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(Scan) Adir Abergel (@hairbyadir) talks about Kristen in "Marie Claire" march 2014

Mel452 "Kristen is 1 of those girls who enhances her beauty w/ her inner confidence..."

(Video) Bill Hader mentions Kristen & Twilight @THR

THR Bill Hader (The Skeleton Twins), director Charlie McDowell (The One I Love), actress Astrid Berges-Frisbey (I Origins), co-director Ben Cotner (The Case Against 8), director Desiree Akhavan (Appropriate Behavior) all share what it's like to get their movies accepted to the festival.

*On his first Sundance experience Hader shares, "It was right when Twilight came out.. We knew Twilight was a thing but I didn't know how big. It was insanity. We couldn't go anywhere."

Billy Burke Tells What Revolution’s Miles Matheson Would Think Of Twilight

 vh1 Bella Swan’s slightly naive, overprotective dad Charlie in the Twilight Saga has very little in common with Revolution’s gruff, seemingly invincible warrior Miles Matheson — except for two things: They’ve got the most hilariously quotable lines of their respective stories, and actor Billy Burke gives them both a soft underbelly that keeps us sticking around after all the bloodshed. Before Revolution returns from winter hiatus tonight (8 p.m. ET on NBC), we caught up with Burke to chat about what went down when Bret Michaels dropped in on the show’s “post-power world,” how he keeps sane while filming the show’s outlandish fight sequences and how he feels about the Twilight vortex a year and a half after its conclusion.

VH1: Despite the sometimes horrific circumstances of Revolution’s post-apocalyptic world, you always seem to be having a blast. What do you get a kick out of the most in your job?
Billy Burke: Most of the time, we come to work and it’s obnoxious hours and a pretty tough schedule, but we’ve got amongst the cast and the crew — there’s a great spirit on set. We have a great time taking everything as seriously as we can and taking the piss out of it when we need to.

VH1: When do you need to take the piss out of it?
BB: The nature of the show, because it’s a serial drama, there are a lot of moments that would be considered soap-like. Because they’re repetitive, and you have to keep telling people what had happened and you have to remind them through dialogue. Some of those things are met with a little bit of tongue-in-cheek on set, and we try to get away with as much comedy as we can. Hopefully, some of it makes it way to the actual airing, but most of it doesn’t.

VH1: Are you a wiseass like Miles in real life?
BB: I use sarcasm as a tool, yes. I think it helps get one through any day. But here again, I mean, we take the job quite seriously. But if you take it too seriously you’re going to be putting nails in your head.

VH1: What’s harder to do, or easier to do, than it seems onscreen?
BB: When we first started out, a lot of the action sequences were [difficult], because of other things the not least of which was the unbearable heat we sometimes have to shoot in, because last year it was set in North Carolina and this year it was set in Austin, which is 104 degrees every day in the summer. But the sequences themselves turn out to be quite fun. It is a lot of work and a lot of memorizing choreography and things like that but you do get to put your own spin on it and you get to f— around a little bit and kind of make it your own. That’s not as grueling as it might seem.

(..)

VH1: What can you tell us about Bret Michaels’ guest role on the show?
BB: I was not on the set on the day that he worked. From what I heard, he was just absolutely uncannily pleasant and good to be around. He was stoked to be there. I heard he was a great guy and he had a fun little bit to do, but I didn’t get any of the Bret Michaels experience.

VH1: Do you have a wish list of real-life idols you’d like to guest star next?
BB: I don’t actually, I’ve never really thought about it. It’d be great to have an appearance by President Obama playing himself. I’d love to have Tom Waits.

VH1: What do you think Miles would have to say about Twilight?
BB: At first mention, I think he’d say, “What?” He’d have no recognition whatsoever what you were talking about. I think that probably he’s not in the main demographic of that viewing audience.

VH1: When the franchise was going, did you have any fear that you would be playing a dad forever?
BB: No, I didn’t go into that thinking that. I did have to go into that thinking that it would have an audience. I didn’t have any idea that it would become such a part of the zeitgeist as it has, but I did recognize that it would have an audience. I’ve told this story a few times: That’s where that famous pornstache came from. I tried to figure out a way where I could play the character believably but then have an escape route when it blew up. Without the ‘stache I was virtually unrecognizable.

