{"id":28,"date":"2026-05-16T18:35:34","date_gmt":"2026-05-16T18:35:34","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=28"},"modified":"2026-05-16T18:35:34","modified_gmt":"2026-05-16T18:35:34","slug":"kristen-stewart-on-her-absurd-cannes-movie-full-phil-and-being-so-sick-of-the-studio-system-there-needs-to-be-less-making-billionaires-more-f-ing","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=28","title":{"rendered":"Kristen Stewart on Her Absurd Cannes Movie \u2018Full Phil\u2019 and Being \u2018So Sick\u2019 of the Studio System: \u2018There Needs to Be Less Making Billionaires More F\u2014ing Billionaires\u2019"},"content":{"rendered":"
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\nKristen Stewart was ready to sign on to Quentin Dupieux\u2019s \u201cFull Phil\u201d before she even read the script.<\/p>\n

Read more Jordan Firstman\u2019s \u2018Club Kid\u2019 Sparks Studio Bidding War at Cannes With High 7-Figure Offers (EXCLUSIVE)<\/a><\/p>\n

\n\tThe Oscar-nominated actor and director had long been a fan of the French filmmaker \u2014 known for his absurd and surreal style \u2014 and was curious about his DIY approach, often shooting projects quickly and on a microbudget.<\/p>\n

\n\t\u201cI love his movies. They just don\u2019t look or feel like anyone else\u2019s, and those are the types of directors that actors are so lucky to be able to follow,\u201d Stewart tells Variety<\/em> from an airport lounge in the Canary Islands \u2014 where she\u2019s currently shooting Panos Cosmatos\u2019 vampire thriller \u201cFlesh of the Gods\u201d \u2014 before heading to Cannes for the \u201cFull Phil\u201d premiere. \u201cHe holds the camera at all times. You are with him, connected completely. He knows how he\u2019s going to edit it by the end of the day. If he\u2019s missing a shot, he gets it. He\u2019s beyond an auteur, he\u2019s like a mastermind.\u201d<\/p>\n

\n\tDebuting in the Midnight Screenings section on Saturday night, the hour-and-20-minute \u201cFull Phil\u201d follows an American father-daughter duo \u2014 played by an on-form Woody Harrelson and Stewart \u2014 who take a trip to Paris in an attempt to reconnect. Their plans are quickly deterred by protests, a nosy hotel employee, an obsession with a \u201950s horror movie and an endless stream of French cuisine, with each obstacle more ridiculous than the next.<\/p>\n

\n\t\u201cThat\u2019s the Quentin Dupieux special because he shoves a lot into that short period of time,\u201d Stewart says. \u201cHis movies are kind of like sucker punches, but sweet ones.\u201d<\/p>\n

\n\tBelow, Stewart speaks more about finally working with Harrelson, eating an obscene amount of food while filming, her disdain for the U.S. studio system and more.<\/p>\n

\n\t\tYou just started filming \u201cFlesh of the Gods,\u201d a vampire thriller co-starring Wagner Moura. How\u2019s it going?\t<\/h5>\n

\n\tWe\u2019re in week one, so we\u2019re just all hands on deck right now. We\u2019re just like, fucking knee deep and having an incredible time. Panos is the shit. We\u2019re just like, lost in his psychedelic dreamscape.<\/p>\n

\n\t\tTell me about how you first got involved in \u201cFull Phil\u201d and what drew you to the project.\t<\/h5>\n

\n\tI heard [about Dupieux\u2019s process] and I was just like, \u201cOh my God, I\u2019m dying to work with him.\u201d And it\u2019s kind of new for me. His wheelhouse is grounded and tender, but definitely surrealist and occasionally broad. Also I was like, totally in love with Woody and have been forever. As an actor, I just admire him so much and he\u2019s such a nice guy. It\u2019s a really sweet story, a father and daughter trying to reconnect and doing all the wrong things in order to achieve that but in such an absurd and kind of devastating, sardonic, fucked way. I was like, \u201cOh man, I really think that could be a great movie.\u201d And I just wanted to work in Paris and I wanted to meet that director. I\u2019m pretty obsessed with him.<\/p>\n

\n\t\tWhat was it like working with Harrelson and playing his daughter? Was this your first time meeting him?\t<\/h5>\n

\n\tWe\u2019ve been trying to work together for years, and it just never lined up. I had a pretty out-of-the-blue hang when I was a teenager with him. We were talking about another film and he came and took me to a vegan spot in the valley and we had a really nice time. Like, we just became friends even when I was kind of a kiddo. When I heard he was doing this movie, I just \u2014 sometimes you don\u2019t have connections with people, sometimes you can\u2019t fathom like, \u201cOh, I could be your kid\u201d \u2014 but with him, it was such an easy fit. And we drive each other kind of crazy in real [life], so it\u2019s perfect. He reminds me of my dad in some ways. Sometimes I\u2019m like, \u201cOK, stop yelling at Woody\u201d \u2014 I\u2019ll realize I\u2019m being like, \u201cNo! You don\u2019t understand!\u201d<\/p>\n

