Xavier Samuel on the cover of SA Weekend Magazine

New Photo:

Source: StateTheatreSA - theAdelaidemag

Xavier Samuel on the cover of 'Rip It Up' Magazine

Scans:

 

Outtake:

 

With Interviewer: Just hanging out with #XavierSamuel to see how rehearsals for #TheSeagull are coming along.

 

WHO: Xavier Samuel

WHAT: Adelaide Festival 2014:The Seagull (State Theatre Company of SA)

WHERE: The State Theatre Company Scenic Workshop (Adelaide Festival Centre)

WHEN: Fri Feb 21 – Sun Mar 16

While on a break from rehearsal for The Seagull, Xavier Samuel sits down with Rip It Up to talk about returning to Adelaide theatre.

You could be forgiven for thinking that you’re just talking with any other talented young Adelaide actor who is as nervous as he is excited to get upon the local stage. Except, of course, that he isn’t just like any other talented young Adelaide actor.

Xavier Samuel was our very own ‘guy from Twilight’.

While this may set him apart, his role as an unruly baby vampire in Twilight’s third chapter Eclipse does not define him, although it did help propel him into Hollywood. He has worked steadily since, with his next big role set to be this year’s war drama Furyopposite none other than Brad Pitt — “the coolest guy on the face of the planet”, according to Samuel.

While he admits that he was happy to be “killed off” Twilight, as he could dip into the mania surrounding the franchise, yet withdrew before it consumed him like its main stars, theTwilight association has shadowed him since. So much so, the tag is even featured on the poster for the State Theatre Company’s interpretation of Anton Chekhov’s The Seagull.

“There are a lot of parallels,” Samuel says matter-of-factly about the connection between Twilight and The Seagull, a play set in the Russian countryside at the end of the 19th Century.

“There’s something cool about bringing people who may or may not have been involved or seen theatre to be re-introduced or introduced through [the connection with Twilight].”

The other tagline being propagated is that this is Samuel’s return to the South Australian stage. Considering he trained at the Flinders University Drama Centre (where he was ironically told “not to touch” Chekhov as it was too “dangerous” due to the delicacies and subtleties hidden within the subtext of the words) his first “proper gig” was in Adelaide in 2006 for Windmill Performing Art’s children’s play Two Weeks With The Queen.

“Knowing you were a part of someone’s first experience of theatre felt nice; that you’ve potentially ignited an imaginative journey in someone, or that it was met with such enthusiasm… And then I skipped off to Sydney and did a really dark show called Osama The Hero.”

Samuel’s film choices seem to meander between genres, flirting with all there is, including horror (The Loved Ones, Bait), comedy (A Few Best Men) and dramas extending from the controversial (Adoration, 2:37) to period pieces (Anonymous)
to sport (Newcastle, Drift). Samuel assures that he isn’t trying to check projects o his list to put feathers in his cap, but rather enjoys the thrill of a challenge.

“That’s kind of the way you want to live, right?” Samuel muses.

“I think in any line of work you want to be challenged and you want to be pushing the envelope or trying to venture into unexplored terrain. I want to be challenged and terrified.”

This thirst for terror has led to his return to the theatre, in front of a home audience, no less.

“I haven’t done theatre in about four or five years – maybe longer – so it starts to become a thing that’s scary, so that’s when you know you should be doing it. The difficulties are where you learn. Things that are hard are important, I think.”

Given all the opportunities and challenges that working abroad can offer an actor once they gain Hollywood’s trust, it seems strange timing for Samuel’s return to Adelaide. However, he assures that his decision to partake in Australian – and Adelaide-based —projects are not a token gesture, but a considered career move.

“I think it is important [to still work in Australia] but I don’t want it to seem like a contrived, obligatory thing. It’s not like that at all.  ere are some extremely talented directors and actors in Australia you genuinely want to work with and I think that it’s something that’s on par with anything else in the world. I think that Australia is making some of the best theatre in the world and that shouldn’t be unacknowledged. Having said all that, to remain a part of an industry which has supported me in the first place is something I’m interested in too. You strike a balance.”

Samuel emphasises that he chooses all his projects based on who is the driving force behind it, which led to his partaking in The Seagull for the 2014 Adelaide Festival.