VH1: What do you wish people would know about what it was like to be in the center of Twilight mania?
BB: Here’s something that’s not what you think it is: People have this fantasized view of what being in a machine like that is like. It’s not campaigning every day for parties. It’s a lot of work and you take it graciously and it is what it is. But as I’m sure others would tell you — the Kristens and the Roberts of the world — it’s nice to have some anonymity for a while. I didn’t have to deal with nearly the amount of attention that they did, but it’s not what you think it is. I’m not bitching about it, I’m not complaining, but it’s part of the deal. Also, if people know who you are it’s easier to get work in this business.

VH1: Would you hesitate to do something that big again?
BB: No not at all. I really don’t look at things like that. When that became what it became, I was happy to be in a thing that people paid attention to. I’d been kicking around in this business already for almost 18 years when that came along.

Revolution airs Wednesday nights at 8 pm ET on NBC.

Kellan Lutz on Playing Hercules and Getting (More) Ripped + One- on-one with @sinow (video)

SI Now: One-on-one with star of 'The Legend of Hercules' Kellan Lutz On Tuesday's SI Now, actor Kellan Lutz discuss taking on the Hercules role for his upcoming movie premiering Jan. 10, how he trained his body to look like a Greek god and which NFL teams he loves to watch.

 

Kellan Lutz on Playing Hercules and Getting (More) Ripped
moviefone Recent trailers promise plenty of action, romance and ripped muscles -- what else would you expect? The ridiculously jacked-up star Lutz jumped on the phone with Moviefone Canada to discuss tapping into his inner hero, transforming into a demi-god and his bucket list for future projects.

Moviefone: A lot of people flock to sword and sandal-type movies. What do you love about them?
Kellan Lutz: It's a timeless, ageless story that they tell. We're all fascinated with those warriors and that period of time. Hercules, for me, is the first superhero. We got modernized by having "Thor," "Captain America" and all these Avengers movies that Marvel makes. But, I feel like Hercules was the first one.
He is the original superhero. He is born of a mortal woman and Zeus, so he is a demi-god. He's struggling with the human downfalls of doubt, self-deception, insecurities and lost hope. He also has to grab the reins of his true identity of being part god, be the saviour of his people and kick his ugly stepfather, who is not a good king, out of the kingdom and take his rightful place.

For me, I love the costumes and being able to travel to a different time period. That is very fun. I did that growing up. I have middle-child syndrome, big time. You didn't have a lot of attention growing up because the older brother was running amok. Mom was cleaning up his mess. Then your younger siblings were the babies of the family, so you were just there. I just used my own imagination everywhere I went. I'd pick heroes like Tarzan, He-Man and Hercules to bring life to my imagination. Now, here I am, an actor being able to do that for a job. It's kind of fascinating.

You went through a transformation for this movie. How difficult was it slimming down?
I've fallen in love with the story of Hercules, just him as a hero, since I was a little boy, so I already felt the part. Trimming up, being athletic and fighting the good fight ... I already felt like Hercules. So slimming down or being more cut was what Renny wanted and I was willing to do whatever it took.

(..)

This movie has a certain "300" feel to it, but that was all green screens and Hercules was largely filmed on location. Did that real environment help you get into character?
As great as my imagination is, when I did "Tarzan," I really had to look at the world through my own eyes and create it because it's motion-capture. For Hercules, we had practical sets. The throne room was there. The gladiator arena was there. Everything was there and they just embellished it a bit more as they magnified the situations. It was quite easy to feel the part when you are mentally and physically there. You're wearing the costumes. You feel the presence of Hercules and the dire situation as you're in these arenas and six gladiators run through the doors that you are about to battle.

In the Marvel comic books, Hercules is a bona fide member of The Avengers. Have you previously auditioned for any superhero projects?
Yeah, I auditioned for Thor and Captain America. Both Chrises are amazing. Chris Hemsworth is Thor and Chris Evans is Captain America. I loved what they did with the characters.
They are amazing guys. I just knew my time would come and then Hercules came and I got that one. But I would love to do Venom from Spider-Man. I've always loved that character. I love Flash. I love Aquaman or He-Man. I would love to be He-Man. Those characters are up there for me.

