Q: What are the inspirations for your lyrics and music?

My music comes from the emotional place I’m in when I write it.  It’s an outpouring of the soul of those emotions through the guitar.

What genre does your music generally fit into?

My music is classic rock and blues for the most part.

What is the most challenging work as far as creating a song?

Writing the music, the lyrics, getting it produced?  Writing music is not really challenging because it comes from a place of inspiration.  It’s about connecting with what I’m feeling at the time. When you see me play, you understand that the music comes from my heart.  Recording music is more difficult because you have to get a clean cut down without letting the technical aspects of recording get in the way of the creative process. Continue reading…

[Källa]

Summit Entertainment has announced that the World Premiere of NEW MOON will take place on Monday November 16 in Los Angeles.

Therefore, E1 Entertainment is in the process of organizing a NEW MOON UK fan event with the cast on November 11 and will let people know further details as soon as they are confirmed.

Awesome! Haven’t heard anything else about this yet. But it certainly sounds like it would be something you wouldn’t want to miss!

[Källa]

She’s one of us now.
Jasper Hale, Eclipse Chapter 12, p.285

[Källa]

Haha!

Källa:twifans

You really, honestly don’t mind that I morph into a giant dog?
Jacob Black, New Moon, Chapter 13, p.308

Den är ju bara för gullig!

[Källa]

[Källa]

Jag är på Taylor Lautner humör idag(jag vet inte varför...) så dagens bild får bli på honom! ;)

Här kommer en mycket lång intervju med Chris!

How do you direct a film when everyone knows the story and ending?

In a way, that’s an advantage. That people know and love the book means that people know and want to see the movie, which is what you hope for when you’re making a film. It’s a fine balance between being as faithful as possible to the spirit of the book, and bringing changes. I regard myself as fan as much as any other, and the way that I see the book in my head is just like any other fan’s ability, except that I happen to have tens of millions of dollars at my disposal to realize that vision. One hopes that it’s a strong enough envisioning of the book that people will be amused and entertained and excited even though they know how things are going to end.

One of my favorite New Moon conspiracy theories is that the producers are ordering Kristen Stewart and Robert Pattinson to keep their love hidden because it will affect the way people will perceive the story, even though the story is already known even until the next two books.

The fans know what the Volturi look like or what Taylor Lautner as Jacob’s amazing bod is going to look like—the producers know these things are big points of curiosity about whether we’ve been able to be faithful to people’s notions. And they want to parse these things out over time. [Laughs] It is a conspiracy, but the conspiracy is called marketing.

There are so many films about vampires, vampire romances, teenage romances—what is it aboutTwilight’s love triangle that’s catalyzed this phenomenon?

To me, it has a lot less to do with vampires and werewolves than with readily identifiable emotional situations. Bella has a choice between the loving friend who’s nearby and the distant, unattainable object of her affections. That’s a pretty common scenario, and unfortunately also, so is being dumped. I know I’ve experienced it—pretty much anybody except the incredibly lucky has experienced it—and the supernatural element of things just allows for a degree of wish fulfillment. We can play out these scenarios on a grand scale. When you get broken up with, you’d like to think that if you just did something brave enough, something amazing enough, you could rescue the relationship that’s been broken. And you would like to think that the person who’s left you has left you for your own good against their heart. That’s usually not the case, but in New Moon it happens to be, so that’s a lovely way to fulfill one’s wishes. A great thing that Summit as a studio understands is that there are dark places that the movie has to go in order for it all to work. They’re not afraid of the angst and the sorrow that’s in the book. In a way, the film can be kind of a throwback to weepies as well as very cutting edge in terms of visual effects.

It’s got this operatic tone that’s like soma for anyone with a broken heart.

We’re probably going to put out one of the greatest breakup mix albums of all time on the soundtrack. Alexandre Desplat doing the music means there’s this sense of French Romanticism that goes back to Alexandre’s mentor Maurice Jarre and everything he did for David Lean’s movies—going back to Debussy and Ravel and that kind of stuff. There is a lot of luxuriating in the emotionalism of the piece. I think I’m probably now supposed to add at this point that there’s great stuff for guys as well. But leave that aside for the moment.

You talked a minute ago about Pattinson being an ‘unattainable male.’ We always see stories about men pursuing a woman. It’s rare to see stories where a woman really pursues a man, and when you do, it’s usually handled like All About Steve, where it teeters into comic stalking.

Farce.

Exactly. You always hear about the male gaze in films, but this seems to have such a strong female gaze. One of the prerequisites is how many times Pattinson and Lautner take off their shirts.

It’s there in the script, and that’s one for the ladies, really. Women have been objectified plenty in Hollywood films. And there’s still sort of a chasteness to the objectification in Twilight and New Moon. One approaches it hopefully with a bit of tact—not just an exercise in beefcake peddling. You hope when you’re shooting any kind of above-the-waist nudity that it suits the demand of the moment, it isn’t just in there for the hell of it. That being said, I think we did come to Comic-Con with a lot of muscles and it was really fun to see the reaction to it. I’ve tried to make films that take into account the female members of the audience. Even American Pie, which comes from a genre that is notoriously misogynist.

I would agree with that. In American Pie, you make a point to show the girl’s side of why she would or wouldn’t do it on Prom Night—it was fair.