“I don’t really have a grand plan or any prerequisites. It’s always about the people who are at the helm of it. Someone like Geordie [Brookman, director] for example was leaving Flinders as I was arriving and his reputation was still present. I was studying the productions that he directed and the way that he brought energy to his productions. I always looked forward to – or hoped to have — the opportunity to work with him and now that it’s presented itself in such a perfect way, it’s fortuitous.”

For as much as he loves a challenge, Samuel is thankful to have Brookman and his team guiding The Seagull, within which he will play tortured playwright Konstantin Tréplev in an adaptation written by celebrated Australian playwright Hilary Bell.

“It’s been going really well and [evolving] organically. Geordie is a really open-minded kind of guy so everything seems to be happening quite easily. The material is so intense at times, and also very funny. I was surprised at how funny it was. I’m a little suspicious about it going so well.”

For those who feel that that they may not be able to relate to a character piece about people in the Russian countryside in 1895, Samuel assures that care has been taken to update the material without losing its context.

“Geordie’s not too interested in keeping it in its original context of the period when it was written. On the other hand, he also didn’t want to do a fully- edged, Australiana, out the back with the barbeque [version]. We struck a balance and went with a 1950s vibe. That’s really just a framework for it to become a universal story.”

Break A Leg!

The opening night of the original production of The Seagull in 1896 in St Petersburg is one of theatre’s most famous failures, with the audience’s hostility causing the lead actress to lose her voice. Is Xavier Samuel worried history will repeat itself for the Adelaide run?

“Knock on wood!” Samuel jokes, banging his fist on the coffee table.

“At the time that the play opened people weren’t really ready to deal with that kind of a show. It was ahead of its time.”

Instagram: lachstock | Scans/Transcript/Outtake thanks to xaviernews

(Scan/Transcript) Xavier Samuel in Aspire South Australia Magazine - March 2014 Issue

THE SEAGULL

If, like us, you're not ashamed to admit to a love affair with Russian literature and maybe even a bit of a book nerd crush on Chekov, prepare to fall in love. The Seagull, Chekov's famously dark comedy, is being put on by State Theatre Company of SA as part of the Adelaide Festival, and what better excuse to catch up with the star - local boy turned Hollywood actor Xavier Samuel.

How does it feel to be performing in your home town as part of the festival?
The State Theatre Company is heading in a new and exciting direction under Geordie Brookman and I am thrilled to be a part of that change. Adelaide really comes alive around Festival time. There is a great atmosphere and I am really looking forward to now performing in the place where I used to go to watch theatre growing up here in Adelaide.

What appeals to you about the role of Konstantin?
The role's elusive nature is compelling and as a result presents a variety of challenges.

What are you excited about with this production?
Working with such great actors. It really is an ensemble piece.

Tell us why we should see it.
The State Theatre Scenic Workshop allows for a really unique and intimate experience. Also, we are discovering a lot of comedy in rehearsals which is not something that immediately springs to mind when you think of Chekhov.

Anything you're keen to see at the Festival?
Roman Tragedies - it will be incredible to see this take on Shakespeare's powerful trilogy.

What's next for you?
There are a few things in the pipeline but I only really believe it when I'm standing in the catering line on set. Healing is a film I did with Hugo Weaving and Mark Winter and it comes out some time in April this year.

25 Feb to 16 March, adelaidfestival.com.au

Scan thanks to xaviernews | Transcript Done by GossipDance

#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" BTS - Plus Catherine Interview

New Catherine interview with collider   (..) Were you surprised that people seemed to be so shocked by the extent of the sexuality in the film? How much did you decide to scale that back?
HARDWICKE: I’ve always done things where, when we film, we just let the actors feel what they feel, in the moment, and do what they feel naturally.
I want them to be as free as they can be. The cameramen don’t really know what’s going to happen, so I have two cameramen who are trying to position themselves and find the action the best they can with those spontaneous moments. And then, I figure it out in the editing room. But yes, I was surprised that the first time we showed it to a group of people, they were kind of shocked.
Some people tried to articulate it and they said that they were used to seeing sexuality on a small screen, not on a big screen. Also, we might read books like 50 Shades of Grey, but maybe we’re not used to seeing it, right there. But now, it will be seen on the small screen, so I think it will be easier to digest. It came out of the characters. They were involved in a very passionate affair. They were in this creative moment. And coincidentally, the two actors did fall in love and are still together. When you do such an intimate, personal film like that, and your actors are being so intimate with each other, in the sex scenes and in the fight scene at the end, it’s pretty up close and personal.

