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“How do you feel like you’re not being stolen from,” she asks, “yet at the same time not guard yourself to the point of depriving yourself of so much goodness in life?
“But at the same time, I want so badly to expose myself. It’s not that I want to hide who I am or hide anything I’m doing in my life.
The room’s centerpiece, an imposing bookcase, is packed with fashion tomes, a few to do with Chanel, for whom she models; monographs featuring the work of Basquiat, Eggleston and Mapplethorpe; books about food, travel and the Beatles; and novels by Dostoyevsky, Hesse and Kafka.
A chunk of shelf is devoted to Jack Kerouac, whose character Marylou she played in a film version of “On the Road.”The more mainstream chapters of Stewart’s career are tucked into corners.
I now have faith in my body to carry on, and that has made me a better actor.”An increasingly compelling and nuanced performer, Stewart describes the process at different times as “harnessing a fluid,” “tapping into a magic world” and “finding a portal.” It is, for her, an “explorative, meditative, moving, beautiful, transcendent experience that brings us all closer.” Since the beginning, she has toggled between major studio movies and smart, acclaimed work with masterful directors.
(These days, she’s favoring the latter: Woody Allen’s “Café Society,” Drake Doremus’s “Equals,” Ang Lee’s “Billy Lynn’s Long Halftime Walk” and Kelly Reichardt’s “Certain Women.”) What’s new is her willingness to take on characters that might have previously overwhelmed her.