We were trying to say, too, that they were really in control of the scenario, and the guys were more or less hopeless schlubs just trying to navigate these waters. The girls were in control of what happened when.

American Pie—like Twilight—was one of those films that made stars of everyone in the cast. This time around, do you find yourself wanting to give this new generation career or life advice?

I don’t particularly feel qualified because I’m not in their situation. I don’t have to deal with that fame; I’m able to turn it on or off—or rather, the publicity department is able to turn it on and off. I don’t walk around and get recognized. I’m recognized in inverse proportion to my nearness to Rob. There’s some kind of equation I could work out. Basically if I’m within 50 yards of Rob, I matter. If not, I just don’t. I think that they don’t really need my advice because they are determined to remain true to their own life, in spite of anything that might turn their heads. That’s the only advice I could give them: that they stay the clever and decent people who they already are. And I don’t think they’re manifesting any problems in that regard.

I heard that the on-set experience has been like living in A Hard Days Night.

It was like that in Italy. Although it wasn’t so much running and chasing. I’d compare it more to The Birds. You look around and then there’s suddenly ten girls over there. And then there’s 20. Then 30, then 40. And then suddenly the street you’re intending to walk down to get to your next location or lunch is just blocked and there’s no way to get through. Or you will get through, but it’ll take you hours because you’ll take pictures and sign autographs. Which is fair enough because they’ve come all this way and they’re really the reason that we’re there. Or you’ll have to be a real meanie and just run past. I’ve developed a preoccupied look that sometimes works. I try to seem as though there’s something going really badly at a different location, and sometimes that gets me out of situations.

Have there been any crazy fan experiences?

The crazy thing has been how extraordinarily supportive, friendly and enthusiastic people are. They really want this to be done right, but they’re not hyper-critical. There’s a degree of good faith between the people making the movie and the people who want to see it, and we are innocent until proven guilty. And that’s great because that’s not always the case with fan boys. I did encounter this Italian girl in Montepulciano who then appeared in Vancouver who speaks impeccable English. That’s one of the reasons I recognized her. She came up to me and said, ‘Do you remember me?’ and I said yes, I did. And then her mom was there and I sort of wanted to ask her mom what else she and her kid were up to because it seemed like she should be in school, but it’s really not my place.

Which other book would you love to film?

To be honest, I would love to film The Golden Compass. I would love to have been allowed to do my own cut ofThe Golden Compass because I did film that book and there could be a real version of it, but it would cost millions of dollars to complete with the special effects. The cut was taken away from me and that was a devastating experience. That’s the other book that I would like to film. I wouldn’t have the strength to go through another three years to do it, but it is a great shame that the fear of the ideas in the book led the studio to do a version which I think caused its own downfall.

It was a beautiful film, the look of it.

It’s a good-looking film. And there are moments where it’s precisely the way I wanted it to look or to feel. But it’s been put through a blender so that the interesting ideas that it had in it and the real emotional heft of the story was lost. And that’s a shame because I take very seriously my responsibilities to an author in trying to represent their vision on film. Failing Philip Pullman in that regard is a big sadness for me because he’s one of the authors I most admire in the world.

Between the author and the studio, that can be a lot of weight.

It is, and I have to say that Summit understands that the fans want to see the book in the film, not just a popcorn movie.

It’s almost a safety net, having that many people know the book already very well, more than American audiences knew The Golden Compass.

Yes, American audiences weren’t that familiar with The Golden Compass. Once you start monkeying around with the plot and characters and key concepts in the film, you really lose what made the book appeal to anyone in the first place. If you take the example of The Lord of the Rings, it wasn’t that it made everybody into a geek overnight. People were able to see what had been great about it in the first place, and the adherence to story and character really paid off, even though a lot of people went to see it who hadn’t read Lord of the Rings in the first place and didn’t know anything else.

What can you tell me about The Game, the film adaptation of the Neil Strauss guide to picking up women?

I can tell you that Rawson Thurber [director of Dodgeball: A True Underdog Story] is going to direct it, and that he is rewriting it now. It’s an attempt to walk a very fine line with a project like this. It has things to say about the relationships between men and women and it could be perceived as misogynistic or as a textbook in how to manipulate women. But it’s really not about that—it’s about the weaknesses of men and women more than anything else.

And your brother Paul also has a high school vampire movie coming out?

He does. That was not planned at all. It’s very funny. A week before I was offered New Moon, I was wondering why there were so many vampire movies around. Paul had wanted to indulge a long-standing love of the grotesque, which the Cirque du Freak series allowed with its visuals and that sort of perversity—not perversion, but perversity—of the books and the script. It’s a funny coincidence. Actually, if you want to take it one step further, my grandmother was a silent film actress in the Mexican version of Dracula. They shot it on the same sets as the Todd Browning version, but they started shooting at midnight. My grandfather, who was a producer for Universal at the time, was courting my grandmother, and when talkies came out, there were no parts for women with strong Mexican accents. He convinced Carl Laemmle at Universal that you could make a profit by using the same sets during the night and making Spanish-language versions of the same film. Hence, the Spanish Dracula. It’s a film geek delight to compare the Todd Browning version to the Mexican version.

And if your grandfather hadn’t done that, you might not exist.