How did you come to be doing an MTV pilot, based on an R.L. Stine novel?
HARDWICKE: That’s called Eye Candy, and it’s inspired by the novel, but of course, it had to be adapted to be turned into a series. It’s about a young woman who’s had a tragic thing happen to her and her sister, so she’s become a little bit of a vigilante to track down other criminals that prey on girls and women, sometimes through the internet. It’s a fun story, and it’s got a lot of humor in it, too. She’s a very serious and obsessed person that is trying to stop cyber crimes. It’s set in New York.

DVD Info Here
Bts Via xaviernews

(New Shoot) Xavier Samuel to star State Theatre Company 2014 season

dailytelegraph HOLLYWOOD heavyweights and Australian stage veterans star in a mix of the contemporary and the classic in STC’s 2014 season.

State Theatre Company's Artistic Director Geordie Brookman talks to Arts Editor Petra Starke about the exciting program.

THE SEAGULL February 21 to March 16 After more than a year of negotiations and trying to find the “right” project for him, former Adelaide lad turned Hollywood heart-throb Xavier Samuel will return home to play tortured playwright Konstantin Treplev in Anton Chekhov’s classic drama for the 2014 Adelaide Festival.
Renato Musolino joins him as writer Boris Trigoran and, after a decade-long absence, former State Theatre Company director Rosalba Clemente returns to the stage as Konstantin’s mother, fading actress Irina Arkadina.

“Any theatre maker dreams of working on Chekhov and I’m no different, but really what brought me to the play was the potential cast,” Brookman says.

“It was the idea of putting Xavier and Rosalba together in the piece as a mother and son pair that got me fired up about the project.”
via xaviernews

Update bass.net.au
THE SEAGULL
Presented by State Theatre Company of South Australia in association with the Adelaide Festival
EVENT OVERVIEW
DATES:21 Feb 2014 - 16 Mar 2014
VENUE:State Theatre Company Scenic Workshop More about this venue
SHOW ME: Dates | Ticket Prices From
THE SEAGULL
By Anton Chekhov
In a new adaptation by Hilary Bell
Should you ever need my life, take it, it's yours.
A paean to unrequited love, Anton Chekhov's The Seagull is quite simply one of the greatest plays of the modern era. Following the romantic and artistic conflicts between four characters: the famous middlebrow story writer Boris Trigorin, the ingénue Nina Zarechnaya, the fading actress Irina Arkadina, and her son the symbolist playwright Konstantin Tréplev, The Seagull explores emotion, creativity and romantic conflict with the incisive clarity of a doctor and the passionate heart of a poet.

A successful actress visits her brother's isolated estate far from the city, throwing the frustrated residents' unfulfilled ambitions into sharp relief. As her son attempts to impress with a selfpenned play, putting much more than his pride at stake, others dream of fame, love and the ability to change their past. Dissatisfaction is rife. Some desire love. Some desire success. Some desire artistic genius. No one, however, ever seems to attain happiness.

Brilliant young star Xavier Samuel (The Twilight Saga: Eclipse, Anonymous, Drift) returns to Adelaide and his first love, the stage, to play the tortured Konstantin and, after a decade long absence, Rosalba Clemente returns to our stage to play the formidable Arkadina. Joined by a cast of Adelaide's finest actors, they will deliver a sparkling new version of Chekhov's classic by celebrated Australian playwright Hilary Bell. The creative team behind The Kreutzer Sonata — director Geordie Brookman and set and lighting designer Geoff Cobham — return to the atmospheric surrounds of the State Theatre Company Scenic Workshop for this special Festival event.
"The Seagull was labelled a comedy, but it's a dark one that veers off into tragedy... in that sublimely concentrated way of Chekhov's."
LA Times
Director Geordie Brookman
Set designer & lighting designer Geoff Cobham
Costume designer Ailsa Paterson
Composer/musician Matthew Gregan
Cast includes Matilda Bailey, Paul Blackwell, Rosalba Clemente, Terence Crawford, Lizzy Falkland, Lucy Fry, Matthew Gregan, Renato Musolino, Chris Pitman, Xavier Samuel

Subscriptions on sale now
Please download your booking form here and follow the instructions to subscribe to 4 or more plays
Individual shows on sale in October
Tickets to single shows will be on sale from midday on 25 October

