‘Civil Battle’ Star Kirsten Dunst On Working With Director Alex Garland

Final spring, when Alex Garland’s Civil Battle premiered, the evocative pictures of a rustic irreparably divided felt like a cautionary, if nonetheless considerably distant, story. When Deadline spoke to Kirsten Dunst, who performs conflict photographer Lee Smith, two weeks earlier than the 2024 election, the movie appeared to have acquired a further layer of horror. “It’s terrifying,” says Dunst. “We made this film three years in the past, when the conflict in Ukraine had simply began. However to set this in America was very thought-provoking and haunting.” We spoke to Dunst about immersing herself within the nation’s worst-case state of affairs, and why, in the end, she ran in the direction of the problem. 

DEADLINE: While you had been studying the script the primary time, what had been your ideas about it?

KIRSTEN DUNST: I knew was going to do one thing scary, however studying it, I used to be on the sting of my seat. I didn’t even really feel like I used to be studying a script. It felt like I used to be holding my breath all the time. After which, to truly begin filming it, the best way Alex shoots could be very practical and virtually like a play. So, by the top of the movie, with two weeks of simply straight gunfire, it was terrifying to be part of.  

DEADLINE: As an actor, you run in the direction of a challenge like this for a motive. What’s it about placing your self on this state of affairs that’s interesting?

DUNST: To be sincere, I at all times select based mostly on the director. I don’t care about my function. I actually don’t. I care about my expertise and who I’m working with. So, I’d actually have carried out any script with Alex Garland. I like once I go into one thing and really feel immersed in a singular method and their very own method. That’s all I actually have, on the finish of the day. You’ll be able to hope that the film is sweet, or persons are desirous about seeing it, however what I’ve is the method, so I search for what’s going to satisfy me as an actress.

DEADLINE: Earlier than you labored with him, what drew you to him as a creator?

DUNST: He’s very truthful. He’s such an clever, human author, and journalism was one thing he grew up with, so he’s very acquainted with this world. And I imagine his conviction in what he does. He at all times appears very passionate and pushed — and likewise at conflict with himself and what he’s creating, in a method. And I favored the truth that he’s in it with you, that he’s very clear what he desires to do. He’s an excellent thoughts.

DEADLINE: While you say he’s in it, what does that imply?

DUNST: He’s simply very important in a method that’s obligatory for a filmmaker, particularly for a movie like this. He’s on each second [making sure it] feels genuine and actual. As a result of one thing like this, it has to really feel such as you’re on this journey with these folks, and all the surrounding stuff has to really feel very actual. I believe he did that with the best way he shot it.

DEADLINE: I think about that that is both probably the most terrifying expertise or, like most horror motion pictures, so absurd that you simply radically distance your self from what’s onscreen.

DUNST: Truthfully, you wish to know what probably the most terrifying factor was for me? Not trying like I knew what I used to be doing with the digital camera, like I’ve been holding it for years and years. That was really my best concern. My associates who’re photographers gave me the seal [of approval]. They had been like, “You look so good.” In order that’s all I cared about.

DEADLINE: What was your analysis course of into photojournalism and conflict correspondence?

DUNST: There was nonetheless plenty of COVID precautions on the time, in order quickly as I knew I bought the function, I had Alex ship me the digital camera that I used to be utilizing. I labored with a photographer in Austin, Texas, as a result of my husband [Jesse Plemons] was working there. I needed to go to locations the place it was actually crowded, however I couldn’t. I principally had the digital camera on me always and simply shot my youngsters, shot Christmas, shot no matter I may. After which we watched this Marie Colvin documentary known as Beneath the Wire. That was probably the most useful for me, research-wise, but additionally, what these folks undergo and the way they danger their lives and what they see is simply so horrendous. That documentary was intense. It’s deeply disturbing.

DEADLINE: What’s probably the most unnerving factor about it?

DUNST: It simply was a really unfiltered conflict documentary — the horrors of conflict and the casualties of kids and all of it. And also you watch her die on this documentary. The entire thing is so harrowing and makes you actually take into consideration all these journalists on the market attempting to inform the reality. To even be there’s clearly risking your life. In order that weight of capturing issues and never interfering, regardless that on a human stage, you’re like, “Ought to I take this image? Ought to I not?” I’m positive it’s so difficult. I simply have a lot respect for conflict journalists.

DEADLINE: Paradoxically, I really feel like among the most actual scenes in Civil Battle are them capturing the sh*t, whereas conflict rages round them. The scenes the place there’s an overlay of music and so they’re simply type of having amusing — that half is equally jarring.

DUNST: Yeah. I imply, some folks get excessive off of it as a result of regular life doesn’t actually do something. I really feel like Lee is somebody who in all probability takes no pleasure in going out to dinner anymore. what I imply? All of it feels so phony to Lee, is how I considered it. However different folks, like Wagner [Moura]’s character, get a bizarre excessive from it. It makes him really feel extra alive.

DEADLINE: You shot the movie virtually chronologically. What does that accomplish?

DUNST: I believe it was precious to be main as much as worse and worse issues, to then be within the battle scenes on the White Home. All of the historical past of what we went by way of actually amped up the sentiments, and that undoubtedly helped. However I believe we had been dreading sure scenes, just like the scene with Jessie [Cailee Spaeny] and the mass grave. That took two days and we had been all glad when that scene was over. It was so darkish. After which the top; I used to be interested in individuals who get premonitions of once they’re going to die, so I watched a Netflix documentary that talked about that. I type of used that for Lee on the finish as a result of that is how I noticed it. One thing was telling her to not go in as a result of she was going to die. I used that breakdown Lee has, as her physique saying, “Don’t go in there.”

