克里斯汀·斯图尔特:坏女孩走四方

克里斯汀·斯图尔特不是好莱坞第一位“坏女孩”。正所谓“长江后浪推前浪”，前面的布兰妮、希尔顿、林赛·罗韩还“屹立不动”，后面的“坏女孩”已“崛起”，用更诡异、更决绝的方式来歌唱叛逆，颂扬不羁。斯图尔特没有长着一张好女孩的脸蛋，也没有立志成为《暮光之城》女主角贝拉那样的可人儿，未成年就酒精大麻样样玩遍，成年后的恋情也是花样不断——不久前，她和有妇之夫“偷腥”被“该死的”小报拍到，以致于她和罗伯特·帕丁森分道扬镳，偶像担任的幸福解说员的功能一时间支离破碎。她破坏了全球万千少女“他们永远幸福地生活在一起”的幻想——她是严格意义上的“反叛者”。

有人说，好女孩上天堂，坏女孩走四方。行走在娱乐圈这个光怪陆离的世界，红男绿女把酒言欢，人最容易迷失方向。好女孩，或是坏女孩，这是多少公关公司费力设想的形象。我们不能寄望他们来完成我们的价值体系建筑，也不能把对爱情的美好想望让他们来为我们填满，说到底，那只是一张张好皮相。生活的实质，却需要我们用智慧，用准则来衡量。

——Mac

There aren’t enough of those kinds of mad ones these days. Not on the screen, the stage, the page, or the gallery walls. Instead, watch the 2)bowing down to fame, money, and power, the 3)capitulation to status. So rarely do we witness a young artist, singer, or actor who wants to burn, burn, burn, to 4)set off on a new path that will inspire future generations, but who is also willing to suffer the rod that comes with saying no to things as they are.

One is Kristen Stewart, the 5)restless 22-yearold actress best known to tens of millions of fans as Bella Swan, 6)offbeat heroine of the Twilight series. But Stewart will 7)ingrain herself even deeper in the public’s consciousness in 2012 as she appears in a trio of movies, beginning with 8)wham-bam Snow White & the Huntsman and continuing with　an adaptation of the 9)hipster bible On the Road. Topping them all, at least at the box office, will be this November’s grand Twilight finale, Breaking Dawn 2.

Stewart certainly isn’t the first performer to 10)take issue with the sideshow that comes with Hollywood success, but she’s definitely the least afraid young female superstar to be so outspokenly critical of the system. “I have been criticized a lot for not looking perfect in every photograph,” she says. “I’m not embarrassed about it. I’m proud of it. If I took perfect pictures all the time, the people standing in the room with me, or on the carpet, would think, ‘What an actress! What a faker!’ That thought embarrasses me so much that I look like a mess in half my photos, and I don’t give a damn. What matters to me is that the people in the room leave and say, ‘She was cool. She had a good time. She was honest.’”

One might think Stewart would 11)be down with the package-oriented ways of the entertainment business, since she’s a homegrown Hollywood product. Her mother, Jules Mann-Stewart, is a respected 12)script supervisor. Kristen’s father, John Stewart, is also in the business, having worked as a producer and stage manager on TV 13)specials and reality shows. Her brother, Cameron, is a grip—a lighting and 14)rigging technician.

Stewart, growing up in the 15)San Fernando Valley, learned the 16)drill about a life in film and TV early. In fact, Kristen’s earliest stabs at jobhunting were a misery. “I wasn’t doing anything but smiling for the camera,” she remembers of trying out for commercials when she was eight. In 2001, at age nine, she snagged a “tomboy type” role in Rose Troche’s movie The Safety of Objects. A few other roles followed in projects that failed to reach much of an audience.

Then came her big break: 17)David Fincher’s Panic Room, released in 2002, in which Stewart, then 11, had a lead role, opposite 18)Jodie Foster. Foster remembers, “Kristen was incredibly mature in some ways and 19)grounded and very calm under pressure. She was an incredible listener, but then she’d say something so child-like that you’d be like, That’s right—she’s only 11.”

