The question most people ask when a celebrity moans about being famous: If you hate the fanfare so much, why keep making movies? Watson asked herself that all the time. “I’ve been doing this since I was 10 or 11, and I’ve often thought, I’m so wrong for this job because I’m too serious; I’m a pain in the ***; I’m difficult; I don’t fit,” she says. “But as I’ve got older, I’ve realized, No! Taking on those battles, the smaller ones and the bigger ones, is who I am.”
She recently found the courage to say no to selfie-seekers. “For me, it’s the difference between being able to have a life and not. If someone takes a photograph of me and posts it, within two seconds they’ve created a marker of exactly where I am within 10 meters. They can see what I’m wearing and who I’m with. I just can’t give that tracking data.” Sometimes, she’ll decline a photo but offer up an autograph or even a chat—“I’ll say, ‘I will sit here and answer every single Harry Potter fandom question you have but I just can’t do a picture’ ”—and much of the time people don’t bother. “I have to carefully pick and choose my moment to interact,” she says. “When am I a celebrity sighting versus when am I going to make someone’s freakin’ week? Children I don’t say no to, for example.”
“I sensed if this was something I was ever going to step away from it was now or never.”
I tell Watson I’ve watched other actors, like Reese Witherspoon, walk down the street and happily pose with fans—and suddenly it becomes clear that the fans of Sweet Home Alabama are different from Harry Potter fans. For mostly better and occasionally worse, the Potter books and films not only captured the imagination of millions of people but, for many of them, changed their lives. It’s something Watson is deeply aware of. “I have met fans that have my face tattooed on their body. I’ve met people who used the Harry Potter books to get through cancer. I don’t know how to explain it, but the Harry Potter phenomenon steps into a different zone. It crosses into obsession. A big part of me coming to terms with it was accepting that this is not your average circumstances.” (Since the first movie premiered, in 2001, when Watson was 11, there have been numerous incidents with stalkers.) “People will say to me, ‘Have you spoken to Jodie Foster or Natalie Portman? They would have great advice for you on how to grow up in the limelight.’ I’m not saying it was in any way easy on them, but with social media it’s a whole new world. They’ve both said technology has changed the game.” When she was at Brown, Watson went to a Harvard football game and The Harvard Voice, a student magazine, live-tweeted as its staff stalked her at the stadium. I remember at Watson’s 18th-birthday party in London, the photographers outside had a bounty on who could get a picture taken up her skirt. She’s not exaggerating her security concerns, either. She purchased her house sight unseen over a Skype call with a real-estate agent because it had a paparazzi-proof entrance. “Privacy for me is not an abstract idea,” she says.
Watson has a boyfriend, though she adamantly, vehemently refuses to expound on him. (The Internet says he’s called Mack, he’s handsome, and he works in tech in Silicon Valley.) “I want to be consistent: I can’t talk about my boyfriend in an interview and then expect people not to take paparazzi pictures of me walking around outside my home. You can’t have it both ways.” She sits back and wonders if she should finish this thought, and eventually she does: “I’ve noticed, in Hollywood, who you’re dating gets tied up into your film promotion and becomes part of the performance and the circus. I would hate anyone that I were with to feel like they were in any way part of a show or an act.”
Back in college, Watson was like most 20-year-olds, struggling to carve out her own identity, only she did it in front of a rabid fan base and a never-ending celebrity-news cycle. She made international headlines when she chopped Hermione’s long locks into a closely shorn pixie. We don’t need Sigmund Freud to read into the symbolism of that haircut, and to this day Watson declares, “It’s the sexiest I’ve ever felt.”
She got into yoga and meditation; being the Type A person she is, though, she wasn’t content just doing it. “Typical Emma,” says Harry Potter producer David Heyman, who has remained a close friend. “She had to become a certified meditation teacher.”
Watson shied away from doing additional big-budget studio films and instead focused on smaller movies, like Stephen Chbosky’s The Perks of Being a Wallflower (2012), and sought out auteur directors, like Sofia Coppola with The Bling Ring (2013) and Darren Aronofsky with Noah(2014). She turned down big offers: from lucrative cosmetics deals to critically acclaimed scripts. (Emma Stone’s role in La La Land was reportedly developed for Watson.) “There have been hard moments in my career when I’ve had an agent or a movie producer say, ‘You are making a big mistake,’ ” Watson says. “But what’s the point of achieving great success if you feel like you’re losing your freakin’ mind? I’ve had to say, ‘Guys, I need to go back to school,’ or ‘I just need to go home and hang out with my cats.’ People have looked at me and been like, ‘Is she insane?’ But, actually, it’s the opposite of insane.”
What ultimately helped clarify her purpose was—you guessed it—reading. Last January, Watson started Our Shared Shelf, her bi-monthly online book club. She used Twitter (more than 23 million followers) to crowd-source the name, and chose Gloria Steinem’s book My Life on the Road as her first selection.
All About Love: New Visions, by Bell Hooks, was Watson’s March 2016 book-club selection. Watson traveled to Berea, Kentucky, near the Appalachian Mountains, to meet Hooks, and the two quickly struck up a friendship based on, in the words of the writer, “the belief in the primacy of a spiritual foundation for life.”
“In so many ways she’s not like we think of movie stars,” Hooks told me. “She’s [part of] a very different, new breed who are interested in being whole and having a holistic life, as opposed to being identified with just wealth and fame.”
