WEBVTT - Top 5 Kristen Stewart Scenes | Archive 0:00:03.840 --> 0:00:05.960 What kind of a show you guys putting. 0:00:05.720 --> 0:00:07.880 On here today? You're not interested in armed now? 0:00:08.039 --> 0:00:09.360 No, look, we're going to do this thing. 0:00:09.360 --> 0:00:14.440 We're going to have a conversation. Hey, film Spotters will 0:00:14.560 --> 0:00:17.520 get to our Kristen Stewart scenes here in a minute 0:00:17.560 --> 0:00:20.919 and tell you why we're even sharing this top five 0:00:20.960 --> 0:00:23.280 from the archive. But first we wanted to let you 0:00:23.360 --> 0:00:27.360 know that you can get access at any time to 0:00:27.360 --> 0:00:31.280 top fives like this other reviews from the past over 0:00:31.360 --> 0:00:36.040 one thousand episodes by becoming a Film Spotting Family member. 0:00:36.240 --> 0:00:36.560 Josh. 0:00:36.600 --> 0:00:38.920 All they have to do if they want a discount 0:00:38.920 --> 0:00:40.479 through the month of August is do what. 0:00:40.960 --> 0:00:44.560 Use promo code Summer. Pretty easy, Yeah, through August thirty. 0:00:44.600 --> 0:00:48.680 First we are offering this over at film Spottingfamily dot com. 0:00:49.040 --> 0:00:52.479 I feel like it's always a good deal, but now 0:00:52.880 --> 0:00:55.240 especially a good deal twenty percent off use that promo 0:00:55.240 --> 0:00:55.840 code Summer. 0:00:56.520 --> 0:00:59.480 So we're sharing a top five from twenty seventeen, our 0:00:59.480 --> 0:01:04.839 top five Kristen Stewart scenes. Up until this year, Meryl 0:01:04.959 --> 0:01:08.800 Streep hadn't even been given this type of treat. Wow, 0:01:08.840 --> 0:01:11.720 on film Spotting You didn't need to point that out. No, 0:01:11.760 --> 0:01:14.800 I didn't need to. But this was the height of 0:01:14.880 --> 0:01:19.399 the case stuissance because she had just been in Personal Shopper, 0:01:19.680 --> 0:01:23.920 Olivia Asseas's film that had followed Certain Women in twenty sixteen, 0:01:24.000 --> 0:01:26.760 The Clouds of sils Maria in twenty fourteen, and she 0:01:26.800 --> 0:01:29.319 had credits going back to Panic Room and Into the 0:01:29.360 --> 0:01:32.319 Wild as a teen. She is by far the youngest 0:01:32.319 --> 0:01:34.399 actor we've done a top five scenes for, but it 0:01:34.600 --> 0:01:39.880 seems at that time she had been appraised as one 0:01:39.920 --> 0:01:43.680 of our finest actors and we felt that way, and 0:01:43.720 --> 0:01:47.640 we certainly felt that she was deserving of this type 0:01:47.680 --> 0:01:48.600 of treatment. 0:01:49.200 --> 0:01:55.440 Yeah, I feel like we also recognizing that this wouldn't say, 0:01:55.480 --> 0:01:59.000 I wouldn't call her resurgence, but that this recognition was building. 0:02:00.000 --> 0:02:04.040 I wanted to dig into some of her movies, specifically 0:02:04.080 --> 0:02:07.880 looking at her performances and wrapping our own minds around 0:02:08.240 --> 0:02:10.840 what we made of her as an actor, what she 0:02:10.919 --> 0:02:12.799 brought to the screen, what she brought to these roles, 0:02:13.160 --> 0:02:16.240 and then come away with our favorites from what we saw. 0:02:17.160 --> 0:02:20.120 This doesn't happen often, but over the course of doing 0:02:20.120 --> 0:02:23.000 the show together, we have done a few joint top fives, 0:02:23.440 --> 0:02:25.800 and that's what you'll get here. This is truly our 0:02:26.160 --> 0:02:32.359 Top five. Kristen Stewart scenes jone Jet, I play. 0:02:34.240 --> 0:02:36.400 I played guitar, electric guitar. 