Let's put it out for the studios then.
Let's do it. Let's do it.

Or perhaps you can appear in a horror film where you don't die right at the beginning like in "The Nightmare on Elm Street" remake.
Trust me. Trust me. I grew up loving horror movies. I didn't choose that. They wanted me and I had to shoot "Twilight." They were like, "Well, we'll write him in. We can kill him first." I'm like, "Do I have to?" I'd love to be in the remake of "Puppetmaster." Do a new one. Those little dolls were freaky back then.

#Twilight New/Old Kristen & Rob (from Twilight BTS) Pictures

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@veronicaspuffyRead about New Kristen Pic w/ camera operator .... on theTwilight set,from Jeff Feller's website, thx via @bloodlessveins

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#Twilight Great interview @C_Hardwicke on "Plush" and mention Nikki and "Thirteen"

Yahoo Struggling to find your rightful place in society, and finding acceptance among your family, friends and peers, is often a difficult process for many people, particularly those in the arts who want their work to be appreciated and valued. Finding that true, desired recognition can be even more challenging after the loss of a loved one. Not only is that struggle to find approval prevalent for Hayley, the struggling musician in the new independent thriller 'Plush,' which is now available on DVD and VOD, but also talented writer-director-producer Catherine Hardwicke. The filmmaker once again proved that she should be accepted as a scribe and helmer after her career-building movies, 'Thirteen' and 'Twilight,' with 'Plush.'
(..)
Hardwicke generously took the time recently to talk about writing, directing and producing 'Plush' over the phone. Among other things, the filmmaker discussed how as a director, she finds it helpful to write and collaborate on a script, as you have to know why you put every scene in the story, and what it means and how it ties into a character's history; how the cast, including Browning, Samuel, Thomas Dekker, and Cam Gigandet, all perfectly understood and portrayed their characters' emotions and motivations; and as a producer, she used many of her own belongings in the film, which helped in creating the authenticity of the story.

Question (Q): You co-wrote the script for 'Plush' with Arty Nelson. How did you come to work with Arty on the screenplay, and what was your overall working collaboration and relationship like?

Catherine Hardwicke (CH): It was a good one. Arty comes from working as a journalist in pop culture and all these cool magazines. I had met him when we worked on an interesting project together for television. We haven't gotten that project off the ground yet, but hopefully it will take off soon.

Then I got the inspiration and beginning idea for this one, and had written out a little treatment. I shared it with Arty, and he said, "Yeah, I could get into that and work with you on it." So we would meet and go through the characters together and act out the scenes, and write stuff. Of course, we would be sending pages back and forth, and emailing. We also worked on it together in person, and acted out the pages in all the fun ways you do.

He's very funny. He has two kids, so all the family stuff is something he's really good at, and brought a lot to the husband part. It's fun to write as male-female collaborators; you get a great perspective that way.

Q: Before writing 'Plush,' you also penned the screenplay for the 2003 drama, 'Thirteen.' How did scribing 'Thirteen' compare to writing 'Plush,' and were there any lessons you learned from your first film that you brought to this one?

CH: Yeah, that's a cool thing-I'm actually standing in the same room right now where Nikki (Reed) and I wrote 'Thirteen.' It was about 10, maybe 11 years ago now, when we started writing it. She was 13 at the time, so she was very alive and vivacious and wild. Her passions and interests were flying all over. I'd be sitting at the computer, saying "Okay Nikki, we have to concentrate."

Then she'd get a phone call and burst into tears, saying "That guy's an asshole!" then in the next second, a piece of music would come on, and she'd just start dancing, and the tears would be gone. I was like, "Wow, that's what this movie's really about. That's what we want to capture." We wanted to get the rollercoaster of emotions of this girl at that age.

So we started acting out almost every scene. Nikki and I would bring them to life. We would yell at each other and ask, "What would you do?," as though I was her mom or friend. It was very lively, and I felt like in that case, it was a good part of the process. You can't do that the whole time, but it's good to bring those scenes to life. I enjoy acting them out and bringing them off the page, even as you're writing.

Q: Besides co-writing the scripts for 'Plush' and 'Thirteen,' you also directed both films. Do you find it easier to helm a movie you also wrote the screenplay for?

