- The Lunch: Todd Sklar & Alex Rennie of ‘Awful Nice’
- The Lunch: Critics Alonso Duralde & Dave White on ‘Robocop,’ Reagan & Rye …
- The Lunch, with Standup & Author DC Pierson on ‘Wolf of Wall Street’
- The Lunch with Justin Simien, Writer-Director of Sundance Grand Jury Prize Winner ‘Dear White People’
- The Lunch Closes Out Sundance 2014 with William B. Goss of Film.com
March 2014 M T W T F S S « Feb 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
TagsAmy Adams Angelina Jolie Anne Hathaway Cameron Diaz Carey Mulligan Daniel Radcliffe Darren Aronofsky David Fincher Dwayne Johnson Edward Norton Elizabeth Banks Emily Blunt Emma Watson Gary Oldman George Clooney Gwyneth Paltrow Jack Black James Franco Jason Segel Jason Sudeikis Jesse Eisenberg John C. Reilly Johnny Depp Joseph Gordon-Levitt Julia Roberts Mark Wahlberg Matt Damon Michael Bay Michelle Williams Mila Kunis Natalie Portman Owen Wilson Paul Rudd Reese Witherspoon Robert De Niro Robert Downey Jr Ryan Gosling Sam Worthington Seth Rogen Steven Soderbergh The Avengers The Lunch Tom Cruise Twilight: Breaking Dawn Zack Snyder
Tag Archives: Twilight: Breaking Dawn
As the werewolf Jacob, Taylor Lautner has a unique place in the “Twilight” series — having bulked up for the role physically, he also has to step up to the some of the more romantic-yet-odd moments of the series. We spoke with the actor in L.A. about hitting the floor, filming in rough weather and how, yes, it’ll be nice to take a break.
There is one very dramatic moment where Jacob just drops to his knees, and I found myself thinking, “Do they have a little pad for him?”
Lautner: I wish. Oh yeah, I wanted to feel it.
And did you?
Lautner: I did.
How many takes did you have to do?
Lautner: To be honest, not many, because that scene was so dramatic and emotional we just had to go for it. It wasn’t a take after take thing. There was plenty of conversation and talk about it beforehand, so I knew exactly what ‘imprinting’ is what it looks like, all that stuff. Then it was just like, “Okay, let’s do this.”
Playing a hundred-year-old young vampire isn’t the sort of role one would immediately think could make an actor a star — and yet that’s exactly what’s happened for Robert Pattinson. We spoke with the actor in L.A. about the curious poles of affection for “Twilight,” why he must be a not-teenager in love and his upcoming film with David Cronenberg, “Cosmopolis.”
I was just talking to Ms. Stewart, and we started talking about how it’s interesting — the conflict in this film isn’t “Will Bella and Edward be together?” We’ve settled all that. Now the question is then sinking into a real relationship, even as all of this supernatural stuff is going on. Was the part of the pleasure of the film, making that relationship play on screen?
Pattinson: This is a ridiculous thing, but in reality, the only sort of fictional part of the relationship is the very beginning where you’re just find each other and you have that kind of magic of a first connection. That’s kind of the first movie where that is the sort of fairytale. This one it’s hard to have a relationship, especially when you have a demon baby growing inside you. It’s one of the nice things about it, having two young people who struggle to make it work and don’t just give up.
Cast as the teen protagonist in “The Twilight Saga,” Kristen Stewart soon became the emotional stand-in for a generation of teen girls — all while still, of course, having to deliver an actual performance in a five-film franchise as concerned with emotional reality as it is with supernatural conspiracy. We spoke with Stewart in L.A. about the challenges of the series’ end, what director Bill Condon brought to the film, and the odd experience of seeing your full-size replica lying dead.
We can’t talk too much about this, but there’s a great cliffhanger at the end of this — when you read the script were you frantically going ‘Where’s the next page?’ You know what happens next, but could you believe that that was where they were choosing to end it?
Stewart: That’s where I wanted to end it. It’s such a natural break, so I was really happy that there were no more words at the end of the script. I was like ‘Yes, perfect. That’s exactly right.’ I think it ends in the best way.