0:02:36.919 --> 0:02:40.040 Oh, jone Jet. That's a cool name. 0:02:40.040 --> 0:02:40.960 You guys got a demo? 0:02:43.639 --> 0:02:48.560 No, no, I don't, No, guys, I want to start 0:02:48.600 --> 0:02:52.760 an angle rock band. The Runaways and Kristen Stewart's Joan 0:02:52.880 --> 0:02:57.120 Jet with Michael Shannon as Kim Fowley, who's a music 0:02:57.200 --> 0:03:01.960 producer and who's their manager, and he is delightfully fun 0:03:02.000 --> 0:03:04.840 in that film was my favorite thing about that film 0:03:05.200 --> 0:03:07.919 back in twenty ten, and I was sure, Josh, maybe 0:03:07.960 --> 0:03:11.400 it's because of the critical reconsideration of Stuart. I just 0:03:11.440 --> 0:03:14.120 assumed that I was a huge fan of Stuart's performance 0:03:14.120 --> 0:03:15.480 in that movie, and I went back and looked at 0:03:15.480 --> 0:03:18.040 my notes and kind of mixed on the film, kind 0:03:18.040 --> 0:03:20.680 of mixed on her. Rewatching a lot of scenes from 0:03:20.720 --> 0:03:24.799 it for this show, I've changed my thoughts on her, 0:03:24.800 --> 0:03:27.440 and I think it's because the way we've seen her 0:03:27.480 --> 0:03:31.240 evolve through the work of directors like Olivier Assayas. Maybe 0:03:31.280 --> 0:03:33.359 it was a matter of not her needing to catch 0:03:33.440 --> 0:03:35.760 up to anything I'm doing, but me needing to catch 0:03:35.800 --> 0:03:37.720 up to what she's doing. And I think we'll talk 0:03:37.720 --> 0:03:40.360 about what we see her doing on screen as we 0:03:40.400 --> 0:03:43.480 get to our top five Kristen Stewart scenes. And it's 0:03:43.520 --> 0:03:45.160 funny when I went back and looked at those notes, 0:03:45.240 --> 0:03:48.120 Josh I had the setup for that show. Maddie was 0:03:48.160 --> 0:03:51.440 sitting opposite me, and that was the same episode where 0:03:51.440 --> 0:03:54.000 we shared our top five actresses of the decade. It 0:03:54.040 --> 0:03:56.640 was twenty ten, after all, and my setup question for 0:03:56.720 --> 0:03:59.960 Maddie was ten years from now, what are the chances 0:04:00.080 --> 0:04:02.920 is that one or both of the young actresses at 0:04:02.920 --> 0:04:07.080 the center of the Runaways, Kristen Stewart and Dakota Fanning, 0:04:07.280 --> 0:04:09.400 what are the chances that one of them will make 0:04:09.800 --> 0:04:13.160 our list ten years from now? Looking back on the decade, 0:04:13.200 --> 0:04:15.960 and the fact is, it really was like a lot 0:04:15.960 --> 0:04:18.320 of our setups are just a provocation to get the 0:04:18.320 --> 0:04:21.480 conversation going. At the time, in twenty ten, I had 0:04:21.520 --> 0:04:24.800 no thoughts at all that Christen Stewart might genuinely be 0:04:24.880 --> 0:04:26.839 in that conversation. But right now, as we sit in 0:04:26.880 --> 0:04:29.080 twenty seventeen, how could you try to form that list 0:04:29.400 --> 0:04:31.200 and at least not consider her. 0:04:31.400 --> 0:04:32.880 You'd have to write, that's. 0:04:32.720 --> 0:04:34.840 What we've been doing. I mean, I haven't given her 0:04:35.000 --> 0:04:38.680 that sort of consideration. Really, I've only seen, you know, 0:04:38.720 --> 0:04:41.080 not even half of her films. I think we've both 0:04:41.120 --> 0:04:43.080 managed to now see the ones that most people will 0:04:43.160 --> 0:04:47.120 regard as the important ones. But it is this reappraisal 0:04:47.160 --> 0:04:50.400 that's been happening in the last few years that's forced 0:04:50.440 --> 0:04:53.760 me too to think, Okay, I got to look more closely, 0:04:54.360 --> 0:04:57.200 you know, at some of the specific scenes visit films 0:04:57.240 --> 0:04:59.320 I haven't seen before, and for me, it was more 0:05:00.160 --> 0:05:02.320 trying to get not really a quality thing and where 0:05:02.320 --> 0:05:04.320 does she rank. It was just trying to get a 0:05:04.360 --> 0:05:07.680 grasp on what does she do on screen? And so 0:05:08.120 --> 0:05:10.920 that was what I was excited about having the opportunity 0:05:10.960 --> 0:05:11.120 to do. 0:05:11.200 --> 0:05:13.000 Well. We'll rustle with that here in a moment. But 0:05:13.080 --> 0:05:15.840 if you are out there thinking, I've seen a handful 0:05:15.960 --> 0:05:18.320 or several Kristen Stewart films, I don't know what all 0:05:18.320 --> 0:05:20.960 the fuss is about, and that's totally fair. You're not 0:05:21.040 --> 0:05:24.400 alone in terms of the people producing this show. We 