And now, in addition to Jarecki, she’s added a few more to her collection.
The thankless role of victimized spouse is one that has ground to dust many a fine actress, but in All Good Things, Dunst gives the character a quiet power, persistently making her a more compelling presence than the showy part of the psychopath at the center of the story.
Chatting over breakfast on a rainy morning in Los Angeles, Dunst, now 28, talked about how she and director Jarecki broke the victim role free of its teary outlines.
“The thing with this role is that it’s easy just to be a Lifetime kind of story.
So there were a few decisions that made her into someone of strength, a fighter going into the ring who knows she has to keep standing up.”Immediately after taking the job, Dunst and Jarecki embarked on a year-long seminar to get inside the motivations of the Katie character.
Since 1994’s Interview With the Vampire, directed by Neil Jordan at his height, Dunst’s directors’ roster reads like a Who’s Who of the auteurs of our time.
Her credits include roles for Sofia Coppola, Barry Levinson, Peter Bogdanovich, Mike Newell, Michel Gondry, Sam Raimi, and Cameron Crowe, as well as a voice role for the legendary animator Hayao Miyazaki.I remember reading an article about another actress and her saying that everyone thinks to be a great actress you have to be depressed, but she said my best work when I was feeling great about myself and in my best place. When I was younger, I would hold on to insecurities because I thought it would help me in some sort of way or to think badly about yourself in order to give something.Because you need that confidence to try things and not be afraid of things. When you feel good is when you're not afraid to feel the worst. But now it doesn't come from that.“When you know the darkness in yourself, you have to be able to access that, but being in a good place and accessing that is much better than just being in that place.During the past few years, accolades have routinely fallen on a quintet of Kirsten Dunst’s twentysomething colleagues—Natalie Portman, Anne Hathaway, Scarlett Johansson, Carey Mulligan, and Michelle Williams—while little Kiki has festered in the background, a victim of too much, and too mainstream, success ( Spider-Man), and too many projects that missed the mark with both critics and consumers ( Elizabethtown, Wimbledon).And then her recent two-year absence from the screen was accompanied by wild tabloid talk suggesting she was heading for a Lindsay Lohan showbiz netherworld. Over the next year, no fewer than four Kirsten Dunst projects will reach screens, a parade of dramatic movies that seem likely to showcase that a serious actress has been developing under our noses.The clearest example of the results of these methods is an extraordinary sequence in the middle of the film when Dunst’s character acquiesces to pressure from Gosling’s to terminate her long-hoped-for pregnancy.