This is true. If it weren’t for vampires…

[Källa]

[Källa]

Så söt han var när han var yngre! ^^

[Källa]

Tre nya bilder fånr Taylor's photoshoot med TW och jag kan bara säga att de är mycket snygga!








Visst är de läkra? :D

[Källa]

Don't expect a threesome with Robert Pattinson, Kristen Stewart and Kellan Lutz—or even just a lunch date—to happen anytime soon.

They don't hang.

"They're just so complex, and I like to laugh and smile," Twilight's Emmett Cullen told E! News at the W Hotel's lounge backstage at Mercedes-Benz Fashion Week just before the Monarchy show.

As for everyone's favorite couple…

Yeah, Kellan's not sure either.

"I don't know what's going on. I have no idea," he claims. "I don't hang out with Rob or Kristen."

And while he promises that "a romance" is not the reason for this, he also quite clearly prefers one half of Robsten over the other.

"They are attractive humans, yes they are," he admits. "I'm nice with Rob also. I look great with him too. I think I look better with Rob…Rob's awesome. I love him to death."

But don't get the wrong idea. Despite word of a breakup, Kellan was chilling right next to 90210'sAnnaLynne McCord in that fashion-friendly lounge, and they both had colds, so you do the math.

Sniffles aside, Kellan says shooting Eclipse has its pros and cons and, of course, it all comes back to Rob and Kristen.

"It's going great. We all love Vancouver. It's just that there's just so many paparazzi everywhere," he admits. "We've been moving around to new places like every two weeks. Especially for Rob—we feel bad for him. Like, we go out to cast dinners, and whenever Rob's shooting, that's when we can have free time because usually that's when everyone is trying to shoot Rob or Kristen. So then we can actually be free to walk around the city and shop and go out to eat. You know, when we want to do cast dinners, it's tough because you can't just chill."

Instead, Kellan plays board games like Risk and Clue with Ashley Greene and friends while Pattz and that girl whose name he hardly mentioned do whatever "complex" people do.

[Källa]

Tack till TTS för källa! <3

Ja ni ser på bilden nedanför att en röd ring är runt registreringsskylten , och nu vf ?
Jo det är så att dom har bytt ut Edwards silvriga volvo som han andvänt i twilight 
och nu i Eclipse bytar dom bil men andvänders samma registreringsskylt kan man göra så ? :O

[Källa]

Jag älskar verkligen denna bilden på Kristen, hon är så vacker!

Inte på tal om att hon har världens finaste hår som passar perfekt till hennes hudfärg! <3

In part two of RadarOnline.com's exclusive interview with Chaske Spencer, best known as Sam Uley in New Moon, the second film in the Twilight Saga, the actor opens up about his chemistry with his beautiful co-star Tinsel Korey, what a pro Kristen Stewart is, and even what he thinks the werewolf tattoo means!

Radar: When you first booked the role how long did you have to keep it under wraps?

Spencer: Oh my God, maybe about a month a month and a half. I didn't tell anybody.

Radar: Was it hard?

Spencer: It was hard. It was really hard because I told my friends I got booked on a pilot so I would have an excuse to go to Vancouver. I told them yeah, I booked a pilot and I'll be up there for a little while. I told my parents the same thing.

Radar: You didn't even tell your parents?

Spencer: No, I didn't tell my parents at all. I didn't tell anybody. I kept it pretty close. It was really cool, I guess that's how the guys in the Wolf Pack really bonded, because we couldn't tell anyone so we just talked about it amongst ourselves. All the excitement and what we're going through, the workout. I guess that's how we bonded, the workouts and plus it's like a brotherhood of secrecy, so we had to keep this big secret and we just talked. It was good to vent to one and other and bounce ideas off each other. It was really hard, it was really hard. The paparazzi got us in a restaurant, they took our picture with Chris Weitz and Taylor. Then about a few days later it came out and I got to tell all of my friends. They were like whoa, man, what's up Spence, why didn't you say anything? My mom and dad, they were just excited.

Radar: You are a member of the Sioux Nation?

Spencer: I'm Lakota Sioux.

Radar: Being a member of a First Nation do you feel like that helped you bring a lot of depth to the character?

Spencer: Yes, yes I do. Of course, it's written for First Nation people or Native Americans or American Indians, whatever the new pc word is. It helped out a lot. But then again, the way the book is written isn't a stereotypical Native role. That's what I found really interesting about the Twilight series is that it could have been anybody. It just happened to be Natives and I like that, I really like that how she took a contemporary outlook on these characters. It was really a breath of fresh air for all of us, the Native actors. We've been trudging away in films, TV and theater and we can do other roles, we have done other roles that weren't designed for Native people but no one has ever seen them. When we got to this is was so nice to not put on the feather and the leather and the buck skin. There's nothing wrong with that, I take pride in the roles I've played but it was just a breath of fresh air to say that yes we could play these contemporary roles. It was so nice to cut the hair too, yes we can do other things, look at us, and we're a pretty good talented group.

Radar: How is your on screen chemistry with Tinsel Korey?