0:05:24.440 --> 0:05:26.440 can mention that one of the people behind the scenes 0:05:26.640 --> 0:05:30.000 was not necessarily all that on board with our desire 0:05:30.040 --> 0:05:34.320 to do this top five and actually suggested, looking back, 0:05:34.400 --> 0:05:38.080 we've done these types of appraisals of actors' careers for 0:05:38.120 --> 0:05:41.680 people like Robert de Niro and Philip Seymour Hoffman why her. 0:05:41.920 --> 0:05:44.400 So part of the question is where's the body of work? 0:05:44.520 --> 0:05:47.400 And then you could also ask where's the talent? And 0:05:47.400 --> 0:05:50.640 some of the names that were mentioned, Scarlet Johansson, Jennifer Lawrence, 0:05:50.720 --> 0:05:54.960 even Mia Vasakovska, Sir Sharonan, Brie Larson, all some might 0:05:55.080 --> 0:05:59.560 argue or some of them better actresses maybe than Kristin Stewart. 0:05:59.720 --> 0:06:02.000 But I think what we talked about, Josh is that 0:06:02.120 --> 0:06:04.360 none of those actresses, I think it's fair to say, 0:06:04.360 --> 0:06:08.280 have captured the imagination of critics anyway and some moviegoers 0:06:08.400 --> 0:06:13.960 the way Stuart has recently. And there are some very 0:06:14.000 --> 0:06:17.760 formidable voices in film criticism who are all in on 0:06:17.880 --> 0:06:22.360 Stuart beyond Stephen Cohne, including Wesley Morris and Ao Scott, 0:06:22.400 --> 0:06:24.599 who in the New York Times when they did their 0:06:24.960 --> 0:06:27.960 piece a dialogue between them about the great performances of 0:06:28.000 --> 0:06:31.680 the year twenty sixteen, Ao Scott said his hunch is 0:06:31.680 --> 0:06:34.800 that Kristen Stewart is the new Robert de Niro. He says, 0:06:35.320 --> 0:06:38.880 she doesn't, of course transform physically the way de Niro 0:06:39.320 --> 0:06:41.360 has made a career out of doing or at least 0:06:41.400 --> 0:06:43.760 did early in his career, but according to Scott, she 0:06:43.880 --> 0:06:46.520 burrows as deeply as de Niro ever has into the 0:06:46.520 --> 0:06:49.520 interiors of her characters, and he says the fact that 0:06:49.560 --> 0:06:51.760 she's the most interesting person in all the films she 0:06:51.839 --> 0:06:55.000 was in in twenty sixteen, including Cafe Society, Certain Women 0:06:55.400 --> 0:06:58.359 and Billy Lynn's Long Halftime Walk, suggests that her movie 0:06:58.360 --> 0:07:01.000 star chrisma is still intact. She's just using it in 0:07:01.040 --> 0:07:04.240 subtle and occasionally subversive ways. In Wesley Morris ads, I 0:07:04.240 --> 0:07:06.680 think christ Stewart is just about the best American movie 0:07:06.680 --> 0:07:07.320 actress we have. 0:07:07.720 --> 0:07:10.280 So okay, yes, some hyperbole there. 0:07:10.320 --> 0:07:11.760 Time to temper all that a little bit. 0:07:11.880 --> 0:07:12.440 We'll see. 0:07:13.080 --> 0:07:17.520 This is what I found. She's very to my mind, 0:07:18.040 --> 0:07:22.800 she's extreme. She excels at doing some things very well, 0:07:23.240 --> 0:07:25.360 and as a result of that, there are some things 0:07:25.360 --> 0:07:28.720 that are not in her They're not her strong suit, 0:07:29.040 --> 0:07:32.720 and you can see when certain movies place her in 0:07:32.760 --> 0:07:36.040 the positions to not be able to excel, at least 0:07:36.080 --> 0:07:38.640 from the small sample size that I've taken and getting 0:07:38.640 --> 0:07:41.160 ready for the show gives me that impression, and let 0:07:41.200 --> 0:07:42.480 me give you an idea what I'm talking about. I 0:07:42.480 --> 0:07:44.720 think Personal Shopper is a good place to start, because 0:07:45.040 --> 0:07:47.320 she is She's one of those ghosts that Coan is 0:07:47.360 --> 0:07:50.560 talking about, not literally, but she has that sense in 0:07:50.600 --> 0:07:54.600 the movie. She's an apparition. She's elusive, she's ephemeral. You 0:07:54.680 --> 0:07:57.280 can't pin her down, and I think some people have 0:07:57.680 --> 0:08:00.520 claimed that that makes