In early 2014, U.N. Women, the United Nations’ department of gender equality, contacted Watson about becoming an ambassador. Everything clicked: she could focus the prying eyes of the world onto causes that she was passionate about, namely a new initiative called HeForShe, which aims to get men to co-sign on feminist issues. I was in the audience at the General Assembly on September 20, 2014, when Watson, elegantly and discreetly wrapped in a simple silver-gray Dior coatdress, stepped onto the podium and spoke passionately about women’s rights for a little more than 10 minutes. Her battle cry ended with: “I am inviting you to step forward, to be seen, and to ask yourself, If not me, who? If not now, when?”
“I used to be scared of words like ‘feminism,’ ‘patriarchy,’ ‘imperialist.’ But I’m not anymore,” Watson says.
“It was not typical for U.N. Women to have a celebrity give a keynote address,” says Phumzile Mlambo-Ngcuka, the executive director of U.N. Women. “We needed a new messenger to break new ground for us. We didn’t want to just speak to the converted.” Watson blushed at the standing ovation and beamed as then secretary-general Ban Ki-moon became the first person to officially sign on to HeForShe. The U.N. Women Web site crashed in the aftermath of the media blitz that followed—“A good problem to have!,” Mlambo-Ngcuka says—and her speech made headline news around the world, from CNN to fashion blogs. Men like Hugh Jackman, Jared Leto, Harry Styles, Russell Crowe, and Eddie Redmayne aligned themselves with HeForShe. Feminists worldwide heralded their newest spokesperson: “For a time, there was a conversation about whether ‘feminism’ was a good thing or a bad thing,” Mlambo-Ngcuka says. Watson’s speech “gave us the word back.”
The first time Watson saw the final cut of Beauty and the Beast she took along her mother, Jacqueline, and Gloria Steinem to a screening in London. She wanted her mother’s approval, but she needed Steinem’s. “I couldn’t care less if I won an Oscar or not if the movie didn’t say something that I felt was important for people to hear,” Watson says.
Specifically, she must have wanted assurance that her portrayal of a Disney princess, in the Bill Condon-directed film, didn’t conflict with the ideals of a feminist, and who better than Steinem to give that stamp of approval?
She got it.
“It was fascinating that her activism could be so well mirrored by the film,” Steinem says, noting that Belle uses—you guessed it, again—reading as a way to expand her world. “It’s this love of literature that first bonds the Beauty to the Beast, and also what develops the entire story.”
This is a new Belle, much of it by Watson’s design. “I was like, ‘The first shot of the movie cannot be Belle walking out of this quiet little town carrying a basket with a white napkin in it,’ ” she says. “ ‘We need to rev things up!’ ” In the original Disney movie, Belle is an assistant to her inventor father, but here she’s a creator in her own right, developing a “modern washing machine that allows her to sit and read.” Watson worked with costume designer Jacqueline Durran to incorporate pockets in her costume that are “kind of like a tool belt.” Another thing: in the animated version, Belle is on and off horses yet wearing a long dress and silk slippers, which didn’t sit well with Watson. Bloomers were created and Belle’s first pair of riding boots. “The original sketches had her in her ballet shoes,” Watson says, “which are lovely—don’t get me wrong—but she’s not going to be able to do anything terribly useful in ballet shoes in the middle of a French provincial village.”
Maturing from Hermione to Belle is a true coming-of-age story for her. “When I finished the film, it kind of felt like I had made that transition into being a woman on-screen,” she says. Belle is “absolutely a Disney princess, but she’s not a passive character—she’s in charge of her own destiny.” What’s more intriguing, however, is how Watson observed a similarly strict code in her real life, too, from what parts she plays to what she reads in bed at night and what clothes she puts on in the morning.
“Emma has an incredible sense of integrity,” says Livia Firth, the founder of Eco-Age, a sustainable-fashion consulting firm. “You can’t marry activism and then do something in your life that is not in agreement.” Firth praises Watson’s choice of dress for last year’s Met Gala: it was designed by Calvin Klein and made almost entirely from recycled plastic bottles. For her Beauty and the Beast press tour, Watson created a PowerPoint presentation that her stylist sent fashion designers. It included a questionnaire about how their garments are produced, what their impact is on the environment, and the moral reason why she should wear one on the red carpet.
“I used to be scared of words like ‘feminism,’ ‘patriarchy,’ ‘imperialist.’ But I’m not anymore.”
As Steinem honors Watson’s high moral standards and relentless activism, I ask her if there’s a risk of becoming, well, annoying to the general public. Is she too much of an ethical Goody Two-Shoes? After all, what other starlet assigns fashion designers homework before she wears their clothes? Steinem is not amused. “Let me ask you something: If you did a story on a young male actor who was very private and involved in activism, would you think he was too severe or serious? Why do women always have to be listeners? Emma is interested in the world, she is caring, and though she is active she is also joyous and informed.” At this point I’m backpedaling—“I think she’s wonderful!”—but Steinem still digs in. “It’s possible to be both serious and fun, you know. That response is why men will ask a woman, ‘Why don’t you just smile, honey?’ ”
The actor Kevin Kline, who plays Belle’s father in Beauty and the Beast, agrees with Steinem. “When someone has a feminist point of view, we tend to think she’s no fun at all,” he says. “But a feminist can be feminine, delicate, vulnerable, sweet—and still demand to be taken seriously. Emma fits the bill perfectly.” A big grin forms on his face as he asks, “Has anyone told you about the dancing scene yet?”
In the film, there’s an over-the-top ball, which required the entire cast and scores of extras to waltz in period costumes for hours and hours. “Ater a long, long day, suddenly Pharrell Williams’s song ‘Happy’ comes on, blasting, and everyone just starts jumping around,” Kline recalls. “It became kind of a wrap party, really celebratory. And I asked, ‘Who did that?’ It was Emma.”
