Kristen Stewart is famous for seeming reluctant about her fame. But the Charlie’s Angels actor is learning to embrace the finer points of megastardom. Read V.F.’s September cover story:
the vampire-romance franchise that launched Stewart into the stratosphere—and shitstorm—of superstardom. Thanks to a generation of “Twi-hards” who came of age on social media during those five films, who made sport of obsessing over her concurrent relationship with costar Robert Pattinson, Stewart’s private life developed into a tabloid spectacle. That same feverish interest still thrives.
“It’s harder for me to be an actor as I’m getting older. I’m more comfortable in the idea of making something from top to bottom, rather than giving myself to [it]. There are certain actors who are out of their minds and so transient in their presence that they can actually convince themselves and others of anything,” she says. “I have a harder time doing that as I get older.”accessed what Yuknavitch calls Stewart’s “nomad code.
I’ve never met anyone so synchronously chill and switched on, shaking her leg repeatedly but speaking in rapt chains of thought. She seems deeply clued into the collateral nature of her intuition. She’s hung up on getting things right. Assayas calls her “an actor of the first take.” And Stewart, reflecting on her own writing—the script, her poetry—lights up when she tells me there is nothing more satisfying than finding the exact word to communicate a feeling.
I know what Yuknavitch is talking about. While hanging out with Stewart at the reservoir, if lulls would waylay our conversation, I almost felt—not that I was disappointing her, but that I had forgotten to add money to the meter. That I had been negligent. A general ineffectualness would settle and I would look around, hoping a dog might soon pass by and visit our bench.
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