Spencer: She's a sweet heart, I love that girl. What we did was we went out for coffee and we talked to build some chemistry to sit and get to know one and other. When we got to filming it went really well, it went really easy. Of course, you meet someone and the next day you're kissing them. It's a weird profession. You can't fake it. She's one of my really good friends, I call her up. I can put her on my top five actually. I text Alex and Kiowa, we talk to each other because we're all going through this together. Tinsel I like her because I can talk to her in ways that I can't talk to the other guys. It's almost like we are becoming that family in the book. Tinsel is a good actress and a talented, talented woman. I like her music. We would just hang out and talk, go to dinner, shoot the breeze.

Radar: What about the first time you saw Tinsel with the scar? How did you feel about that?

Spencer: She's a really beautiful woman and when you put that scar it just adds this depth to her. It's horrendous; they did a really good job. It really ads so much to her character, because you really look inside her eyes and you can see the beauty inside her eyes, and that's what she brings to Emily. So when we did the scene it was just magic happening there that hopefully the audience will see. She really brought a lot and the scar helped out.

Radar: Tinsel had said that Kristen was really shocked by the scar, what was it like to film with the whole group, Kristen and Taylor?

Spencer: It was really good. Everyone has a different way of working; I learned that a long time ago. Kristen is an old pro, she's been working since she was a child. She comes ready to go. She's got her character down; she knows what she wants to do. She's very open to ideas as well. She's ready to play. Taylor is the same way, he's been working since he was a kid as well. I have a hard time thinking him of a kid, because he's got that man body, but he still has that baby face. The thing is they're both good people, that's what I love about them. They're both egoless. We did a scene in Emily's home and Kristen got all her scenes done and she stayed. She stayed for us to do all our close ups. You don't have to stay, you can get a stand in to come in and say all your lines but she stayed the whole time. And it was a long day. So that shows what kind of integrity and what a trooper she is. I really tip my hat to her on that. Taylor is working, when he's not doing his scene he's getting his muscles pumped, with all of us, we're all doing push ups between scenes. Those two, I like working with them, they come in they're ready to go, but they also know when to have a good time. They keep it light on the set as well, which is really good for an actor, you have to stay relaxed on set.

Radar: Who is the funniest on the set?

Spencer: I'd say Bronson. Bronson is funny, I like him. He can crack some jokes. He has a quick wit about him which we all love.

Radar: You've worked with Gil before, how is your relationship with him?

Spencer: Gil's my brother. I was very happy to be working with him again. Out of the whole cast I'm pretty close to Gil. We worked several projects together, actually all of the projects I've done have been with him. It was very top secret when I was getting this role. He didn't know when I was cast but he was very happy. We go out to dinner; we can talk about what's going on. He gives me advice, I love the guy, he's like my older brother. One of the nicest men you'll ever meet. I like working with him. He'll be there for me. In New Moon we just bounce stuff off each other and I'm very excited to work with him again.

Radar: What was your favorite scene in New Moon?

Spencer: I know people are going to read things into this, but I like the scene going into Emily's place, it really shows the characters of all of us in that scene. Kissing Tinsel Korey, it's not a bad job to kiss a beautiful woman. I've had bad jobs before, I was a bartender I was a garbage man, I've had bad jobs. This is the easiest job in the world.

Radar: We are friends with a fansite and Laurabelle from Twicrackaddict.blogspot.com wanted to ask you question - What do you think about the wolf-pack tattoo - and do you know whether it's meant to be a "birth mark" kind of thing - especially considering the wolves heal and so might not technically be able to be tattoood once they've transformed?

Spencer: Wow, what a great fan! Hello to Laurabelle at Twicrackaddict! That is a deep question and I never thought about it! I learn something new every day! I've read the books, where did that tattoo come from? We're all talking after the film is over the Wolf pack might get tattoos. We all have tattoos, they're addicting. It would be nice to take off to a tattoo parlor after the installment is over. We talk about it. I really like the tattoo, if you really look at the design it's two wolves. Maybe it's an imprint? Maybe it's an imprint of the wolf god, the one that was a shape shifter in ancient times.

[Källa]

Edward and Alice playing chess was one of the funniest things I’d ever seen. They’d sat there nearly motionless, staring at the board, while Alice foresaw the moves he would make and he picked the moves she would make in return out of her head. They played most of the game in their minds; I think they’d each moved two pawns when Alice suddenly flicked her king over and surrendered. It took all of three minutes.
Bella Swan, Eclipse, Chapter 2, p.58

*TBD = to be determined

Källa : http://twilightguide.com/tg/2009/08/03/worldwide-release-dates-for-new-moon-movie/

I think she has a much bigger rack than I have.” Kristen Stewart is pondering her Twilight action figure — the little plastic doll that represents Bella, her character in the film franchise — while checking the proportions of the bust. “I also think she looks much older than me,” she adds, before setting the figure aside. I pick it up and, on closer inspection, the doll does look a little older than its real-life progenitor (as to the “rack”, closer inspection would be inappropriate). “It’s strange,” continues the 19-year-old actress, “but people often think I’m a little bit older than I really am. A French journalist asked me earlier on how my teenage years had affected my later life. I’m still in my teens.” She smiles. “Really, even if I was older, how could my teenage years not have shaped my life? I don’t know how to answer that.”