her a bad actress because you 0:08:00.640 --> 0:08:04.240 don't you can't say this is exactly what she's doing easily, okay, 0:08:04.320 --> 0:08:07.160 and so they will read that as blank and that's 0:08:07.160 --> 0:08:09.320 been a criticism of hers. Now you have others who 0:08:09.320 --> 0:08:12.000 go away the other way, the people that you've mentioned, 0:08:12.040 --> 0:08:13.960 and I think, you know, my experience of her work 0:08:13.960 --> 0:08:16.560 at this point is that she's something in between those 0:08:16.600 --> 0:08:20.200 two positions. She's a master of reticence, just an absolute 0:08:20.320 --> 0:08:23.080 master of that. But perhaps because of that, I think 0:08:23.120 --> 0:08:25.559 she can be a little bit limited when it comes 0:08:25.600 --> 0:08:28.320 to conveying a genuine connection between two people. 0:08:28.440 --> 0:08:29.480 Really, that's where. 0:08:29.240 --> 0:08:32.679 I see some of the scenes, and there are exceptions. 0:08:32.679 --> 0:08:33.480 We'll get to Clouds of. 0:08:33.440 --> 0:08:35.480 Sillsby a bunch of exceptions. 0:08:35.520 --> 0:08:38.480 Maria is one where you know she's on it. It's 0:08:38.520 --> 0:08:41.320 a relationship movie, and I think it's her best performance 0:08:41.600 --> 0:08:44.400 that I've seen, but think about. You know, the first 0:08:44.440 --> 0:08:47.200 time I saw on screen Stephen mentioned it in David 0:08:47.240 --> 0:08:50.160 Fincher's Panic Room. She played a character there who was 0:08:50.640 --> 0:08:55.520 literally withdrawn. Right, She's this diabetic tween who's hiding in 0:08:55.520 --> 0:08:58.360 the safe room with her mother, and the posture she 0:08:58.480 --> 0:09:01.320 has there that she has to adopt. It's curled up, 0:09:01.360 --> 0:09:04.679 it's leaning back, it's turning away, and that is still 0:09:04.840 --> 0:09:09.000 I think her defining quality or her go to position 0:09:09.679 --> 0:09:11.920 as an actress on screen. And I think you can 0:09:11.960 --> 0:09:14.040 say that even in something like you know, the swoony 0:09:14.080 --> 0:09:18.200 Twilight series, which Stephen pointed out that maybe when she's 0:09:18.200 --> 0:09:20.679 not as invested in the material then it's not going 0:09:20.720 --> 0:09:22.720 to work. I think there's probably some of that going 0:09:22.760 --> 0:09:25.880 on there. But she's also too withdrawn to pull off 0:09:25.920 --> 0:09:30.080 this heavy breathing Bella character that she was supposed to 0:09:30.160 --> 0:09:34.600 be playing. You never believed that central relationship between the 0:09:34.600 --> 0:09:39.120 two of them. You always felt that Bella wasn't after Edward, Right, 0:09:39.160 --> 0:09:40.000 you'll be able to back me up. 0:09:40.160 --> 0:09:41.800 It was that, right, Oh yeah, I'm the expert. 0:09:41.920 --> 0:09:45.439 She wasn't after Edward as much as she wanted his doomed, 0:09:45.520 --> 0:09:48.120 lonely lifestyle more than she wanted him. That's the feeling 0:09:48.120 --> 0:09:50.959 I always got. Okay, So I think what makes her 0:09:51.000 --> 0:09:54.400 fascinating is that it's the same thing that makes her frustrating. 0:09:54.440 --> 0:09:57.320 She's this movie star that we can't have and the 0:09:57.360 --> 0:09:59.280 way that we like to have movie stars. Because her 0:09:59.280 --> 0:10:02.920 true talent is keeping us at a distance that's not 0:10:03.080 --> 0:10:05.679 like a good or bad thing. I think that is 0:10:05.760 --> 0:10:08.760 what makes her an alluring presence. 0:10:08.760 --> 0:10:11.000 I would say it's definitely more good than bad, because 0:10:11.000 --> 0:10:13.360 there is that allure. There is something that you can't 0:10:13.360 --> 0:10:15.840 help but be drawn to. There's a mystery you're constantly 0:10:15.880 --> 0:10:16.880 trying to solve. 