克里斯汀·斯圖爾特不是好萊塢第一位“壞女孩”。有人說，好女孩上天堂，壞女孩走四方。行走在娛樂圈這個(gè)光怪陸離的世界，紅男綠女把酒言歡，人最容易迷失方向。好女孩，或是壞女孩，這是多少公關(guān)公司費(fèi)力設(shè)想的形象。我們不能寄望他們來完成我們的價(jià)值體系建筑，也不能把對愛情的美好想望讓他們來為我們填滿，說到底，那只是一張張好皮相。生活的實(shí)質(zhì)，卻需要我們用智慧，用準(zhǔn)則來衡量。

——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 bowing down to1 fame， money， and power， the capitulation2 to status. So rarely do we witness a young artist， singer， or actor who wants to burn， burn， burn， to set off on3 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 restless4 22-yearold actress best known to tens of millions of fans as Bella Swan， offbeat heroine of the Twilight series. But Stewart will ingrain6 herself even deeper in the public’s consciousness in 2012 as she appears in a trio of movies， beginning with wham-bam7 Snow White the Huntsman and continuing with an adaptation of the hipster8 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 take issue with9 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 be down with10 the package-oriented ways of the entertainment business， since she’s a homegrown Hollywood product. Her mother， Jules Mann-Stewart， is a respected script supervisor11. Kristen’s father， John Stewart， is also in the business， having worked as a producer and stage manager on TV specials12 and reality shows. Her brother， Cameron， is a grip—a lighting and rigging13 technician.

Stewart， growing up in the San Fernando Valley14， learned the drill15 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： David Fincher’s16 Panic Room， released in 2002， in which Stewart， then 11， had a lead role， opposite Jodie Foster17. Foster remembers， “Kristen was incredibly mature in some ways and grounded18 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 Juicy19 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 disgusting20—you don’t shave your legs！’”

It was Sean Penn21 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 embody22 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 polished23. 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 brooding24. 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 installments25， 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 porch26 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 tabloids27 the next day it was like I was a delinquent28 slimy29 idiot， whereas I’m kind of a weirdo， creative Valley Girl30 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 Kerouac’s31 1957 novel， he set himself an unusually hard task， because the text—about a group of young people trying to escape the 32）conformity of their time. Stewart made sure she knew her stuff before filming started， spending hours talking to the daughter of LuAnne Henderson， Neal Cassady’s33 first wife and Marylou’s real-life counterpart34.

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 intimate35 experience—which is， of course， the power of the film， but still.

時(shí)至今日，那樣的“瘋?cè)睡偸隆辈欢嗔?。銀幕上，舞臺上，書本上，或是畫廊的墻壁上都看不到。相反，我們盡收眼底的是向名利、金錢和權(quán)力低頭，向身份妥協(xié)。因此，很少能看到一位年輕的藝人、歌手或是演員會燃燒自我，開辟一條將會激勵(lì)后輩的新路，并甘愿遭受世俗非議與抨擊。

其中一個(gè)這樣的人便是克里斯汀·斯圖爾特——一位內(nèi)心躁動的22歲女演員。她最廣為人知并為其贏得數(shù)千萬粉絲的角色是《暮光之城》系列里那個(gè)奇特古怪的女主角——貝拉·斯旺。但2012年，隨著她出演三部電影——包括“強(qiáng)力沖擊波”大片《白雪公主與獵人》以及改編自上世紀(jì)五十年代頹廢派心中“圣經(jīng)”的《在路上》，斯圖爾特使得自己的形象在公眾心目中更加深固。而這三部電影的重中之重——至少就票房來說，應(yīng)該會是2012年11月上映的《暮光之城》終曲：《暮光之城4：破曉（下）》。

斯圖爾特當(dāng)然不是第一個(gè)“人紅是非多”的好萊塢演員，但她絕對是最無畏的年輕大腕且敢于直言抨擊當(dāng)下的制度?！拔乙呀?jīng)不止一次被批評不能在每張照片中都表現(xiàn)得盡善盡美，”她說道?！拔覍Υ瞬⒉挥X得困窘。我還挺自豪的。如果我每時(shí)每刻都表現(xiàn)完美，那么，和我共處一室的，或同走紅毯的人會想，‘這人果然是個(gè)演員！太假了！’那樣才讓我尷尬無比。照片拍出來，有一半看上去不咋地，那又怎樣？對我來說，重要的是，見過我的人離開之后會說，‘她很酷，她玩得盡興，她很真實(shí)’?！?/p>