The French journalist should have done his research, although, to the uneducated observer, Stewart might well seem beyond her years. Her conversation, for example, most certainly belies her age. Not many teenagers are quite as articulate or as self-aware — although not many teenagers are carrying the world’s biggest burgeoning film franchise, the teen vampire series Twilight. With JK Rowling’s much-loved characters pottering into their final big-screen chapter, Twilight will soon stand as the top teen-movie franchise, and with their leading lady, the film-makers have snared a supremely talented and highly intelligent young star.

Stewart’s most recent movie, the understated indie comedy Adventureland, is a case in point. In this semi-autobiographical tale, the writer-director Greg Mottola (The Daytrippers, Superbad) draws upon his experience of working in a theme park during his teens in the 1980s. Stewart plays the troubled Em Lewin, the main character’s love interest. The film took only $16m at the US box office, but is better than those figures suggest, working as an ensemble piece (the Saturday Night Live favourites Bill Hader and Kristen Wiig provide hilarious support, while The Squid and the Whale’s Jesse Eisenberg shines in the leading-man role) — although Stewart’s character is, quite deliberately, granted plenty of screen time.

“Kristen was one of the few people I cast without even auditioning, even though she’s younger than the character she plays in the film,” Mottola tells me. “But I think she’s the best actress in her age range. She can make thinking look dramatic.” Mottola’s favourite scene sees Stewart deliver a story about her father having an affair while her mother was dying of cancer. “She tells it in this very matter-of-fact manner and instinctively knew that someone who hasn’t processed those feelings yet wouldn’t know how to talk about them,” he says. Other people he auditioned for the role transformed the speech into what he describes as “some of the most melodramatic monologues I’ve ever hea Stewart looks bashful when I relay the compliment. “I am not a terribly introverted, damaged girl at a theme park in the 1980s,” she smiles, “but I can imagine what it would be like to not like yourself very much, and to be kicking it alone. Also to feel like you’re sort of smarter than everybody, but nobody gets it. I get all that, and then the masochistic aspects girls are good at.

Also, I guess I have always felt older than I am. I felt I should have been an adult at the age of five. And I thought I was an adult when I was 12. I wasn’t like a warrior, but I have never been that kid who doesn’t care a fig about anything. It’s just the way I’ve been brought up.”Stewart’s full-time education in her home state of California tailed off when she hit 14. Both of her parents are familiar with the film business (her father, John Stewart, worked as a stage manager and television producer; her mother, Jules Mann-Stewart, as a script supervisor) and trusted her to continue her education via correspondence while she concentrated on her fledgling acting career. The move has paid off, and, as Stewart has already noted, these early years have informed the rest of her life. At only 16, she had already worked with arguably the best actress and actor in Hollywood today, appearing first with Jodie Foster in 2002’s Panic Room (as Foster’s sullen daughter) and then, in 2007, as Tracy, a waif-like trailer-park teen who falls for Emile Hirsch in Sean Penn’s directorial hit Into the Wild. Foster and Penn have proved invaluable mentors.

“Those two have had a massive influence on me, of course,” she offers, “and in Sean I have seen something that I have never seen in someone else — this huge sense of conviction. It kind of kicks you out of the room.” It sounds intimidating. “Yes, definitely, and it is also gently persuasive. Sean takes things so seriously. If he is doing a part, he never stops until it’s done, whereas Jodie takes it a little less seriously. She is able to do the same thing without killing herself so much. But that’s what he needs. So from both of them, I get the same thing: they only do what they feel strongly about, and there is never anything to be ashamed of.”

In between her films with Foster and Penn, Stewart earned strong notices for 2004’s Speak, in which, at only 13, she starred as a young teen who is raped and stops speaking. She also worked with Mike Figgis and Sharon Stone (Cold Creek Manor, 2003), Jon Favreau (Zathura, 2005), Griffin Dunne (Fierce People, 2005), the Pang brothers (The Messengers, 2007) and Robert De Niro (What Just Happened, 2008). “I’m glad I could do those films, and I was glad to leave school,” she recalls. “I couldn’t relate to kids my own age. They are mean and don’t give you any chance.” Does she feel as though she missed out on anything? “No, I think the social aspects I haven’t missed out on. I am around people constantly. I meet hundreds of people at work. Once you have done with school, you realise it is just a smaller version of life. When I was there, I was never the type of girl to be walking around talking about acting, so I didn’t get a whole lot of hassle for that, until someone found out, until someone saw some old movie and realised. I was trying to play it down, but I definitely got, ‘Oh, she’s such a bitch.’ They’d never spoken to me, but instantly they were, like, ‘You are so rude.’ I am not rude.”

She’s right. In fact, Stewart is thoroughly engaging. Admittedly, some journalists find her a struggle, but I’d suggest that, like the Frenchman, they have underestimated their subject. In person, she is bright and quite charming, an eager smoker who regularly curls her knees up under her chin while talking. She is uncomfortable with the interview process — “I’m not very good at self-analysis” — and any poorly thought-through or ill-informed questions are given short shrift.

