not into that rescue stuff.”
“I’m sort of bored now,” she confessed [talking about 'what's next']“I wanna work on something and maybe it doesn’t have to be an acting job. I’ve been hanging out with my dogs and my family and, to be honest with you, I’m still catching up on sleep. I’ve worked for 2 years solid, literally since Eclipse. But I’m itchy now. I wanna do something.”
Her first shot at redefining her career came in September [release date in Australia], with her star turn in the big-screen adaptation of Jack Kerouac’s “On the Road”.
Reminded that she need never work again for the rest of her life, she smiled and said: “Yeah, I know. I’m in an insane position that I would do my job for free and that’s something that a lot of people say, but I actually mean it. But you need to need it or else it’s not worth doing.”
That work ethic can largely be attributed to her upbringing. Raised by industry parents, she did her homework on the sets of her parents’ TV shows, where dad John Stewart worked as a stage manager and her mother, Jules Mann-Stewart – originally from Maroochydore, Qld – as a script supervisor.
“My parents are really working class. They make movies. I really looked up to them because of that, and always wanted to make movies and be a part of that. I don’t know what I’d be doing if I wasn’t an actor.
“Growing up, my parents weren’t really strict. They let me be who I wanted to be. It’s not like my mum ever sat me down and said, ‘You need to be yourself, Kristen’ or ‘Don’t take any crap, Kristen’, although she did say that to me quite a few times,” she recalled, laughing.
“I thought I was an adult when I was, like 12. I don’t know why. I’ve never been complacent. I wasn’t brought up that way. I’m the youngest in my family and always felt like I had to take care of my brothers. I’ve always been a worrier. I’ve never been that kid who just doesn’t give a crap about anything, even when I was in kindergarten.”
“I’m sort of bored now,” she confessed [talking about 'what's next']“I wanna work on something and maybe it doesn’t have to be an acting job. I’ve been hanging out with my dogs and my family and, to be honest with you, I’m still catching up on sleep. I’ve worked for 2 years solid, literally since Eclipse. But I’m itchy now. I wanna do something.”
Her first shot at redefining her career came in September [release date in Australia], with her star turn in the big-screen adaptation of Jack Kerouac’s “On the Road”.
Reminded that she need never work again for the rest of her life, she smiled and said: “Yeah, I know. I’m in an insane position that I would do my job for free and that’s something that a lot of people say, but I actually mean it. But you need to need it or else it’s not worth doing.”
That work ethic can largely be attributed to her upbringing. Raised by industry parents, she did her homework on the sets of her parents’ TV shows, where dad John Stewart worked as a stage manager and her mother, Jules Mann-Stewart – originally from Maroochydore, Qld – as a script supervisor.
“My parents are really working class. They make movies. I really looked up to them because of that, and always wanted to make movies and be a part of that. I don’t know what I’d be doing if I wasn’t an actor.
“Growing up, my parents weren’t really strict. They let me be who I wanted to be. It’s not like my mum ever sat me down and said, ‘You need to be yourself, Kristen’ or ‘Don’t take any crap, Kristen’, although she did say that to me quite a few times,” she recalled, laughing.
“I thought I was an adult when I was, like 12. I don’t know why. I’ve never been complacent. I wasn’t brought up that way. I’m the youngest in my family and always felt like I had to take care of my brothers. I’ve always been a worrier. I’ve never been that kid who just doesn’t give a crap about anything, even when I was in kindergarten.”
/Erica
Intervju med Kristen från Variety Awards
Intervjun börjar vid 4:47
/Erica
Intervju med Kevin McCarthy
/Erica
Intervju med Patrick Stoner
/Erica