All that awareness and independence made for some tough years in school; at 14, Stewart officially quit and signed on for home-schooling. “I hated school so much,” she says with a shudder. “Look at a picture of me before I was 15. I am a boy. I wore my brother’s clothes, dude! Not like I cared that much, but I remember being made fun of, because I wasn’t wearing 20)Juicy jeans. I didn’t even think about it. I wore my gym clothes. But it’s not like I didn’t care that they made fun of me. It really bothered me. I remember this girl in sixth grade looked at me in gym and was like, ‘Oh my God! That’s 21)disgusting—you don’t shave your legs!’ ” 　It was 22)Sean Penn who suggested to Catherine Hardwicke, the director of the first Twilight movie, that she give Stewart a shot. The director signed on because she believed in Stewart’s ability to 23)embody the feelings of longing that drive the original book.

Stewart was fully engaged on set. She is open about the creative tensions that developed. “Me and Rob got into a lot of trouble,” she told me with a smile. “We wanted it to be not so 24)polished. Catherine was all for that. But we were getting notes from the studio. They wanted me to smile all the time. They wanted Rob to be not so 25)brooding. We were like, ‘No! You need to brood your ass off.’ ” A worldwide box-office take of almost$400 million certainly proved that the audience was ready for an unsmiling Bella and a brooding Edward. The fact that emotionally involved fans have taken the films so personally has only increased the sense of responsibility Stewart already felt to her character, to the point where Bill Condon, the director of the last two 26)installments, affectionately calls her the “Twilight-book Nazi,” because of her commitment to staying faithful to the novels.

I asked Stewart when she fully realized that Twilight had changed her life. “You can Google my name and one of the first things that comes up is images of me sitting on my front 27)porch smoking a pipe with my ex-boyfriend and my dog.　It was [taken] the day the movie came out. I was no one. I was a kid. I had just turned 18. In [the 28)tabloids] the next day it was like I was a 29)delinquent 30)slimy idiot, whereas I’m kind of a weirdo, creative 31)Valley Girl who smokes pot. Big deal. But that changed my daily life instantly. I didn’t go out in my underwear anymore.”

A different side of this fearlessness is what makes Stewart’s performance in On the Road so memorable. When director Walter Salles decided to take on 32)Kerouac’s 1957 novel, he set himself an unusually hard task, because the text—about a group of young people trying to escape the 33)conformity of their time. Stewart made sure she knew her stuff before filming started, spending hours talking to the daughter of LuAnne Henderson, 34)Neal Cassady’s first wife and Marylou’s real-life 35)counterpart.

A few days after we’d had lunch together in Paris, I watched On the Road with Stewart. I was almost glad, because watching the movie had been such an 36)intimate experience—which is, of course, the power of the film, but still.

时至今日，那样的“疯人疯事”不多了。银幕上，舞台上，书本上，或是画廊的墙壁上都看不到。相反，我们尽收眼底的是向名利、金钱和权力低头，向身份妥协。因此，很少能看到一位年轻的艺人、歌手或是演员会燃烧自我，开辟一条将会激励后辈的新路，并甘愿遭受世俗非议与抨击。

其中一个这样的人便是克里斯汀·斯图尔特——一位内心躁动的22岁女演员。她最广为人知并为其赢得数千万粉丝的角色是《暮光之城》系列里那个奇特古怪的女主角——贝拉·斯旺。但2012年，随着她出演三部电影——包括“强力冲击波”大片《白雪公主与猎人》以及改编自上世纪五十年代颓废派心中“圣经”的《在路上》，斯图尔特使得自己的形象在公众心目中更加深固。而这三部电影的重中之重——至少就票房来说，应该会是今年11月上映的《暮光之城》终曲：《暮光之城4：破晓（下）》。

斯图尔特当然不是第一个“人红是非多”的好莱坞演员，但她绝对是最无畏的年轻大腕且敢于直言抨击当下的制度。“我已经不止一次被批评不能在每张照片中都表现得尽善尽美，”她说道。“我对此并不觉得困窘。我还挺自豪的。如果我每时每刻都表现完美，那么，和我共处一室的，或同走红毯的人会想，‘这人果然是个演员！太假了！’那样才让我尴尬无比。照片拍出来，有一半看上去不咋地，那又怎样？对我来说，重要的是，见过我的人离开之后会说，‘她很酷，她玩得尽兴，她很真实’。”

因为斯图尔特出身于演艺世家，大家也许认为她也就会顺着娱乐圈那套讲求包装的方式发展。她的母亲，朱丽斯·曼恩—斯图尔特是位备受敬重的场记人员；克里斯汀的父亲，约翰·斯图尔特，同样是圈内人，是一名电视特别节目和真人秀的制作人及舞台监督。她的哥哥，卡麦隆，是一名灯光装置的技师。

