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Anne Hathaway may be the only person on the planet who uses social media to calm down. The secret is in her approach, which involves self-imposed Instagram commandments—build in time for self-reflection, don’t overpost—that are a celebration of restraint in an inflammatory, overexposed world.
Other public figures use the platform as a place to rant, or to shill for the highest bidder; Hathaway, on the other hand, does not in fact post anything herself. She creates the content, as it were, for her 12.8 million Instagram followers, but she sends her pictures and captions—which are sometimes lengthy—to someone else. That person holds on to them, giving Hathaway at least an hour to deliberate, and then sends posts back for final approval.
Hathaway’s calm, newfound and welcome, comes from being able to finally have a public voice. No longer is she beholden to interviewers who can portray her however they see fit. She can use social media as a direct way to say what she wants when she wants. She doesn’t use Instagram to scream her truth; she uses it sparingly, to set her truth straight. She announced her pregnancy in a glowing bikini beach shot, preempting the paparazzi; when she needed to gain weight for a role, she shared a video of herself in the gym to head off the tabloids. “Having the ability to do something on my own terms has been good for me,” she says. “It has allowed me to calm down and communicate in a way that’s more clear.”
One can understand why this is of particular importance to the 36-year-old actress. A few years ago she weathered the bizarre phenomenon of #Hathahate: Having won the 2013 Best Supporting Actress Oscar for her portrayal of Fantine in Les Misérables, she started receiving a kind of disdain so intense it garnered a think piece in the New York Times.
“For some nonfans,” it said, “Ms. Hathaway seems to embody the archetypal high school drama geek who cannot turn off the eager, girlish persona, even away from the stage.” Such nebulous criticism seems almost of another time—at once totally unfounded, wildly unnecessary, and more than a little sexist. But despite the unfairness, Hathaway’s response wasn’t to lash out or retreat. She kept working, honing her craft in unexpected roles and scene-stealing crowd-pleasers.
“She’s a nerd for acting in the best way,” says Matthew McConaughey, her co-star in the new Serenity. “She’s always preparing. Even days before shooting a scene, or late at night on a weekend, she’s seeing the world through some prism of her character’s eyes.”
On a warm day, the last gasp of San Francisco’s fashionably late summer, Hathaway breezes into Tartine Manufactory with nary a whiff of Daphne Kluger, her movie star character in Ocean’s 8. In a cast full of A-listers, Hathaway stole the show as the ditzy target of a jewel heist with a square-tipped French manicure and a penchant for snapping gum. But this Anne Hathaway, in town visiting family, blends into the casual crowd, clad in jeans, a plaid shirt tied around her waist, and beat-up Converse sneakers.
Her most important accessory: a FedEx envelope with her ballot for the midterm election, which would seem like a prop except for the anxiousness she clearly feels about sending it back east in time to be counted.
Over rose lemonade kombuchas, Hathaway talks openly and thoughtfully about her career, stopping to say “thank you so much” to every eager waiter who comes our way. And it strikes me that perhaps the reason for the ire once directed at her is not that we as a society don’t like her but that we as a society should be more like her. She is a UN Women Global Goodwill Ambassador fighting for parents’ rights, she makes her own beauty products, she watches Daniel Tiger’s Neighborhood with her toddler, and she uses her iPhone’s screen time feature to limit her Instagram sessions to 15 minutes. That’s a warmup for most of us. For Hathaway it’s enough. “It’s allowing me to focus my intentions,” she says.
Jessica Chastain, who met Hathaway at the 2012 Golden Globes and went on to work alongside her in Interstellar, finds Hathaway’s choices inspiring and impressive. “Annie is a movie star, and she could just fall back and play these kind of personality roles, but she doesn’t do that,” Chastain says. “She challenges herself to play characters different from who she is.”
That’s apparent this month, when Hathaway stars in the thriller Serenity opposite McConaughey. The pair play a divorced couple: he, alone and adrift as a fishing boat captain; Hathaway, a bleach-blonde bent on murderous revenge against her rich, abusive new husband, played by Jason Clarke. It was the sort of part she says she never gets sent—“I don’t think I’m the first person people think of when they think of a hot blonde,” she cracks—but she was intrigued by what she saw as a heartbreaking take on the “contagion of violence.”
Serenity was shot just before the MeToo movement began in Hollywood, and it is difficult to watch the film’s harrowing scenes in its wake. “All the choices we made still hold up,” she says, adding that she is proud of the “quality of conversations and consciousness that we brought” to the movie. It was the deepest emotional dig for Hathaway since the birth of her son Jonathan, in 2016. “When you fall in love in profound ways,” Hathaway says, “either with a child or with a partner, your heart becomes so much more tender.”
Serenity’s director, Steven Knight, like others I spoke to, praises Hathaway’s depth. “You think you know what you’re seeing—and you sort of don’t,” he says. “There’s always something else going on. She can offer so many different parts of herself.”
For the month she spent filming, Hathaway was able to lose herself in her battered character and then pull it together to be a mom three times a day by reminding herself that the experience was finite. “It’s all temporary—like, all of it,” she says, letting out a big laugh incongruous with the svelte person seated across from me. “I used to not understand that, and it was a lot harder.” Acting is a privilege, one that requires constant attention. “A part of me just has to be aware that whatever is going on, however hard it is, whatever it’s asking of me, I’m incredibly lucky to be the one who’s being asked,” she says.
Next up is a comedic turn alongside Rebel Wilson in The Hustle, a remake of Dirty Rotten Scoundrels. And then it’s another pivot to The Last Thing He Wanted, which is based on Joan Didion’s novel of the same name and directed by Dee Rees. “I don’t think I was who Dee had in mind,” Hathaway says of her role, a journalist who becomes an arms dealer. But someone slipped her the script and her own hustle took over.