因?yàn)樗箞D爾特出身于演藝世家，大家也許認(rèn)為她也就會順著娛樂圈那套講求包裝的方式發(fā)展。她的母親，朱麗斯·曼恩·斯圖爾特是位備受敬重的場記人員；克里斯汀的父親，約翰·斯圖爾特，同樣是圈內(nèi)人，是一名電視特別節(jié)目和真人秀的制作人及舞臺監(jiān)督。她的哥哥，卡麥隆，是一名燈光裝置的技師。

斯圖爾特，在圣費(fèi)爾南多谷長大，小小年紀(jì)就在電影和電視上磨煉演技。事實(shí)上，克里斯汀早年的“求職”經(jīng)歷苦不堪言?！俺藢χR頭笑，我什么也沒干，”她回憶起八歲時(shí)為一個(gè)商業(yè)廣告試鏡時(shí)的窘?jīng)r。2001年，九歲的她在羅斯·特洛什的電影《拜物有理》中獲得一個(gè)“假小子”角色。之后，她還接演了其他一些角色，但作品都未引起很大的反響。

之后，她人生中的巨大突破來了：于2002年上映的大衛(wèi)·芬奇執(zhí)導(dǎo)的《戰(zhàn)栗空間》。當(dāng)時(shí)十一歲的斯圖爾特是電影主演之一，與朱迪·福斯特演對手戲。福斯特回憶當(dāng)時(shí)的情形，說道：“克里斯汀在某些方面出奇地成熟、踏實(shí)，而且高壓之下也能非常鎮(zhèn)定。她非常善于聆聽，然而有時(shí)她會說些非常孩子氣的話，讓你想起，對哦，她才十一歲?！?/p>

知名度再加上獨(dú)立自主的個(gè)性讓斯圖爾特在學(xué)校的幾年時(shí)間十分難熬；于是，十四歲時(shí)斯圖爾特便正式離校，接受家庭教育?！拔曳浅Ｓ憛拰W(xué)校，”她說著還哆嗦了一下?！翱次沂鍤q之前的照片，我根本就是個(gè)男孩，穿我哥哥的衣服，老兄！我不是很介意這樣，但是我記得我常被人取笑，因?yàn)槲覜]有穿橘滋牛仔褲。我甚至都沒想過要穿那褲子。我穿運(yùn)動服。但這并不意味著我不在乎被他人取笑，那確實(shí)困擾著我。我記得六年級時(shí)一個(gè)女孩在體育館看著我，像是說，‘天?。≌鎼盒?，你竟然不刮腳毛！’”

當(dāng)時(shí)，是肖恩·潘向《暮光之城》首部曲的導(dǎo)演凱瑟琳·哈德威克推薦了她，讓她有了一個(gè)試鏡的機(jī)會。導(dǎo)演簽下了斯圖爾特，因?yàn)樗嘈潘箞D爾特有能力表現(xiàn)出帶動原著感染力的那份苦戀渴求。

在片場，斯圖爾特百分百投入。她對萌發(fā)的創(chuàng)作張力毫不掩飾?！拔液土_伯惹過不少麻煩，”她笑著告訴我?！拔覀兿Ｍ磉_(dá)得更加自然，凱瑟琳很贊同。但我們一直收到來自制片公司的意見，他們希望我總保持笑容，他們希望羅伯不要那么沉郁。我們就回應(yīng)說，‘不行！你就得狠狠地沉郁。’”《暮光之城》首部曲全球票房收入達(dá)到將近四億美元，這當(dāng)然證明了觀眾對不茍言笑的貝拉和內(nèi)斂沉默的愛德華很買賬。事實(shí)上，那些全情投入的影迷對《暮光之城》的鐘愛徒增了斯圖爾特對自己所扮演角色的責(zé)任感，其程度之深，以至于接手《暮光之城》最后兩部影片的導(dǎo)演比爾·康頓親切地稱斯圖爾特為“《暮光之城》原著的納粹信徒”，因?yàn)樗∈爻兄Z，忠于原著呈現(xiàn)角色。