0:10:16.679 --> 0:10:19.280 But there are scenes where that doesn't work. And you know, 0:10:19.400 --> 0:10:21.800 Twilight is maybe the easy example to give of that. 0:10:21.880 --> 0:10:23.679 But I think even in a film, a good film 0:10:23.760 --> 0:10:27.040 like Personal Shopper, there are scenes that suddenly require her 0:10:27.080 --> 0:10:32.160 to be connecting with another person personally and in a 0:10:32.240 --> 0:10:36.720 vulnerable way, and there's just the disconnect there for me 0:10:37.080 --> 0:10:38.920 where in Personal Shopper And we'll get to it on 0:10:38.960 --> 0:10:41.040 our list. So I don't want to spot when she's 0:10:41.080 --> 0:10:46.080 alone the word Stephen was using solitude intensely private. Those 0:10:46.120 --> 0:10:47.360 are the ones that sing. 0:10:48.240 --> 0:10:50.079 Yeah, I kind of know where you're going, and I 0:10:50.080 --> 0:10:52.680 don't completely disagree. At the same time, I think that 0:10:52.720 --> 0:10:54.960 I still feel like when she is interacting with people 0:10:55.000 --> 0:10:58.480 in this film, it's meant to have that sort of 0:10:58.520 --> 0:11:01.400 awkwardness of people trying to connect in a world where 0:11:01.520 --> 0:11:04.880 they're much more used to connecting with people constantly over text. 0:11:04.920 --> 0:11:07.000 And I wanted to mention to Stephen that that's a 0:11:07.040 --> 0:11:08.880 huge part of this film where we have this other 0:11:09.320 --> 0:11:12.560 ghostly presence in Personal Shopper that is sending her these 0:11:12.600 --> 0:11:15.719 harassing text messages, and look, we all do that every day. 0:11:15.760 --> 0:11:20.520 Another presence is the presence we project of ourselves when 0:11:20.520 --> 0:11:23.480 we're interacting with people over text messages. And you add 0:11:23.480 --> 0:11:24.959 two at the layer of she doesn't know who she's 0:11:25.000 --> 0:11:29.080 talking to and when she then is forced to actually 0:11:29.080 --> 0:11:32.000 try to connect with another individual, it's still fraught with 0:11:32.360 --> 0:11:34.599 that kind of artificiality, and I think it works. I 0:11:34.600 --> 0:11:35.400 think it definitely works. 0:11:35.400 --> 0:11:38.360 Well, we're going to get trapped into a Personal Shopper conversation, 0:11:38.400 --> 0:11:41.280 but I'm thinking of the one with her client's lover. Yeah, 0:11:41.320 --> 0:11:45.600 a long extended exposition scene where all of the sudden 0:11:45.679 --> 0:11:47.680 she just starts spilling her guy. It's not that the 0:11:47.720 --> 0:11:50.360 reticence is a problem there. It's that all of a sudden, 0:11:50.360 --> 0:11:53.240 it's completely gone. And it's not true to that character 0:11:53.280 --> 0:11:55.520 in particular that she opens up so much to this 0:11:55.559 --> 0:11:57.160 guy she just met. And it's also not true to 0:11:57.240 --> 0:11:58.600 Stuart's talent as a performer. 0:11:58.920 --> 0:12:05.800 What are you doing person, I'm waiting, let me go, 0:12:07.440 --> 0:12:16.559 what are you waiting for? My brother died here, my 0:12:17.000 --> 0:12:18.880 twin brother died in Paris. 0:12:20.040 --> 0:12:25.520 Makecident. No, I will give you briefly that when he 0:12:25.640 --> 0:12:29.520 started to engage her in a conversation and she stopped 0:12:29.559 --> 0:12:32.120 walking out the door and turned around and engaged with him, 0:12:32.200 --> 0:12:34.959 I thought that felt false. But then it also made 0:12:35.040 --> 0:12:37.080 sense to me that that character in that moment, who 0:12:37.160 --> 0:12:40.720 was so used to not having any kind of actual 0:12:40.920 --> 0:12:44.920 conversation with people, would say, Okay, I'm going to put 0:12:44.920 --> 0:12:46.680 my guard down for a second. I'm going to actually 0:12:46.679 --> 0:12:48.760 do this. I thought it made sense. But let's talk 0:12:48.760 --> 0:12:50.560 about connection. It's going to be a big part of this. 0:12:50.640 --> 0:12:53.000 I think physicality is going to be a big part 0:12:53.160 --> 0:12:57.439 of what we single out when we single out these 0:12:57.480 --> 0:13:00.760 scenes and the moments that we love from very good 0:13:01.120 --> 0:13:03.360 to great. Kristen