DEADLINE: How would you describe her way of thinking firstly of the movie?

DUNST: Lee having this be on her dwelling turf is an entire new stage of… not pondering that it may occur. I’ve a line within the film that’s like, “I despatched these warnings dwelling, on a regular basis, and no one listened.” So, I believe that there’s a drive and a mission and a despair, and while you maintain all that inside for thus lengthy, it’s going to come back out in some methods. She’s a fairly hardened particular person at that time.

DEADLINE: When she meets Jessie, she turns into a reluctant mentor of kinds. What’s her relationship to Jessie?

DUNST: At first there’s an unstated type of factor, the place it’s like, “Oh, you had been me. I used to be you.” And for the primary scene we’ve got collectively within the foyer the place we really discuss, I mentioned to Cailee, “What if beneath all this, we had been mom and daughter in a previous life?” in order that there was a deeper factor taking place, moderately than simply saying issues about like, “OK, be sure you have this vest or this digital camera or a helmet subsequent time.” No matter it’s that I used to be saying, there’s a deeper connection between them. I at all times prefer to mess around with these unconscious emotions, so issues are deeper rooted than they seem.

DEADLINE: I really feel like Lee is attempting to dissuade her from happening that highway.

DUNST: In fact, she doesn’t wish to be there when she dies. She doesn’t need that duty on her shoulders, Lee.

DEADLINE: Or for Jessie to show into Lee.

DUNST: She’s warning her. Yeah, as a result of it’s depressing being Lee.

DEADLINE: You have got been working for 36 years. Is there a state of affairs at work that you simply haven’t on some stage skilled earlier than?

DUNST: I don’t know. In my older age, I don’t tolerate folks not being good to the crew in any respect, and I haven’t skilled that in a really very long time. However that’s one thing that actually bothers me. I really feel just like the extra you distance your self from the neighborhood of this group that’s all collectively making this film, it’s so isolating and would make me really feel so bizarre. I haven’t skilled that with an actor. I did expertise that briefly with a director, however I used to be so younger. I used to be similar to, “Whoa.” He simply yelled, and it was ridiculous, and I can’t tolerate that, simply not being variety to different folks.

DEADLINE: Do you discover that you simply’re extra of a collaborator now, with administrators or whoever you’re working with?

DUNST: Yeah, I really feel like we’re on this factor collectively. We’re collaborators, and we’ve got to belief one another and be there for one another and be variety as a result of everybody’s being very susceptible. You need a supportive group.

DEADLINE: Particularly while you’re capturing issues like Civil Battle. You talked about the mass grave scene, however what had been these different scenes that you simply had been actually dreading?

DUNST: The boys hanging within the automotive wash. Truthfully, driving by way of the hearth. I do know it was protected, however it felt very harmful. I used to be like, “There’s sparks throughout us and we’re in a automotive.” That freaked me out and it was not imagined to be a freakout second. Generally the best way Wagner would drive, I used to be like, “Oh, that was an enormous bump.” Yeah, I wasn’t trying ahead to all of the gunfire. Simply listening to that a lot gunfire is unsettling. And Alex favored to make use of full rounds as a substitute of half rounds of blanks, so it was very, very loud. I’m not used to that, so it does one thing to your physique. I believe it took me two weeks to simply really feel type of regular once more.

DEADLINE: What was the aftermath of this challenge like?

DUNST: I at all times like when issues really feel as actual as potential with folks on units and in appearing. However coming dwelling, it simply was a little bit bizarre, like, “Oh, we went to lunch with the youngsters and went to the park.” It simply didn’t really feel actual. It simply felt like my physique needed to settle down, however what do you do? You simply should get again to regular life. Yeah, it simply felt very loud. The final two weeks had been very intense, so I believe that whether or not it was gunfire or whether or not you’re doing scenes which are very emotional, it does take a toll in your psyche, your physique and your thoughts. Sure motion pictures are more durable than others to come back down from. And this took me a sec.

DEADLINE: I assume you ended up watching the ultimate product. How did you’re feeling, residing by way of it once more?

DUNST: It seems virtually such as you’re watching a house video, as a result of I’m simply fascinated about the place we had been capturing and what occurred that day, what we ate. I do know that sounds foolish, however it was simply laying on these cots in these tents for hours. I simply take into consideration what occurred that day.

DEADLINE: Possibly that’s the healthiest strategy to a movie like this, as a result of what you described earlier is how conflict correspondents describe coming dwelling, how every part feels not actual.

DUNST: Yeah, I can’t think about it for actual, for actual. However watching the film, I used to be impressed by the best way Alex had put it collectively and edited it. I felt like I used to be watching one thing I didn’t count on, with the music and I actually liked the best way that he ended the movie, with that picture growing. I believe this film’s very totally different and I can say that I’m happy with myself. And, additionally, the truth that it was profitable. You don’t know. Nobody is aware of. I really feel like that doesn’t at all times occur. So, I used to be actually excited that it did so properly within the theaters.

DEADLINE: What’s subsequent for you?

DUNST: Nicely, subsequent I’m going to do a film with Derek Cianfrance known as Roofman. After which I’m going to work with Ruben Östlund, and I’m actually enthusiastic about each.

DEADLINE: They’re very totally different as filmmakers. How is it to adapt to those auteurs?

DUNST: I don’t really feel like I’m adapting. I really feel like there’s a motive that all of us needed to work collectively. There’s a top quality in me and there’s a top quality in them that we relate to, on some stage. I believe that that’s an exquisite factor, to create artwork with folks that you simply admire after which they wish to work with you, too. That’s the dream, as an actor. I really feel just like the older I get, the extra I’ve to provide. So, in flip, it’s extra exhausting on the finish of the day, but additionally extra satisfying.