There are not a lot of actors in this business like Kirsten Dunst. It’s not just that she’s uber-talented and high on the list of talents deserving of landing their first Oscar nomination. Despite a life spent in front of the camera, Dunst will sit down with you for an interview—on zoom, no less—with no pretense. No spin. No airs. No prepared talking points. It’s uniquely refreshing and one reason many are hoping she breaks through the Academy’s glass ceiling with her acclaimed performance in Jane Campion’s “The Power of the Dog.”
Adapted from Thomas Savage’s 1967 novel, “Power” finds Dunst portraying Rose Gordon, a widower who remarries a local ranch owner, George Burbank, played by her real-life husband, Jesse Plemons. That immediately puts her and her distinctly feminine son, played by Kodi Smit-McPhee, at odds with George’s tempestuous brother Phil brought to life by Benedict Cumberbatch. Rose has years of hurt she’s trying to process that Phil continuously pokes at, but Dunst says she doesn’t carry that burden with her when the camera stops rolling.
“It’s also, you aren’t a better actor if it’s painful. The more relaxed you are and the safer you feel,” Dunst says. “But then again, if you’re nervous too, whatever it is, you can use that stuff. It doesn’t have to be something that’s self-punishing or any of that. Like when I did “Melancholia,“ I had the best time, but I know how to access those things. It’s not like I have to be depressed to play depressed. I was in a great place when I did that film. It’s more about being able to access these feelings, and the more open and the more comfortable the set is, it’s so much easier to be present and access those things. The kinder people are to each other, and the more open you are with each other, the easier it is to be vulnerable, I think.”
In the context of our interview, Dunst explains the dream work technique, how Jonny Greenwood‘s music became part of her routine, co-star Cumberbatch’s ability to stay in character on set, and more.
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The Playlist: Kirsten, how are you doing?
Kirsten Dunst: I’m good. A little tired, but O.K. Thank you.
Well, I’m glad you’re here. I loved your performance in the film.
Thank you.
How did this project come your way?
It first went to Jesse and before he read it, I was like, “Mmm you’re doing this movie. You have to work with Jane Campion.” But Jane had written me a letter, in my early twenties about doing something together. So, when that didn’t happen, I was like, “Well, maybe one day.” And then the opportunity to play Rose came to me. And Jane is one of my heroes. So, obviously, I do anything with Jane Campion.
What surprised you about Rose?
It wasn’t really about the character for me. It was about working with Jane. I’m pretty director-driven, I don’t really care what my role is. I’d rather be a part of a good movie, you know what I mean?
Yeah, totally.
Roles are only as good as the film they’re in.
Right. But you’ve often talked about how for almost every role you take, you do a lot of research and a deep dive into the character.
I do dream work and it feels like I do therapy between myself and the character that I’m playing. So, that’s what I do. I did listen to a lot of Jonny Greenwood too, from “There Will Be Blood.” I listened to a lot of his music for this role because I knew he was going to do the score. And I was like, if he’s going to score this movie, I want to live in his world already with the certain scenes. I did listen to his music.
How does doing dreamwork help you understand your character? Is that what it’s about?
Yeah. Getting an unconscious understanding of who I’m playing. So it’s not intellectualized so much. It’s more about immediately what comes to mind when you read something? It’s more about a flow rather than intellectualizing anything. So, if I was to you being like, I don’t know, “This scene you’re going to have to drink this coffee, but this coffee tastes like shit,” what do you think of immediately when you think of drinking shitty coffee? Do you have any memory or anything or no?
Me? Just that it tastes bad.
Go a little bit, try to do an acting exercise. O.K. go. And then I’ll tell you what I think about it.
So, bad coffee. I would think about being in college, where I realized that I didn’t like coffee. And it’s that stark realization that I’m not going to be a coffee person.
Coffee drinker. O.K., so that is exactly how I would have you play the scene. If you were drinking coffee and you didn’t like the coffee, I’d be like, feel the memory of that moment for yourself, if you can.
Do you have directors though, obviously not Jane, who have frustrated you by taking you off that path? Because they insist on you doing something else?
I’m always happy when they don’t give me a note cause I’m like, “O.K” I mean, I’m fine with them, but when I know I please Jane, I was like, “Thank God,” because sometimes it’s hard to get on the same communication. It’s hard for me to talk about what I do. I’m not someone who wants to be on set and talk about things for a long time. I’d rather do and try and go. And I usually come with a lot of different ideas. So certain things Jane and I rehearsed a lot, which was good. There’s one scene that we did because it was very important for the film. But that was almost like rehearsing a play in where I’d be in positions and things like that. It was a little bit more of a dance, this one scene. So, I felt like it was important and I get that, and rehearsal’s great. I’m someone who doesn’t like talking about things at length too much.
So, do you not like to rehearse or you’re O.K. with rehearsals?
I’m O.K. with it. I get it. I get it. I just feel like I’ve done a lot of my work before that process. I feel I’d rather do my work privately and then be like, “O.K., I’m here.” I feel like there’s a power to having your own personal preparation that I don’t need anyone else for that help.
Does that make the work more enjoyable?
Yeah, it’s all for yourself. Yeah. It keeps it for you, more than what someone needs from you or what.
I feel like I talk to too many actors and it’s all too painful for them. Even when serious stuff, if it’s so painful, why are you doing it?
It’s also, you aren’t a better actor if it’s painful. The more relaxed you are and the more safe you feel. But then again, if you’re nervous too, whatever it is, you can use that stuff. It doesn’t have to be something that’s self-punishing or any of that. Like when I did “Melancholia,” I had the best time, but I know how to access those things. It’s not like I have to be depressed to play depressed. I was in a great place when I did that film. It’s more about being able to access these feelings, and the more open and the more comfortable the set is, it’s so much easier to be present and access those things. The kinder people are to each other, and the more open you are with each other, the easier it is to be vulnerable, I think.
I haven’t spoken to Benedict, but I’ve read that Benedict was in method because Jane asked him to be.
Yeah, because Benedict’s really nice. Super British, nice.
The fact that he was curt or not, did that affect the set?
To be honest, I didn’t have many actual scenes with Benedict. So, I had to create my own Benedict, my own feel in my own brain. It’s because if I was playing piano and some person was like, “I can play better than you.” It’s not going to send shivers down my spine. I had to create my own shivers, but yes, I think it helps the tone of the set for sure. Because we didn’t talk. Sometimes I’d just be like, “Hi”, and then I’d be like, “Oh yeah, we’re not supposed to talk.” But I was like, “Ha- oh never mind.” [Laughs.] Like “Ha-, oh no, O.K..” But it’s great because it influenced everybody. I’m sure it did something to Kodi and Jesse and it did something for me. It just gave a weirdness and a coldness that I think was a good tone for Benedict and for the film. And it helped create an atmosphere for everybody, I think.
“Power of the Dog” is now in theaters and available on Netflix worldwide.