Stewart performances, and I want to go 0:13:03.400 --> 0:13:06.360 back for number five. Here we're doing a joint list 0:13:06.760 --> 0:13:08.920 to Into the Wild from two thousand and seven, another 0:13:08.960 --> 0:13:13.880 one that Steven mentioned, and it's Chris and Tracy's Goodbye 0:13:13.920 --> 0:13:18.160 Chris played by Amiel Hirsch. He's Christopher McCanless, the kid 0:13:18.160 --> 0:13:20.319 who is heading off to Alaska, and this is kind 0:13:20.320 --> 0:13:24.440 of his last big stop, his last big encounter with 0:13:25.320 --> 0:13:28.319 society before he goes off for his life of solitude 0:13:28.360 --> 0:13:31.920 in Alaska. And he meets this teenage girl, Tracy, who 0:13:32.360 --> 0:13:35.240 Stuart manages to convey without doing a whole lot that 0:13:35.280 --> 0:13:38.480 she has enough hormones flowing through her that it prompts 0:13:38.800 --> 0:13:41.520 Chris's friend Rainy to say that poor girl is about 0:13:41.520 --> 0:13:45.160 ready to vault herself onto a fence post. And yes, 0:13:45.240 --> 0:13:48.320 there is that element to her performance and her character. 0:13:48.800 --> 0:13:51.760 But like her playing Joon Jet in The Runaways, this 0:13:51.840 --> 0:13:54.440 is another bit that involves her playing a guitar and 0:13:54.480 --> 0:13:56.880 performing Josh. A lot of people listening might think, I'm 0:13:56.920 --> 0:13:59.439 going to go with the Angel from Montgomery duet scene 0:13:59.520 --> 0:14:02.040 where they're playing this great John Prime song and she 0:14:02.160 --> 0:14:05.120 sings and Hirsch joins her in the duet singing for 0:14:05.160 --> 0:14:07.199 these people who have all joined together at a place 0:14:07.280 --> 0:14:10.679 they call Slab City, which is just a snowbird kind 0:14:10.720 --> 0:14:13.240 of camping ground. But for me, it's the moment right 0:14:13.240 --> 0:14:16.600 after the song and that performance Angel from Montgomery dissolves 0:14:16.679 --> 0:14:20.400 into their goodbye. They've made this connection. She's only sixteen 0:14:20.440 --> 0:14:23.479 years old though, so he hasn't engaged with her sexually, 0:14:23.800 --> 0:14:27.040 but they've certainly had some kind of bond over this 0:14:27.080 --> 0:14:29.640 brief time they've been together. And Sean Penn, the director, 0:14:29.720 --> 0:14:32.920 really stages this goodbye wonderfully. Where it starts with the 0:14:32.960 --> 0:14:36.240 camera panning slowly across the campground. We see the camper 0:14:36.560 --> 0:14:39.280 that he's going to be going away in pulling in, 0:14:39.560 --> 0:14:41.720 and then it cuts to Chris and Tracy, and Chris 0:14:41.760 --> 0:14:44.640 is in profile, and the close up is really on 0:14:45.200 --> 0:14:48.480 Stuart's face as he's telling her where she can send 0:14:48.520 --> 0:14:51.240 him mail. You can send mail to this address. It's 0:14:52.360 --> 0:14:55.400 South Dakota. 0:14:55.600 --> 0:14:56.880 I don't know what I'm going to get it, but 0:14:59.080 --> 0:14:59.560 I'll get it. 0:15:04.280 --> 0:15:12.160 I'm treat of magic. Yeah, she's clearly upset, she's sad 0:15:12.280 --> 0:15:14.880 that he's going, but there's something more than that in 0:15:14.920 --> 0:15:15.320 her face. 0:15:15.360 --> 0:15:17.640 It's not just anger. Or sadness. 0:15:17.640 --> 0:15:19.320 It's almost like, the only way I can describe it, 0:15:19.680 --> 0:15:22.960 like she's trying to will him to stay with her eyes. 0:15:23.440 --> 0:15:26.760 She's not doing anything physically in this moment, but there's 0:15:26.800 --> 0:15:30.640 nothing passive about the scene whatsoever. And it extends to 0:15:30.680 --> 0:15:34.240 the moment where they finally do say goodbye and he 0:15:34.360 --> 0:15:37.080 shares this cheesy platitude with her. He says, if you 0:15:37.120 --> 0:15:39.760 want something in life, reach out and grab it, and 0:15:39.800 --> 0:15:42.920 that's where this physicality comes in, where she then gives 0:15:43.000 --> 0:15:45.320 him a hug. And it's