In securing the role of Bella in the Twilight series, she stands as one of the most sought-after teen stars in the world. The first film in the franchise, released last November, snaffled more than $380m at the box office (recouping 10 times its original budget); the second instalment, New Moon, will most likely fare even better. In the second chapter, the hunky vampire of the series, Edward Cullen (played by a big-eyebrowed Robert Pattinson) leaves Bella Swann (the two are hopelessly in love), allowing another male, Jacob (Taylor Lautner), to enter the scene and form a sticky love triangle. Cue plenty of soul-searching and teen-tinged heartache. “There’s also a bit more action in this movie,” she offers. “The werewolves are introduced, and you have the character of Jacob. The way it all pans out, it’s quite tragic, really.”

Given the first film’s popularity, has the Twilight saga transformed her life? “Well, I never worked to some grand plan,” she says, “but I’d be lying if I said Twilight hadn’t afforded me other opportunities. Most of the films I like to make are tiny and barely see the light of day, but after Twilight, people are more likely to go, ‘Oh, let’s go see Bella in that stripper movie.’” The stripper movie is Welcome to the Rileys, a low-key emotional drama she shot with James Gandolfini after making the first Twilight film. She has also recently finished The Runaways, which charts the early years of the eponymous 1970s all-girl rock band, fronted by Joan Jett (Stewart’s role) and Cherie Currie (played by her New Moon co-star Dakota Fanning). “Joan is the ultimate role model,” she beams. That Stewart bonded with the spiky rocker herself on set should come as no surprise. “While Cherie struggled a bit with the fame, Joan knew how to handle the pressure and knew what it could do for her career.”

Like Jett, Stewart must now live her life in the glare of the media spotlight, and there are persistent rumours of on-set shenanigans between Stewart and Pattinson, although the actress has always brushed away the tittle-tattle. When the first film hit cinemas, she was already dating her Speak co-star Michael Angarano. “He’s cool with the whole thing,” she had told me at a previous interview, earlier this year. “I think he likes the first movie. I don’t really know, but he is not a jealous guy. He is fine. He can handle that.” And what were her thoughts on true love at first sight, a keynote of the movie? “I guess, for Bella, her feelings for Edward Cullen almost change the chemical structure of her body, like heroin. And now that has happened, she’d rather die than be without him. Maybe that happens for people — I don’t know. As for me, I haven’t left my boyfriend for Robert Pattinson.”

Bar the gossip, has fame fostered any other troubles? Twilight fans, for example, are notoriously zealous (indeed, the “Twihards” are positively fanatic). “Really, people don’t recognise me often. I think I just look different in person or something. I’m also not very approachable, and maybe they’re just thinking, ‘Ooohhh, she’s scary.’ It is weird seeing all the marketing, though, and the billboards. I like burgers, but do I want to see my face all over the burger cartons? Not really.” And what if the marketeers bring out further additions to her line of Bella action figures? “The doll?” She smiles. “Well, I guess I can live with that. In fact, I’m getting used to the bigger rack.”

[Källa]

I love him. Not because he’s beautiful or because he’s rich! I’d much rather he weren’t either one. It would even out the gap between us just a little bit — because he’d still be the most loving and unselfish and brilliant and decent person I’ve ever met. Of course I love him. How hard is that to understand?
Bella Swan, Eclipse, Chapter 4, p.110

[Källa]

Hahaha, den är verkligen bra!
Jag behövde verkligen ett gott skratt :)

Gillar du Gossip Girl?
Gillar du Twilight?
Då gillar du dennaa bilden! :)

Fan-made!



[Källa]

Paramore sjunger Use sombodey(Kings Of Leon)!
Den låter verkligen bra tycker jag! :)

Chris Weitz Interview- part 1

New Moon Fansites Set Visit: His Golden Eyes,Twilighters Anonymous,Twilight Lexicon,Twilight Moms,Twilight Source/Imprint,Twilight Series Theories

Transcript by Kara of Twilight Moms, Matt of Twilight Source/Imprint, Laura of Twilight Lexicon

Chris: Where Bella meets Laurent in the meadow, it was a two day scene and in between the two days it snowed and so we arrived in the morning at 6:00 and it was snowing, about 4 inches of snow. So, we had to scramble to shift our schedule around. Do all kinds of stuff.

Q: How do you deal with lighting continuity when you are dealing with such drastic weather situations?

Chris: Well of course what we hope for in all cases is gray weather. We’re in this weird position of wanting bad weather. We want light rain or gray at all times. We don’t always get it, so when we don’t, we use gigantic scrims hanging from big condors to block off as much as we can. But then there’s this continual torture to Javier our DP (director of photography) because you can sort of shade off an area where actors are acting but in the background we bright—shafts of light coming through—and of course there’s vampire weather as well. Sometimes we can get away with a sunny day in Forks, but never on a day when Edward is around because we don’t want to give away the diamond stuff. So, it really, you know I’ll be so happy when we get to a stage in about a week and we can stop worrying about the weather.”

Q: So, you’re moving to an interior set?

Chris: We’ll be moving to the interiors in a week from today. So there‘s just only one more week to freak out about the weather a bit. We’ve been knocked around a bit. There’s like a Twilight weather curse, slightly. You end up not getting the weather you want on a given day. It will be sun on the day you want rain and then the one day you want sun…

Q: So is all this [indicating the Bella’s house set] going to stay up though?

Chris: You know it’s funny I’ve been knocking it around in my head what the best thing to do would be. I would imagine what they are going to do is to disassemble it. Because I mean you know it looks great, but it’s not really up to code. I’m not sure that it would withstand a BC winter and everything. I think probably what they’ll do is take it apart and put it into storage and build it back up again while still I imagine maintaining a rent on this land would be my best guess.