CH: Yes, definitely, because it's very much in your bones and blood. You know every aspect of the film. I feel like most directors, even if we didn't write the script, like every single one of my other projects that I don't have a writing credit on, I could show you how many patches I did on the script. I had a zillion pages of notes, and I talked to the writer, until we got it to where we wanted it to be.

Usually the director is very involved in the script. You have to be, as you have to know what everything is about. If an actor turns to me, like Holly Hunter did on 'Thirteen,' which is the first movie I directed, and asks me a question, like "Why is this scene even here?," I had to know in my heart and bones. I had to articulate to her what the scene was about, and why it was needed.

It's the same thing with every aspect of 'Plush;' you have to know why you put that scene there, what it means and how it ties into a character's story and her feelings about her husband and her obsession with her art and her brother.

Q: How does writing and directing more original scripts like 'Plush' and 'Thirteen' compare and contrast to making films like 'Twilight,' where audiences are already familiar with the story?

CH: It's very interesting, because you want to find the truth in somebody else's creation. In the case of 'Twilight,' (author) Stephenie (Meyer) had this beautiful series of novels that many people knew in their bones. But I still had to find a way to translate that to cinema. If you look at the original 'Twilight' book, we made many changes for the film.

For example, there was this big, important scene of how long Edward's been 17 and a vampire. In the novel, it was written in the car, but that's a static place to film. You can only get three or four shots in a car. I thought it was an exhilarating scene, so I moved it out to the forest. We used a crane to try to give you that dizzy feeling.

Also, the scene in the treetops isn't in the book at all. That's where they're flying through the trees, and you feel the thrill of being madly in love with someone. While the scene wasn't in the book, that feeling was in it.

But we still had to do a lot to bring a well-known book like that to the screen. How do you translate it, and make people feel it viscerally, and not just in their head, when they read a book?

Q: 'Plush' features a diverse cast, including Emily Browning, Thomas Dekker, Xavier Samuel and Cam Gigandet, who you previously worked with on 'Twilight.' What was the casting process like for the film?

CH: Well, that was great. Of course, I worked with Cam on 'Twilight,' and I also worked with him again after 'Plush,' on the pilot for 'Reckless,' which is going into series for CBS right now. He's a really wonderful guy, and he loves finding new parts and stretching himself.

Once I saw Cam was interested (for 'Plush'), I was like, "Great! He'll be wonderful!" You'll love him, as it will be a heartbreak for this woman, who's torn between two men and aspects of her life. She's trying to have it all-this creative, artistic, musical life, and a family. So Cam was great.

Emily I had met, as 'Twilight' fans originally wanted her to be Bella Swan. That was on all the blogs and everything. So I met Emily to see if she wanted to do it. But she was coming off a tough experience on a movie, and didn't want to commit, because she didn't know if she wanted to be in another film at that time.

So we couldn't have her in 'Twilight,' but I loved her when I met her. She's special and brave, and it turns out she's also a fantastic singer. I had no idea that's her singing. Her voice is haunting and compelling and beautiful.

So she fit this character, and she was able to understand and appreciate it. She's so fearless in what she'll do with the sexuality, so she was great.

Thomas Dekker is a wildcat and amazing. He's also an incredible singer, and he is this character. He has a perfect pitch and this wide range of musical expertise and style.

I didn't know Xavier so well, but he did have that small part in the third 'Twilight' ('The Twilight Saga: Eclipse'). He's very good, but when he came in, he seemed too straight to me. I told his agent that I liked him, but he doesn't seem like a rocker.

So that weekend, he took a bunch of photos with his friend, and put eyeliner on and took out a guitar. He took this very intense, deep, emotional photograph and sent it to me, and I was completely blown away. There was so much character in the photograph that I thought, "I better reconsider this guy. He's amazing." (laughs)

Q: Speaking of the fact that the film focuses on music and Haley's rise as a rock star, what was the process of creating the music for the film overall?

CH: That was really fun, because I love collaborating with other artists. It turns out that Nick Launay, who was the music mastermind of the film, is a music producer who has worked on the last several albums for the Yeah Yeah Yeahs. Recently he has also worked with Band of Skulls and Empire of the Sun, and even guys like Eric Clapton. He's super talented, and has this super genius musical brain.