something I think we see 0:15:45.360 --> 0:15:48.480 in a lot of Stuart performances. She makes a slightly 0:15:48.600 --> 0:15:52.080 unconventional choice in the Runaways. It's the way she smokes 0:15:52.080 --> 0:15:54.560 a cigarette, It's the way she hunches her shoulders like 0:15:54.600 --> 0:15:57.600 she's always ready for a fight. Here, she doesn't just 0:15:57.760 --> 0:16:00.200 throw her arms around him. It's not a hug like 0:16:00.280 --> 0:16:02.920 we've given or been given a million times, but she 0:16:03.000 --> 0:16:06.560 actually cups the back of his neck and pulls her 0:16:06.600 --> 0:16:09.920 toward him in that moment. And I love that choice 0:16:10.280 --> 0:16:13.800 and I love the aggressiveness of it. Again, nothing passive there, 0:16:13.920 --> 0:16:17.840 but also it is her literally reaching out and grabbing him, 0:16:18.320 --> 0:16:20.920 just as he expressed to her, whatever you want just 0:16:21.000 --> 0:16:23.720 go and get it. Well she does, she does in 0:16:23.800 --> 0:16:27.600 that moment, and yet he obviously doesn't stay. So there's 0:16:27.600 --> 0:16:31.280 a bittersweet irony to this whole endeavor, and we know 0:16:31.360 --> 0:16:33.680 it's going to play out in terms of ultimately how 0:16:33.720 --> 0:16:35.480 things end for Chris. And I think that's where the 0:16:35.560 --> 0:16:38.640 scene also really hits me in terms of some emotional resonance, 0:16:38.680 --> 0:16:42.760 because we know that he could have this, whether it's 0:16:42.840 --> 0:16:46.200 her or someone else, that type of connection, that bond 0:16:46.240 --> 0:16:49.440 with another person. He's about to let it all slip 0:16:49.480 --> 0:16:52.280 away in this quest to find himself and his determination 0:16:52.360 --> 0:16:53.000 to be alone. 0:16:53.320 --> 0:16:55.800 Yeah, Into the Wild my favorite film of two thousand 0:16:55.840 --> 0:16:59.120 and seven, and Stuart one of the reasons for that. 0:16:59.160 --> 0:17:03.120 I'm gonna jump head about ten years exactly and go 0:17:03.160 --> 0:17:06.480 to Kelly Reikert Certain women, and this is the horseback 0:17:06.640 --> 0:17:08.960 riding scene that many people who have seen this film 0:17:09.320 --> 0:17:12.480 come out of it talking about. Stuart anchors one of 0:17:12.520 --> 0:17:14.920 the triptychs here in Reikert's movie. She plays a young 0:17:14.960 --> 0:17:17.960 lawyer who travels to middle of Nowhere, Montana once a 0:17:18.000 --> 0:17:20.920 week to teach a class on school law. A ranch 0:17:20.920 --> 0:17:23.879 hand played by Lily Gladstone crashes the class and becomes 0:17:23.920 --> 0:17:27.520 infatuated with her, so they form this tentative relationship. She 0:17:27.560 --> 0:17:29.760 sits in on the class, they go out afterwards for 0:17:29.760 --> 0:17:34.040 a late night dinner. I think this is probably certain 0:17:34.080 --> 0:17:37.399 women's best scene, when Gladstone offers to give her a 0:17:37.480 --> 0:17:40.480 ride on her horse after class and she accepts. There's 0:17:40.520 --> 0:17:45.840 a quiet understanding between them there that no words are 0:17:46.200 --> 0:17:49.520 used at all to express what they've both come to 0:17:49.600 --> 0:17:52.720 realize and know. And I like towards the end of 0:17:52.760 --> 0:17:58.040 this where Stuart just leans in slightly, and in a 0:17:58.080 --> 0:18:03.639 movie that's very matter of fact in its framing and 0:18:03.760 --> 0:18:06.800 its camera work, also allows them to pass in front 0:18:06.800 --> 0:18:08.679 of a street light at one point, so that a 0:18:08.680 --> 0:18:14.320 halo glows over them, and that's a big flourish for 0:18:14.440 --> 0:18:17.199 someone like Reichert in a movie like this. And I 0:18:17.200 --> 0:18:19.280 think it's also fitting that here, going back to this 0:18:19.359 --> 0:18:23.800 idea of reticence as Stuart's real talent, that her character 0:18:23.840 --> 0:18:29.320 here can't express this until she's not facing the Gladstone character. 