Q: So we can see that people can actually go in the house?

Chris: Yeah well the interesting thing is in certain angles it is perfectly dressed. But if you were to look at other angles you could see that it is just an empty core. So that when Jacob jumps in the window, which he is going to do eventually, then we have enough to be inside the window to have Bella step back as he comes in, but you wouldn’t see the other way around into the window- then we flip to the interior- but hopefully when it all comes to the movie and editing it will all be seamless in the way it comes together. You’ll never notice that kind of stuff so its a smooth cut.

Q: Was it intimidating coming into a fandom with such intense fans?

Chris: Yeah- I mean on the one hand it is, but on the other hand I really feel like everyone wants the movie to be good and everyone has been very encouraging and supportive there haven’t been… things have felt very positive toward me- of course I have been avoiding the internet because I don’t want to get to caught up-

My responsibility is to the readership, and my responsibility is not to the internet-no matter what you guys are doing- I’m addressing the same people you are but I don’t want to get caught up in any controversy that’s going on online or whatever people have to say about me when I was selected- I did that on Golden Compass once- and there was a vote as to who they would rather have as director and “other” beat me- I didn’t want to be in that situation

Q: I think it was great when the press release went out about how committed you were to the film that all of that really died down right around then.

Chris: Well that’s good- I think that its great to have this kind of inbuilt audience of fans, and I feel that they are extraordinarily supportive. They really want things to be good, and the cast wants this to be good- kind of the same kind of commitment to getting the books right…and that’s how I feel.

Q: Which is so greatly appreciated.

Chris: That’s good. It’s great that there was a first movie that was so successful, but to me the book is the Bible for it. And so when I read the book, I read it at a gallop so that I had a similar experience to when people first reading it did. I didn’t want to chop it into pieces immediately. I wanted to just read it in one go- then I kind of went back in you always have to select what your moments are going to be- it’s a 600 page book- eventually you are going to disappoint people- but I think if you do it from the attitude that my loyalty has to be to the readership, and what they experienced more so than even to the fans of the first movie. Although, there has to be some consistency from the first movie to the second movie. It’s really about the readers.

Q: What did you do to make the tone darker? – Have you done anything specific to make it darker as a film?

Chris: Yeah, I think it’s just not to be afraid of the tonalities of the acting and in the tone of the piece. Not, because obviously with a big studio film and a lot of money at stake, you know one can be afraid that if you don’t have people smiling and laughing all the time that you’re gonna be in big trouble. But I think that part of the appeal of this is that it really digs into that melancholy that people experience when they are broken up with: when they lose somebody, when they yearn for somebody, and just not to be afraid of that.

And in terms of the palette of how the world is represented, just to get technical, but for example the blacks are very crunchy there will be very deep shadows, very deep blacks, and literally and metaphorically it makes the colors stand out more.

There will be a period during the movie when things are quite dark and somber, but then there will be kind of this explosion of color when you get to Italy. And there is this kind of ecstatic – and there’s this kind of happiness before and then it loses it all…. and it’s sort of try in every way even in terms of design in different sets and stuff to make sure that each bit, each detail, is a metaphor for where the character is in the book, and you follow Bella’s journey.

It’s also not taking the focus off of Bella’s POV. The book is narrated through Bella. We have to have this very fine balance between having too much and too little Edward. If you have too much Edward, it will be a terrible thing because you want the audience to experience that longing as well, and if you have too little Edward…I’ll be hunted down and killed. It’s just a fine balance that has to be hit basically.

Q: Have you talked to Stephenie Meyer- has she given you any tips?

Chris: Oh yeah we speak all the time. We email back and forth all the time. She’s been to visit the set, and I went down to Arizona to hang out with her. Yeah I’m running stuff past her constantly so that the mythology of the series isn’t violated. I don’t want to pull any fast ones or make any mistakes in terms of things that I present which don’t make sense in her universe. You would have to ask her, I don’t want to make any claims, you’d have to ask her to the degree to which she is satisfied. At least she says to me that she feels the film is very beautiful, and that’s not a credit to me that’s more Javier Aguirresarobe the DP who does absolutely beautiful work. And the idea is to try to make as elegant and beautiful a rendering of the book as possible.

Q: Is that hard as a creative person to take your own vision of the film and match it up with her vision of the film- or her vision of the book?

Chris: In a sense it’s easier because you aren’t working with a totally blank canvas you know I’ve got sort of these tools to work with and I inherited this wonderful cast, and that’s great, and I’m very happy working in the genre of literary adaptation, which is how I see this really. And I don’t really believe in the austere theory where the director creates everything, and I don’t think that’s accurate. You’ll see just from hanging around here, that there are 100 people working here, and each one of them has good ideas. And there’s a director of photography who understands light better than I do. There are cameramen who understand focus better than I do and all these things I’m sort of a glorified traffic cop….

Q: I was going to say conductor-

Chris: Conductor is always the nice sounding…way…and I’m coordinating all of their efforts. So no it doesn’t bother me at all. I actually really enjoy it. I have a standard to stick to that’s already there. Whereas if I write something just on my own, I never really believe my own creations. They sound like made up characters to me. Whereas Bella, Edward and Jacob are already there and we just try to get those things right with the actors. So I don’t have a problem with that at all.