我問斯圖爾特，從什么時(shí)候開始，她真切地意識到《暮光之城》改變了她的人生?！澳憧梢栽诠雀枭纤阉魑业拿?，最先冒出來的就是一張這樣的照片：我坐在前廊上抽著煙斗，旁邊還有我的前男友和我的狗。那照片就是電影首映當(dāng)天拍的。我當(dāng)時(shí)還名不見經(jīng)傳，只是個(gè)孩子。才剛滿十八歲。在第二天的小報(bào)報(bào)道中，我就成了一個(gè)不檢點(diǎn)、臟兮兮的蠢貨，而實(shí)際我是一個(gè)怪人，一個(gè)抽大麻的有創(chuàng)意的‘山谷女孩’。了不起??！但那件事即刻就改變了我的生活。我再也不敢穿著內(nèi)衣褲外出了?！?/p>

這種無畏的另一個(gè)側(cè)面造就了斯圖爾特在電影《在路上》中令人難以忘懷的表演。當(dāng)導(dǎo)演沃爾特·塞勒斯決定將凱魯亞克1957年的小說改編拍攝成電影時(shí)，他就給自己設(shè)置了一個(gè)異常艱巨的任務(wù)，因?yàn)閮?nèi)容講述的是一群年輕人嘗試叛離那個(gè)年代單調(diào)劃一的生活。斯圖爾特確保自己在電影開拍前有足夠的背景知識，花了不少時(shí)間和尼奧·凱塞迪的第一任妻子盧安妮·亨德森的女兒交談，而盧安妮就是她在電影中扮演的瑪莉羅的原型。

在我們一同于巴黎共進(jìn)午餐的幾天后，我和斯圖爾特一起觀看了影片《在路上》。我很是高興，因?yàn)楦黄鹂催@部電影是非常近距離的體驗(yàn)——當(dāng)然了，那是這部電影的魅力，但還是讓人非常愉快的。

1）bow down to 屈服于

2）capitulation n.（有條件的）投降

3）set off on 開始做某事

4）restless adj.內(nèi)心躁動的

5）offbeat adj.不尋常的

6）ingrain v.使……根深蒂固

7）wham-bam 強(qiáng)有力的

8）hipster n.頹廢派，指第二次世界大戰(zhàn)之后出現(xiàn)于美國的一群松散結(jié)合在一起的年輕詩人和作家的集合體，也稱為“垮掉的一代”

9）take issue with 與……爭論

10）be down with 順……而下，因……倒下

11）script supervisor 場記人員

12）special n.特別節(jié)目

13）rigging n.裝置

14）San Fernando Valley 圣費(fèi)爾南多谷，位于美國洛杉磯的市區(qū)

15）drill n.訓(xùn)練

16）David Fincher 大衛(wèi)·芬奇，美國知名導(dǎo)演。

17）Jodie Foster 朱迪·福斯特，美國著名的演員

18）grounded adj.踏實(shí)的

19）Juicy 即Juicy Couture，橘滋，美國的一個(gè)服裝品牌，主打甜美性感的運(yùn)動風(fēng)

20）disgusting adj.惡心的

21）Sean Penn 肖恩·潘（1960-），美國知名演員，曾兩度摘取奧斯卡最佳男演員獎(jiǎng)

22）embody v.體現(xiàn)

23）polish v.修飾，潤色

24）brooding adj.內(nèi)斂的

25）installment n.部分

26）porch n.走廊

27）tabloid n.小報(bào)

28）delinquent adj.有過失的

29）slimy adj.污穢的；令人厭惡的

30）Valley Girl 山谷女孩，源自美國一部電影《Valley Girl》，而斯圖爾特是在圣費(fèi)爾南多谷長大的，所以自稱Valley Girl

31）Kerouac 即Jack Kerouac，美國小說家。

32）conformity n.一致

33）Neal Cassady 尼奧·凱塞迪（1926-1968），“垮掉的一代”的代表人物

34）counterpart n.副本，對物，這里指“原型”

35）intimate adj.親密的，私人的