斯图尔特，在圣费尔南多谷长大，小小年纪就在电影和电视上磨炼演技。事实上，克里斯汀早年的“求职”经历苦不堪言。“除了对着镜头笑，我什么也没干，”她回忆起八岁时为一个商业广告试镜时的窘况。2001年，九岁的她在罗斯·特洛什的电影《拜物有理》中获得一个“假小子”角色。之后，她还接演了其他一些角色，但作品都未引起很大的反响。

之后，她人生中的巨大突破来了：于2002年上映的大卫·芬奇执导的《战栗空间》。当时十一岁的斯图尔特是电影主演之一，与朱迪·福斯特演对手戏。福斯特回忆当时的情形，说道：“克里斯汀在某些方面出奇地成熟、踏实，而且高压之下也能非常镇定。她非常善于聆听，然而有时她会说些非常孩子气的话，让你想起，对哦，她才十一岁。”

知名度再加上独立自主的个性让斯图尔特在学校的几年时间十分难熬；于是，十四岁时斯图尔特便正式离校，接受家庭教育。“我非常讨厌学校，”她说着还哆嗦了一下。“看我十五岁之前的照片，我根本就是个男孩，穿我哥哥的衣服，老兄！我不是很介意这样，但是我记得我常被人取笑，因为我没有穿橘滋牛仔裤。我甚至都没想过要穿那裤子。我穿运动服。但这并不意味着我不在乎被他人取笑，那确实困扰着我。我记得六年级时一个女孩在体育馆看着我，像是说，‘天啊！真恶心，你竟然不刮脚毛！’”

当时，是肖恩·潘向《暮光之城》首部曲的导演凯瑟琳·哈德威克推荐了她，让她有了一个试镜的机会。导演签下了斯图尔特，因为她相信斯图尔特有能力表现出带动原著感染力的那份苦恋渴求。

在片场，斯图尔特百分百投入。她对萌发的创作张力毫不掩饰。“我和罗伯惹过不少麻烦，”她笑着告诉我。“我们希望表达得更加自然，凯瑟琳很赞同。但我们一直收到来自制片公司的意见，他们希望我总保持笑容，他们希望罗伯不要那么沉郁。我们就回应说，‘不行！你就得狠狠地沉郁。’”《暮光之城》首部曲全球票房收入达到将近四亿美元，这当然证明了观众对不苟言笑的贝拉和内敛沉默的爱德华很买账。事实上，那些全情投入的影迷对《暮光之城》的钟爱徒增了斯图尔特对自己所扮演角色的责任感，其程度之深，以至于接手《暮光之城》最后两部影片的导演比尔·康顿亲切地称斯图尔特为“《暮光之城》原著的纳粹信徒”，因为她恪守承诺，忠于原著呈现角色。

我问斯图尔特，从什么时候开始，她真切地意识到《暮光之城》改变了她的人生。“你可以在谷歌上搜索我的名字，最先冒出来的就是一张这样的照片：我坐在前廊上抽着烟斗，旁边还有我的前男友和我的狗。那照片就是电影首映当天拍的。我当时还名不见经传，只是个孩子。才刚满十八岁。在第二天的小报报道中，我就成了一个不检点、脏兮兮的蠢货，而实际我是一个怪人，一个抽大麻的有创意的‘山谷女孩’。了不起啊！但那件事即刻就改变了我的生活。我再也不敢穿着内衣裤外出了。”

这种无畏的另一个侧面造就了斯图尔特在电影《在路上》中令人难以忘怀的表演。当导演沃尔特·塞勒斯决定将凯鲁亚克1957年的小说改编拍摄成电影时，他就给自己设置了一个异常艰巨的任务，因为内容讲述的是一群年轻人尝试叛离那个年代单调划一的生活。斯图尔特确保自己在电影开拍前有足够的背景知识，花了不少时间和尼奥·凯塞迪的第一任妻子卢安妮·亨德森的女儿交谈，而卢安妮就是她在电影中扮演的玛莉罗的原型。

在我们一同于巴黎共进午餐的几天后，我和斯图尔特一起观看了影片《在路上》。我很是高兴，因为跟她一起看这部电影是非常近距离的体验——当然了，那是这部电影的魅力，但还是让人非常愉快的。