Q: How is the transition from your version to Catherine Hardwicke’s film? Sometimes when directors change there is a big change. You can tell from the style. What kind of style do you bring to this film?

Chris: I think the biggest change would be that I am a bit of an old fogy. I’m old-fashioned and I think Catherine is very “fashion forward” and conscious of a pop sensibility. I am more tied to the old-fashioned romantic films. So that would be, if you were a film nerd, you would notice the palate of the film, the camera work. I am a lot less likely to use hand-held cameras than Catherine Hardwicke is. Things like that, they are more stylistic differences than my kind of “taking it and throwing it away.”
Obviously I owe her a lot, because she cast this great cast [so] I kind of inherited this cool “toolbox” and this extraordinary fan base.

Q: Was there anything from the first film that you felt you had to change?

Chris: No, I don’t. I think the key things that worked with the first movie are the relationships and the feelings of the main characters are the [same] things will work about this. Everything else is just bells and whistles. I mean, there are a lot more special effects in this film so the fact that I had a lot of experience in that area kind of helps. But it shouldn’t feel so different. It shouldn’t suddenly as though you are in an action movie or a visual effects movie. It is wrong if it feels that way. It is only right if the visual effects convey the feeling that is in the books in the first place. The world of the book expands naturally, like with the Volturi. Obviously, they weren’t in the first movie at all but that has been an organic development.


Q: Do you have a favorite scene that you are anxious to see?

Chris: I am excited about scenes with Taylor and Kristen. I am excited about the final showdown with Taylor, Kristen and Rob because I feel that the chemistry is just fantastic. Their relationships are just fantastic. They work the way they are supposed to. That you can understand exactly what they are supposed to. You can understand exactly why Bella would be tempted to, I guess, “settle” would be a better word for Jacob, or to take that option that there really is a love triangle. That is really getting established there. That feels really good. We shot a lot of that stuff already. We haven’t shot the Volturi stuff yet, but I think it will be pretty extraordinary. I have seen the set taking shape and it is just amazing.

[Källa]

[Källa]

NOVEBER KOM FRAM!

_______________________________________________

82. Stephenie Meyer

Author
NEW ENTRY.
STAGE OF GLOBAL CONQUEST: The Mormon housewife’s Twilight teen-vampire romance novels sold nearly 29 million copies in one year, capturing the top four positions on the USA Today best-seller list for 2008, making her the first author ever to do so. (J. K. Rowling came close with Nos. 1, 2, 3, and 5 with her Harry Potter titles in 2000.) The movie version of Twilightgrossed $191 million in the U.S., and the film adaptation of her second book, New Moon,opens in November. Meyer has also inspired hundreds of Web sites from fans who call themselves “Stephen-ites” or “Twi-hards.”
MARITAL RELATIONS: Her husband, Christian, quit his job as an auditor to look after their three sons.
DAILY HABITS: Drives fast but doesn’t consume alcohol or caffeine.
LEGEND HAS IT: Meyer, 35, began writing as a 29-year-old Phoenix housewife in 2003 after dreaming of vampires one night. She wrote 10 pages the next morning before driving her sons to swimming lessons. She moved a desk into the living room and finished her 130,000-word first novel in only three months.
THORN IN HER SIDE: Stephen King, who said that “Rowling is a terrific writer and Stephenie Meyer can’t write worth a darn.”
NEW THORN IN HER SIDE: Jordan Scott, who has alleged in a lawsuit filed in August that Meyer stole ideas from her 2006 vampire novel The Nocturne, and used them in Breaking Dawn, which Meyer published in 2008. Meyer’s publisher has said that the claims are meritless.

[Källa]

Justin Chon i tidningen Orange Coast Magazine.

Hahan , naw! <3

Premiere: Rob, before we start, I’d like to know the name of your hairdresser and the brand of gel you use…Rob: You want to know the truth? The only time I get my hair cut is on set.

P: Oh! And I was going to forget: All the girls I know want to say hi to you.

R: (Laughs) Hi!

P: The last time we saw each other was during the American promotion of Twilight last November, you didn’t seem to realize yet what was happening.

R: I don’t think anyone can understand what’s happening. Something like this is so rare. It’s a mix of chance and coincidence. You wake up one day and you’re suddenly a star. Really weird. All of a sudden everyone knows who you are while you haven’t changed one bit. I really understood what was happening in Cannes. I was in a restaurant during a break and when I came out 2 hours later, 500 people were waiting for me at the exit. It was total chaos. They literally had to carry me to the car. It’s ridiculous when you think about it. (Laughs)

P: You must have felt like asking those 500 people what they were doing there…

R: Of course. I’m sure that if I told one of those girls “Come, let’s go have breakfast”, she would have been totally embarrassed and would never scream my name again in the middle of a crowd.

P: Well there you have it, you have to invite each of your fans for breakfast to find a normal life again.

R: One by one. Great idea!

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Yes, nu är det ute nya bilder från Taylor's photoshoot för TeenVouge och jagkan bara säga att bilderna är väldigt, VÄLDIGT snygga!

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