Read more James Cameron Wants to Make \u2018Avatar 4\u2019 and \u20185\u2019 in \u2018Half the Time for Two-Thirds of the Cost,\u2019 but It\u2019ll Take One Year to \u2018Figure Out How to Do That\u2019<\/a><\/p>\n

\n\t\tYou two are basically arguing the entire film. How much of that was in the script and how did you establish that father-daughter banter?\t<\/h5>\n

\n\tIt all comes from Quentin. He has a young daughter, and I think he is looking into the future sort of petrified. I mean, he was gleefully encouraging me to be as bratty as I possibly could because I think he was just trying to create his worst dream. Also, Woody\u2019s character Phil, he\u2019s really just got blinders on. And it\u2019s so sad and endearing to see somebody so desperate in reaching out for love, but doing it in all the wrong ways. He\u2019s a total fucking narcissist, but then at the same time they still have this history that he wants to draw from. To have real, transparent conversations with your family, especially with your mother and father, it\u2019s just tough. He needs to actually see her as a human being that is not of him. That\u2019s the thing, some narcissistic fathers \u2014 I don\u2019t even mean this as disparaging, but it\u2019s an epidemic really \u2014 they love you in so far as they can kind of claim you. It\u2019s like their pride is related to the fact that they\u2019ve created you. And you\u2019re like, no! I am me! I am not you.<\/p>\n

\n\t\tYou are also non-stop eating food throughout the film. Were you actually eating and how did you do that?\t<\/h5>\n

\n\tIt was the hardest part of the entire job, because we also never stopped talking. I was running lines for weeks being like, \u201cOh cool, I can do this, this and this.\u201d And then I was like, \u201cI can\u2019t get a word out of my fucking mouth, considering he wants me to never have it empty!\u201d Logistically it was a struggle also working with renowned French chefs who really didn\u2019t understand the filmmaking process and wanted it to taste really good. And I was like, \u201cYou guys are going to kill me! I need this to be like, cauliflower as fuck or I\u2019ll die.\u201d It\u2019s honestly an incredibly grotesque and honestly hilarious and very real kind of metaphor. I mean, we\u2019re walking around the streets of Paris eating donuts and they\u2019re rioting and we\u2019re like, \u201cWhere are we going for dinner?\u201d So the food really mattered, and I walked uphill a lot and I just ate a lot. There was no way around it. We only did very long takes, so there was no spit-bucketing. There were no cutting points. Every once and a while, I would be like, \u201cI have to [stop].\u201d The bites were never big enough. He would literally come over to me and make a certain sort of piggy face and I would realize I wasn\u2019t eating enough and be like, \u201cOh God, OK, I\u2019ll do more on this one.\u201d<\/p>\n

\n\t\tYou\u2019ve talked a bit before about how difficult it is to make a film in the U.S. now and your desire to work more internationally. How did your experience on \u201cFull Phil\u201d underscore that feeling?\t<\/h5>\n

\n\tI\u2019m just so sick of the rules and I\u2019m so sick of the system. It is not designed for artists to express themselves. We\u2019re just really under the thumb of different priorities that don\u2019t align with real dream-making. And I don\u2019t mean to wax poetically because I mean this so very literally, I just don\u2019t think that it\u2019s possible to create sort of radical, vital work under capitalistic parameters. Especially like, most of the people in charge are a bunch of bros that have come up under a bunch of other bros and those people don\u2019t really identify with the type of things that I personally want to say, that the people I align with want to say. <\/p>\n

\n\tYou know, the three movies that go to Cannes and do well, they get bought by the studios that I somewhat admire that do well at distributing them and winning fucking Oscars. And that\u2019s cool. But it\u2019s like, totally not enough. And what, are we going to like, wait to be chosen like a fucking golden ticket? Like, \u201cI got the golden ticket! I can make one fucking movie!\u201d We need to make more work. There needs to be more work, more output, more connection and less fear and less fucking bureaucracy and also less making billionaires more fucking billionaires. It\u2019s driving me insane. We spend so much money, we just like hemorrhage money making stuff in a system that honestly is not designed for us. Like we can\u2019t shoot in L.A., it\u2019s absolutely impossible and it\u2019s where our fucking entire business was born. There\u2019s no way to play the game anymore.<\/p>\n