He's always been interested in films, but he's never been a composer for a film. This was an opportunity for him to be a composer and the creator of all the music. So he reached out to all of his friends and different up-and-coming songwriters around the world. They sent in ideas and demos for songs, and he picked the ones he thought were the most appropriate, and he ended up producing them.

Of course, Emily, Xavier and Thomas all sing on their songs. Several other songwriters came to the set while we were shooting, and they become inspired. They then wrote original songs for the film. It was so great; there's so much creativity out there. People got inspired and wrote all these fun songs. More st source

New "Plush" interview with @C_Hardwicke taks about Kristen and Rob

'Twilight' Filmmaker Catherine Hardwicke Talks Her Latest Flick and Kristen Stewart and Robert Pattinson's "Magnetism"

Elle In her new film, Plush, filmmaker Catherine Hardwicke once again combines romantic obsession, a badass female heroine, and an addictive score—all the elements that made her the highest-grossing female director in history, of a little film named Twilight. (..)

Enzo is obsessed with Hayley. We see that theme in 'Thirteen' and 'Twilight' as well. At that age, love takes on a larger-than-life intensity.
Nikki [Reed] has a line in Thirteen that I love: The day that Rachel is invited to go shopping on Melrose with the bad girl, she says, "Mom, this is the most important day of my life!" It's so over-the-top but so true at that moment. As an artist or musician, you feel you have to get yourself into that zone of being passionate. That's how you flow in your creativity. Throughout history, different artists found different ways—drinking, drugs, sex, music—to find that creative zone. Hayley finds it with Enzo.

What inspired you to cast Emily Browning as Hayley?
At the time we were casting Twilight, all the fans online wanted Emily, not Kristen Stewart, to play Bella! I met with Emily. She had just come off a distressing experience on a movie and was like, "I don't know if I want to act again or just go back to Australia and lie on the beach." She was not in a head space to commit to a possible trilogy. But I loved her. She has a very special, unique, and kind of magical quality and fearlessness. She also has an amazing voice—it has a lot of soul and texture. She sings in this film.

You've said that Kristen Stewart and Robert Pattinson were perfect for their roles. What did you see in them that made you cast them?

I thought Kristen was just amazing in Into the Wild. When I read the novel Twilight, I kept picturing her in that scene, where she’s sitting in the trailer, hoping to seduce Emile Hirsch. Her yearning was palpable, real, and intense. I thought, "This girl would be wonderful." So Summit flew me out to Pittsburgh, where she was shooting Adventureland. We took an actor with us and improvised a lot of scenes. To find Edward was tricky, because how he was written, he was perfect, with these cheekbones, and he was also wise beyond his years. We whittled it down from hundreds of actors to four. I'd only talked to Rob on the phone when he was much younger. He flew out on his own dime and stayed on his agent's couch. The four actors came over to my house and we workshopped all the "chemistry" scenes. With Rob and Kristen, it was apparent that those two just connected and had a magnetism for each other that was electric, right there on the spot.

Tnxs @Mel452

#Plush Q&A Catherine Hardwicke Considers 'Twilight' an Indie

Catherine Hardwicke On Her Kinky, Twisted Thriller 'Plush' and Why She Considers 'Twilight' an Indie

indiewire Catherine Hardwicke often speaks with the giddy, impassioned verve of a teenager. She takes great breaths in her speech in order to emphasize ideas, and to help you feel the way she feels about them. Given Hardwicke's filmography, such a disposition seems only natural. It's easy to see the themes and characters that attract the director. Since her searing, achingly raw breakout, “Thirteen,” Hardwicke has gravitated toward the filmic translation of adolescence, rebellion, rock, and angst, preferably channeled through a young female protagonist. Hardwicke is also, of course, the helmer of the first “Twilight” movie, which she says she personally regards as an “indie film,” as well as “The Nativity Story,” which gave us Mary (Keisha Castle-Hughes) as the original pregnant teen.

(..)