0:18:29.520 --> 0:18:30.960 So that just makes a lot of sense for the 0:18:31.040 --> 0:18:33.119 character in the film and for Stuart as well. 0:18:33.200 --> 0:18:36.880 Yeah, without a doubt, and again, it's something physical, it's 0:18:37.080 --> 0:18:39.680 a gesture and it's an actual connection in a film 0:18:39.680 --> 0:18:42.840 where the heartbreak of the movie is in watching two 0:18:42.920 --> 0:18:46.320 people so thoroughly disconnected from each other, even as most 0:18:46.320 --> 0:18:48.040 of the film we see them just sitting across from 0:18:48.040 --> 0:18:51.560 each other at a diner, and it is almost as 0:18:51.600 --> 0:18:54.760 if they are two completely different people having two completely 0:18:54.800 --> 0:18:57.320 different conversations at the exact same time. I did want 0:18:57.320 --> 0:19:01.080 to highlight a comment about that ormance in those scenes 0:19:01.480 --> 0:19:04.760 from Nick Davis, because he's an instructor here at Northwestern. 0:19:04.960 --> 0:19:07.120 He's a film critic, and he wrote an article that's 0:19:07.119 --> 0:19:10.840 in the July slash August issue of Film Comment. So 0:19:10.920 --> 0:19:13.520 going back last summer called Hiding in Plain Sight that 0:19:13.640 --> 0:19:17.200 considers Stuart's career, and I think he really expresses this well. 0:19:17.240 --> 0:19:19.800 He says throughout in fact, we never know when Beth's 0:19:19.960 --> 0:19:23.359 friendly but terse responses to Jamie Beth. Is Stuart's character 0:19:23.720 --> 0:19:28.040 imply exhaustion, class based discomfort, embarrassed, detection of erotic feeling, 0:19:28.320 --> 0:19:31.600 or just a personal habitists. Stuart and Gladstone convey bottled 0:19:31.680 --> 0:19:35.119 up characters without making an incongruously big show of playing 0:19:35.320 --> 0:19:39.200 your word, Josh reticence or overexplicating their secrets and pauses. 0:19:39.440 --> 0:19:42.760 Their exertions turn an anecdote of two people not connecting 0:19:43.119 --> 0:19:46.000 into a rare display of two actresses doing just that. 0:19:46.760 --> 0:19:49.919 There is something remarkable going on in that scene, just 0:19:50.000 --> 0:19:54.280 as Nick said, where I can imagine how two lesser 0:19:54.320 --> 0:19:58.080 performers would make a show of playing disconnection. 0:19:58.280 --> 0:20:00.680 Yeah, because and be afraid otherwise they're all nothing there. 0:20:00.760 --> 0:20:05.560 Yeah, And instead it's absolutely organic to what is transferring 0:20:05.600 --> 0:20:08.040 in the space between them, and that's what makes it 0:20:08.080 --> 0:20:13.800 remarkable as opposed to certain mannerisms or certain ways of speaking. 0:20:15.440 --> 0:20:17.600 You mention a lean in and a lean in is 0:20:17.600 --> 0:20:20.920 a big part of a scene that I chose for 0:20:21.000 --> 0:20:23.720 our number three, and it's from the twenty fourteen film 0:20:23.800 --> 0:20:27.240 Still Alice, which won Julianne Moore, if I remember correctly, 0:20:27.320 --> 0:20:31.920 a Best Actress Oscar. She plays Kristen Stewart's mom. She's 0:20:32.000 --> 0:20:35.920 a linguist who has an early onset of Alzheimer's and 0:20:36.320 --> 0:20:39.480 she has a complex relationship with her daughter, Lydia, who's 0:20:39.520 --> 0:20:42.000 played by Stuart and somebody on Twitter when we threw 0:20:42.040 --> 0:20:45.199 out this topic, Josh mention the scene that actually I 0:20:45.400 --> 0:20:47.440 first thought of and what I think is the most 0:20:47.480 --> 0:20:50.240 devastating scene in the movie. The most devastating moment is 0:20:50.280 --> 0:20:53.560 when Lydia, who has been fighting with her mom about 0:20:53.560 --> 0:20:56.560 her desire to continue to be an actress. That's what 0:20:56.600 --> 0:20:59.240 she wants to pursue while her siblings are more stable. 0:20:59.520 --> 0:21:02.280 One is a med student, I think one's a law student. 0:21:02.760 --> 0:21:05.520 She has a play, she has a performance, and Julianne 0:21:05.520 --> 0:21:09.000