Its terrifying, says Dunst.
We made this movie three years ago, when the war in Ukraine had just started.
But to set this in America was very thought-provoking and haunting.
Kirsten Dunst in ‘Civil War.‘A24
I didnt even feel like I was reading a script.
It felt like I was holding my breath the entire time.
DEADLINE: As an actor, you run towards a project like this for a reason.
From left: Kirsten Dunst and Cailee Spaeny inCivil War.A24
What is it about putting yourself in this situation thats appealing?
DUNST: To be honest, I always choose based on the director.
I dont care about my role.
I care about my experience and who Im working with.
So, I would really have done any script with Alex Garland.
I like when I go into something and feel immersed in a unique way and their own way.
Thats all I really have, at the end of the day.
DEADLINE: Before you worked with him, what drew you to him as a creator?
DUNST: Hes very truthful.
And I believe his conviction in what he does.
Hes a brilliant mind.
DEADLINE: When you say hes in it, what does that mean?
Hes on every moment [making sure it] feels authentic and real.
I think he did that with the way he shot it.
DUNST: Honestly, you want to know what the most terrifying thing was for me?
That was actually my greatest fear.
My friends who are photographers gave me the seal [of approval].
They were like, You look so good.
So thats all I cared about.
DEADLINE: What was your research process into photojournalism and war correspondence?
I wanted to go to places where it was really crowded, but I couldnt.
That documentary was intense.
DEADLINE: Whats the most unnerving thing about it?
And you watch her die in this documentary.
To even be there is obviously risking your life.
Im sure its so complicated.
I just have so much respect for war journalists.
I mean, some people get high off of it because normal life doesnt really do anything.
I feel like Lee is someone who probably takes no pleasure in going out to dinner anymore.
You know what I mean?
It all feels so phony to Lee, is how I thought about it.
But other people, like Wagner [Moura]s character, get a weird high from it.
It makes him feel more alive.
DEADLINE: You shot the film almost chronologically.
What does that accomplish?
All the history of what we went through really amped up the feelings, and that definitely helped.
That took two days and we were all happy when that scene was over.
It was so dark.
I kind of used that for Lee at the end because this is how I saw it.
Something was telling her not to go in because she was going to die.
I used that breakdown Lee has, as her body saying, Dont go in there.
DEADLINE: How would you describe her state of mind at the beginning of the film?
Shes a pretty hardened person at that point.
DEADLINE: When she meets Jessie, she becomes a reluctant mentor of sorts.
What is her relationship to Jessie?
Whatever it is that I was saying, theres a deeper connection between them.
I always like to play around with those unconscious feelings, so things are deeper rooted than they appear.
DEADLINE: I feel like Lee is trying to dissuade her from going down that road.
DUNST: Of course, she doesnt want to be there when she dies.
She doesnt want that responsibility on her shoulders, Lee.
DEADLINE: Or for Jessie to turn into Lee.
DUNST: Shes warning her.
Yeah, because its miserable being Lee.
DEADLINE: You have been working for 36 years.
Is there a situation at work that you havent on some level experienced before?
DUNST: I dont know.
But thats something that really bothers me.
I havent experienced that with an actor.
I did experience that briefly with a director, but I was so young.
I was just like, Whoa.
DUNST: Yeah, I feel like were in this thing together.
You want a supportive group.
DEADLINE: Especially when youre shooting things likeCivil War.
You mentioned the mass grave scene, but what were those other scenes that you were really dreading?
DUNST: The men hanging in the car wash.
Honestly, driving through the fire.
I know it was safe, but it felt very dangerous.
I was like, Theres sparks all around us and were in a car.
That freaked me out and it was not supposed to be a freakout moment.
Sometimes the way Wagner would drive, I was like, Oh, that was a big bump.
Yeah, I wasnt looking forward to all the gunfire.
Just hearing that much gunfire is unsettling.
Im not used to that, so it does something to your body.
I think it took me two weeks to just feel kind of normal again.
DEADLINE: What was the aftermath of this project like?
DUNST: I always like when things feel as real as possible with people on sets and in acting.
It just didnt feel real.
It just felt like my body had to calm down, but what do you do?
You just have to get back to normal life.
Yeah, it just felt very loud.
Certain movies are harder than others to come down from.
And this took me a sec.
DEADLINE: I assume you ended up watching the final product.
How did you feel, living through it again?
I know that sounds silly, but it was just laying on these cots in these tents for hours.
I just think about what happened that day.
DUNST: Yeah, I cant imagine itfor real, for real.
But watching the movie, I was impressed by the way Alex had put it together and edited it.
I think this movies very different and I can say that Im proud of myself.
And, also, the fact that it was successful.
I feel like that doesnt always happen.
So, I was really excited that it did so well in the theaters.
DEADLINE: Whats next for you?
DUNST: Well, next Im going to do a movie with Derek Cianfrance calledRoofman.
And then Im going to work with Ruben Ostlund, and Im really excited about both.
DEADLINE: They are very different as filmmakers.
How is it to adapt to these auteurs?
DUNST: I dont feel like Im adapting.
I feel like theres a reason that we all wanted to work together.
Theres a quality in me and theres a quality in them that we relate to, on some level.
Thats the dream, as an actor.
I feel like the older I get, the more I have to give.