Arriving on DVD and VOD October 15, and co-starring “Twilight” alum Cam Gigandet as Hayley's cuckolded hubbie, “Plush,” Hardwicke says, was a work that allowed her to stretch, and she concedes that it may reflect that she's a little twisted herself. Speaking further, she chats about how Browning and Samuel's onscreen heat translated into true romance, how kid leashes and coyote vomit made it into the final cut, and how “Plush” is a sinful pleasure that's off the rails in all the right ways.

Regarding the females you've presented in your work, you've really run the gamut, from Tracy in “Thirteen” and Mary in “The Nativity Story” to Bella Swan in “Twilight” and Red in “Red Riding Hood.” How does Hayley fit into that mix for you?

Let me just say first that I love that you threw Mary in there too. Thank you! Well, Hayley, in my mind, is struggling to find out who she is as an artist. She had this awesome collaborator in her brother, and now she's vulnerable, and trying to recover from that and find herself again. And she's also got herself in this crazy situation with two kids and a husband, and she's probably too young for all of it, and it's maybe not her choice. So it's like, how does a woman right now try to have a creative life, or a career, and a family? How do you do it all, and how do you do it all well? She wants to push the edge with her art, and she really wants to try to do something different. How do you get into that zone? Who gets to do it?

Yeah, she's living two lives. How old is she supposed to be in the film?

Well, she had the kids when she was about 19, and now they're about four and a half. So she's, like, 24, which was exactly Emily's age when we filmed.

I'm sure you get asked this question constantly, but can you just briefly touch on what the majority of your post-“Twilight” experience has been like? Personally, I've always felt that your film stands apart from the others in a very distinct way, but since the saga became so huge, and both sacred to its fans and an easy target for its critics, how do you feel about it now?

For me, I have to say that, in a way, I was lucky. Because on my “Twilight,” it didn't have the level of expectations that any of the other ones had. No one, even the night before the film opened, ever expected to hit $400 million. [Laughs] Or $69 million on opening weekend. That just kind of blew everybody away. So I wasn't under that kind of pressure and scrutiny. I got a chance to make my “Twilight,” more like an indie film, in a way. I could really just kind of feel the characters. And at that time, I believe Stephenie [Meyer] was busy writing two other books—the last of the “Twilight” books and “The Host”—and promoting the third “Twilight” book. So she wasn't even able to be there that much. And I think that later on, the pressure became more intense from every angle for the other directors, and they were probably less able to make [their films] as personal as mine was able to be. And I loved the first book the best anyway—just her fresh, impulsive, first idea.
There's this dizzy, crazy, madly-in-love feeling, and that feeling is what attracted me. I just wanted to see if I could translate what people were feeling when they read the book—all that dizzy, crazy, madly-in-love stuff. For me it turned into its own outrageous thing.

 And you have your “Twilight” star Cam Gigandet back again for “Plush.” Kudos to you for not just hiring him to take his shirt off. He gets pigeonholed and typecast quite a bit, and that isn't the case here.

Yeah, and one thing that's cool about Cam is that since I worked with him on “Twilight,” he's had a kid. Actually he's had two kids. So he really has developed that father thing, too. He's a hunky father, and obviously amazing, but he's also become really soulful, and really connected with his children. So I thought he was kind of perfect for this as the grounded figure who's trying to be as supportive as he can. He holds on as long as he can until it stretches the boundaries of all credibility.

(..)

There's a line in the film about artists and geniuses being a little twisted. Is “Plush” to be the definitive film that tells us Catherine Hardwicke is a little twisted?

[Laughs] Oh my god. Well, yeah, you never know. I think I just wanted to really try to explore some of these things that you explore in your brain, and try and figure out how to get in the zone, get in touch with your own ideas, take risks, break barriers, and jump out of your comfort zone. How do you stretch? How do you get creative? I just wanted to let go and explore all of that. Full interview at source

#TwilightForever Mark Kermode talks about his abiding love for Twilight

 

Two years after he elegantly deconstructed the declining standards of modern moviegoing in The Good, the Bad and the Multiplex, Mark Kermode turns his gaze inward on his own profession in his third book Hatchet Job.