FbStateTheatreSA |

#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

ICYMI "Plush Music Video 'Half of Me' wirh Xavier Samuel

movieweb After losing her band mate and brother to a drug overdose, rising rock star Hayley finds herself in a downward spiral. The new album from her band Plush is received as a critical and commercial disaster. She finds new hope and friendship in Enzo, the replacement guitarist who inspires her to reach new creative heights. But soon their collaboration crosses the line and Hayley, who is married with two children, retreats from Enzo's advances. As Hayley slowly discovers Enzo's dark and troubled history, she realizes she may have let a madman into her home and that her mistake may cost the lives of people closest to her.

Plush was released September 13th, 2013 and stars Emily Browning, Cam Gigandet, Xavier Samuel, Thomas Dekker, Frances Fisher, Dawn Olivieri, Brandon Jay McLaren, Casey LaBow. The film is directed by Catherine Hardwicke.

New Plush" BTS Image + Clip - Xavier Samuel

CatherineHardwickeOfficial Method acting: #tbt to actor #XavierSamuel in bondage training. Want to know more? #Plush is in theaters tomorrow.
PlushMovie

PlushMovie There's no denying that producer Nick Launay would create a killer soundtrack -- and #Plush audiences are noticing.

(HD) "Plush" Trailers + Stills & Posters In HQ - In Theaters Sept 13 + DVD Order

HQ/UHQ


http://plushthemovie.com/ 
In selects theaters Sep 13th. On DVD/VOD: October 15th

Amazon  | wearemoviegeeks

http://trailers.apple.com/trailers/independent/plush/

New "Adore" Clips Plus New Still - Xavier Samuel

New Still: HQ/MQ:

@AdoreMovie Watch an all-new clip from #Adore on @iTunesTrailers &; see the film NOW PLAYING and available on iTunes! http://bit.ly/18AkwJU
http://www.adoremovie.com/
More Clips: exclusivemediasocial 

More Clips: joblo 

Adore - "Naked" Red Band Clip (Warning/Nude Scene)

Xavier Samuel: New 'Adore' Clip & Theater List

Theater Name - City

Criterion Cinemas 7 - New Haven, CT
Lincoln Plaza - New York, NY Village
East Cinemas - New York, NY
Kew Gardens Cinemas 6 - Kew Gardens, NY
Cobble Hill 5 - Brooklyn, NY
Williamsburg Cinemas 7 - Brooklyn, NY
Malverne Cinema 5 - Malverne, NY
Maplewood Cinema 6 - Maplewood, NJ
Avalon 2 - Washington, DC
Uptown Birmingham 8 - Birmingham, MI
Sundance Cinemas Madison - Madison, WI
Sandy Springs 8 - Atlanta, GA
Sundance Cinemas Houston - Houston, TX
Santikos Bijou Cinema Bistro 6 - San Antonio, TX
Miami Dade College Tower Theater - Miami, FL
Living Room Cinema 4 - Boca Raton, FL
Ridgeway 4 - Memphis, TN
Sie FilmCenter - Denver, CO
Royal - Los Angeles, CA
Sundance Sunset Cinemas - West Hollywood, CA
Town Center 5 - Encino, CA
Playhouse 7 Cinemas - Pasadena, CA
Cinemas Palme D’Or 7 - Palm Desert, CA
Shea 14 Theatre - Scottsdale, AZ
Living Room 6 - Portland, OR
SIFF Cinema at the Uptown Seattle, WA
Sundance Cinemas Seattle - Seattle, WA
Sundance Kabuki Cinemas - San Francisco, CA
Camera 7 - Campbell, CA
Elmwood 6 - Berkeley, CA
Nickelodeon Theatres - Santa Cruz, CA
West Newton Cinema 6 - West Newton, MA
Hollywood Hits - Danvers, MA
Cape Cinema - Dennis, MA
Avon Cinema - Providence, RI
Belcourt Theatre - Nashville, TN
University of Miami, Bill Cosford Cinema Coral - Gables, FL

Source: Entertainment Tonight Via: XavierNews

Xavier Samuel: New ‘A Few Best Men’ BTS Picture

Source: myfavesagas Via: TheVampireClub

Xavier Samuel: 'Two Mothers' Portraits from Sundance Now in UHQ

*UHQ

Tnxs to DiarioTwilight