\n\t\tThe studios aren\u2019t really even in Cannes this year!\t<\/h5>\n

\n\tIt\u2019s OK, because guess what happens when things break or die? It\u2019s good, I think. Especially because I\u2019ve been working since I was 9, I see a horizon that doesn\u2019t resemble anything that I\u2019ve seen before. It\u2019s so new because our industry is so utterly devastated. And so I think actually, there\u2019s so much hope in that. We just have to grab it.<\/p>\n

\n\t\tYou were here last year with your directorial debut \u201cThe Chronology of Water.\u201d How do you reflect on that moment now, especially the experience of trying to get distribution for the film?\t<\/h5>\n

\n\tOh gosh, it\u2019s been such a gauntlet, that one. I\u2019ve just designed the record art for releasing our soundtrack, and so it\u2019s truly now the last creative thing that I have to leave on the table for that movie and fully move on. The two next films that I want to make are very, very clear to me. I want to make one by the end of the year after I work on this Amazon show and then next year I\u2019m going to be shooting in April this other thing that I have in mind. This is what I want to do and it\u2019s completely changed my life realizing that particular project, really just pushing it all the way. And so I feel like I\u2019ve lost so much fucking time. I\u2019m like, it\u2019s been one year and I\u2019ve acted in three more movies. What?! I love every director I\u2019ve worked for, I absolutely love my job, it\u2019s why I love directing. But at the same time, I just can\u2019t fucking do that anymore or I\u2019m never going to make my [own movies].<\/p>\n

\n\tSpeaking to the whole how do you get stuff seen and share it with people who actually care, don\u2019t hold me to anything \u2026 But my goal is to make something for really nothing with my friends before the end of the year and put it on fucking YouTube. And seriously, whatever money we make from that will be what I spend on my next one and there will be a trickle-down effect. I just don\u2019t want to talk to these bros anymore. And by the way, I\u2019d be lucky to have anything I worked on be distributed by like, A24 or Neon \u2014 people who, by the way, I am friends with. Like, these are my homies. It\u2019s just that I don\u2019t want to make\u2026 I love Hollywood, I love big movies, [but] I don\u2019t think I\u2019d be very good at making them. I want to make weird shit. And I\u2019m fully OK doing that in a kind of insulated, bizarre way. But I don\u2019t want to do the thing where I wait five years for someone to give me $1 million to make something. I\u2019m going to make it fucking tomorrow. Because also like, what the fuck. I\u2019ve been working for a long time \u2014 I\u2019m just going to sit here doing the same thing over and over amassing wealth? No. It\u2019s a ridiculous way to live your life.<\/p>\n

\n\t\tI have to ask \u2014 at Cannes last year, Kim Gordon told us that there was a biopic series you two were working on together at some point. Is that still in the works?\t<\/h5>\n

\n\tShe wrote a memoir that\u2019s one of my faves, it\u2019s called \u201cGirl in a Band.\u201d And I think that they were trying to think of some beautiful anthology approach to doing her life story but kind of in an episodic, elliptical way with different directors. But I think that changed and Kim\u2019s working on conceiving the best approach. They were talking to me about it for a second, and I think that\u2019s actually how I met Kim a few years ago. She came up to me at a Chanel afterparty thing once. She kind of floated over like the punk rock Joan Didion and said, \u201cHey, sorry I can\u2019t really hear in here, but it\u2019s really nice to see you.\u201d Just like the warmest, coolest \u2014 she really feels like energetically godmom stuff. I mean, I would love to be a part of that project, but I\u2019m not sure actually what they are doing with it. I do know someone\u2019s taking care of it though, which I\u2019m really looking forward to.<\/p>\n

Read more Patricio Valladares Fuses Analog and Interactive in New FMV Horror Video Game (EXCLUSIVE)<\/a><\/p>\n

\nThis interview has been edited and condensed for clarity.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Kristen Stewart on her new Cannes movie ‘Full Phil,’ playing Woody Harrelson’s daughter and being ‘so sick’ of the Hollywood studio system.<\/p>\n","protected":false},"author":1,"featured_media":27,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3,30,31,32],"class_list":["post-28","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-cannes-film-festival","tag-full-phil","tag-kristen-stewart","tag-woody-harrelson"],"yoast_head":"\nKristen Stewart on Her Absurd Cannes Movie \u2018Full Phil\u2019 and Being \u2018So Sick\u2019 of the Studio System: \u2018There Needs to Be Less Making Billionaires More F\u2014ing Billionaires\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=28\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kristen Stewart on Her Absurd Cannes Movie \u2018Full Phil\u2019 and Being \u2018So Sick\u2019 of the Studio System: \u2018There Needs to Be Less Making Billionaires More F\u2014ing Billionaires\u2019 - 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