Digital Spy sat down with Kermode last week to discuss the shifting sands of film criticism in the digital age, how on-demand culture is making movie fans lazy, and his controversial love for sparkly vampires.

digitalspy  How subjective should a review be? It's a difficult balance to strike, particularly if you're reviewing a film that does nothing for you personally but you can recognise is serving an audience.
"Well, I think firstly you have to be honest. You cannot lie about whether you liked a movie or not. I think there are a lot of people who think I'm just lying about Twilight. They think I'm just saying it because it makes me feel cool - believe me, if you think that liking Twilight is cool, you really need to get out more! Most of the teenagers have moved on, OK, if anything it makes me look like an old fart. So you can't lie about it.

"You have to operate by saying, 'OK, I can see what it's trying to do', and you can appreciate that it's trying to do it even if you personally hated it, but you then have to say, 'I personally hated it'. I can't lie about comedies, for example. I've got a tin ear for comedy, I don't find frat boy comedies funny, I just don't. I don't find grown men pretending to be teenagers, talking about their scrotal sacks funny. I just don't, I'm sorry, I'm sure there are movies in which it is done in a humorous way, but they were a long time ago and I don't remember them. Just because you sit in a room with a bunch of people who might find it funny, I'd be lying if I said I did."

 So you really do love Twilight, then?
"Yes! Why would I lie? [Off DS's disappointed expression] But exactly! In a way, you're proving my point - that's what I have to lose! What I have to lose is your respect, so why would I lie? And all I'm telling you is, it's true! I genuinely do! I've watched all of them more than once, and even in the moments of Bella sitting on a chair moping for a year while the seasons change around her, and even in the most ludicrous 'We just had a battle! No we didn't, it was a dream! Really?' Even in those moments.

"But I always thought the whole thing with the last Twilight was that they really should have given it to David Cronenberg, because particularly Part 1, the whole vampire pregnancy narrative is so mad. It's so bizarre.

And there are huge narrative issues that you never manage to solve, you really... Renesmee? Really? You could just see Bill Condon thinking '...OK. Right. What are we gonna do? How are we gonna climb this particular mountain?'"

You write at length about the negative impact of test audiences on film. But if you had the power of a test audience, to change the ending of any film in the world to make it better, is there a film you'd want to change?
"No, because it would never be the case. For my money, it's never the case. I know loads of filmmakers who will tell you that test screening films helped them, and I know loads of filmmakers who will tell you that the process was useful, and they have every right to do that. Let's say there are great filmmakers who rely very heavily on the test screening process and find it to be a creative and wonderful thing. Good for them. For every one of them, there are a bunch of other people who have suffered at the hand of test screenings, and my bottom line is this: you are a filmmaker, or a film watcher, and they are not the same thing.

"I'm a film critic, I couldn't dream of telling anybody how to make a film better. All I can do is, you show me the film and I'll tell you whether I like it or not. You start asking me to change it, I'll make it worse, because I'm not a filmmaker. The worst film I have ever seen, I couldn't have made. People often say 'Oh, you slagged my film off, could you do any better?' No! No, of course not. But I'm not a filmmaker, it's not my job, you know. I mean equally, I could say, 'You want to go and review the week's releases? Off you go! Come back when you've done 13 films.'" Read more at source.

ICYMI  Move over, Luke Skywalker… I'm a Twilight man

emmdib via Gossipgyal

Catherine Hardwicke Isn’t Ruling Out A Twilight Spin-Off

Catherine Hardwicke Isn’t Ruling Out A Twilight Spin-Off

With the announcement of a Harry Potter spin-off film coming in the form of Fantastic Beasts And Where To Find Them, some have been wondering what other supposedly-dead franchises might be primed for spin-off films of their own. One franchise that I’m sure its fans would want more of is Twilight, and today, while talking to Catherine Hardwicke about her new film Plush, I had the opportunity to ask her about the possibility.

While it isn’t in the works, Hardwicke said she isn’t ruling out the possibility of a spin-off and is definitely interested if Stephenie Meyer has an idea for it. More: wegotthiscovered

(HQ Scans) “Twilight Forever” Official Calendar 2014 - Tnxs @SupermodelScans

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New/Old cute photos of Ashley, Rachelle, Kellan from #Twilight DVD Promo- 2009

 

 Twilight DVD Launch March 21 (2009)

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 Twilight DVD Launch In California March 20 (2009)

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