Pablo larrain4/1/2023 There’s an earlier scene in which Gregory tells Diana about a soldier who was spinning a tale about a wild horse that couldn’t be tamed and was hit by a bullet before he could finish the story. If you’ve got questions about Kristen Stewart’s portrayal of Princess Diana in the new film ‘Spencer,’ we have the answers.Įven Stewart and Larraín can’t agree about the character’s motivations - and Stewart finds this thrilling, as she loves a good debate. Movies All your burning questions about Kristen Stewart as Princess Diana, answered Shortly afterward, we see Major Gregory return the Boleyn book to a shelf in the library. “Anne Boleyn saved my life last night,” Diana tells a friend at the end of the film. Soon, Diana begins seeing Boleyn’s ghost, listening to her advice at a crucial moment. That first meeting marks the beginning of a cat-and-mouse game that continues throughout “Spencer.” In her room, Diana finds a biography of Anne Boleyn, the wife Henry VIII beheaded. She could turn passive-aggressive communication into an art form.” I am a very stand-and-deliver, straight-up motherf. “And I’ve always been a little bit slow on the uptake, because the quick, casual, disarming - what could be construed as catty - communication is just not my strong suit. “I’ve spent a lot of time in and out of the U.K. Larraín calls it an “arrival to an elegant prison.” Stewart is more blunt, calling it a “full-blown fight scene.” Larraín says devising a shooting schedule is a “science.” On the first day of “Spencer,” it was all visuals, no words, an “embracing” day, Stewart says, like “settling into warm water.” The next day was different: A five-page scene with Diana arriving at the royal family’s chilly Sandringham country estate on Christmas Eve and being welcomed - perhaps processed is a better word - by Timothy Spall’s spectral Major Gregory, a military man tasked with making sure Diana doesn’t cause trouble. Olympus to be precise, sitting on a patio overlooking a seemingly boundless blanket of Los Angeles lights, talking about our favorite scenes from Larraín’s sly, subversive and wholly subjective film. “You put these songs on and I’m f- swirling around in my conceived memories of what her life must have felt like, which was such a trip,” Stewart told Larraín on a recent October night. When “Spencer” was finished shooting, Larrain took all the footage from these sessions and turned it into a 3½-minute montage that’s seen toward the end of the film, a wordless sequence set to composer Jonny Greenwood’s “Crucifix” that sums up a defiant Diana’s need to escape. Larraín would have to remind her that the camera was rolling. And usually, at least at the beginning, all Stewart wanted to do was talk about the song. For 30 minutes or so, Larraín would choose a musical cue - it might be Miles Davis or Frank Sinatra or Lou Reed - and Stewart, having picked out one of Diana’s dresses from a costume rack - would respond to the music. It didn’t matter how Stewart was feeling, though, because at the end of nearly every one of the 37 days she spent shooting “Spencer,” director Pablo Larraín had a final task for her to do before she left the set. And some days, it was a combo platter, and Stewart was an absolute mess. Other days, the weight of playing Princess Diana coming to terms with husband Prince Charles rejecting her, and the royal family dismissing her, left her angry. Sometimes at the end of a day shooting “Spencer,” Kristen Stewart felt wrung out and absolutely exhausted.
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