In the second and third films, there’s a lot of this over-arching plot and conspiracy. This film really gets back to the relationship between Edward and Bella in this great interesting way. Was that gratifying as well to sort of return to the heart of the story?
Stewart: Yeah, that’s what I keep saying Bill (Condon, director) did, is he really had his finger on the pulse of it. The thing is in ‘Eclipse,’ we’re all supposed to be sort of disconnected. In this it’s the first time you don’t think that (Edward and Bella) are possibly going to break up. That’s not the conflict in the movie. There are other conflicts now. I don’t know, there’s like this weird sense of clarity. Bill’s also not afraid of being really sincere, and sometimes sentimental when that’s what it is in the books. What affects you in real life is really sentimental sometimes. I mean it’s easy with this to go, ‘Well, we can’t make it corny,’ and its not. That was the part that hits, and I think that’s why it has the heart, because Bill wasn’t afraid of it.
Playing two of the series’ werewolves, Julia Jones and Boo Boo Stewart back up Taylor Lautner’s Jacob in “Breaking Dawn: Part One” — even if much of their screen time is spent as computer-generated wolves. We spoke with Jones and Stewart in Los Angeles about getting into the appropriately animal mindset in the voice-over booth, being cold and the universal pain of young werewolves in love.
You guys have this great subplot about all the internal politicking, and friendships, in the wolf pack; you get to do these great dramatic scenes … and then you get to be large computer generated wolves.
Stewart: Finally someone got it right. Everyone keeps asking us, ‘What was the makeup process?’
At the same time, that’s kind of a compliment to the movie magic of it all; people think its real. How do you as an actor prepare for that whether its in a voiceover booth or walking around a rainforest in not much clothing, getting ready to get your werewolf on?
Stewart: I think I prepare for it by running and trying to get warm before the scene, and embarrassment in the ADR room making werewolf noises. Just weird noises that I wouldn’t think a wolf would make.
Jones: There are experts. They know exactly was the sound is. I didn’t prepare for it. I didn’t realize what was going to be asked of us. Sure enough there we are in the studio like, ‘Okay, run and jump and growl, and grab the stand and Grr and more wolf-y.’
After a strong performance in the Sundance drama “Thirteen,” no one could have imagined actress Nikki Reed would become part of one of the biggest special-effects and genre franchises of the decade — and yet, that’s exactly what happened when “Thirteen” director Catherine Hardwicke cast her as the kinder, gentler vampire Rosalie Cullen in the first “Twilight” film. Now, with the saga’s final book coming to the screen — in its first part — this week, Reed’s more than willing to accept what fate and fans have made happen. We spoke with Reed in Los Angeles.
When this whole series started, your director Catherine Hardwicke, you knew her from a great indie movie, ‘Thirteen.’ Did she say to you, ‘I have this project, and you could be really good for it?’ Did you know that your life was going to change predicated on one conversation with her?
Reed: Yes, that is how that happened. I had to fly in and meet all the producers, so that was actually a relatively simple process. No, it’s not just that I was sort of aloof; no one knew what this was going to become. It’s impossible to predict. Maybe the studio knew as we got closer to opening weekend, but it wasn’t until the film opened that I even knew or the first Comic Con, that I even knew that there was such a significant fan base.
It felt like the silent majority that was just waiting to get loud. The other thing is now you’re kind of getting the victory lap. When you’re shooting the last film does it have that last day of school feeling, where you’re getting everyone to sign your yearbook and make sure you have each other’s email address so you can stay in touch?
Reed: No, because we’re not shooting, but we’re still working together for the next two years promoting these movies, so it didn’t feel like ‘Oh no this is coming to an end. Quick, go get everyone’s telephone number.’ We walk down the halls here and we still see each other you know? I had to say goodbye to my character and that was sort of weird, but it wasn’t about saying goodbye to the other actors.
Taking responsibility for the final two films in the smash hit “Twilight” series — after the executive decision to turn the saga’s leviathan final tome into two separate, more filmable chunks — director Bill Condon has a mammoth task ahead of him. Sure, the movies are almost done, but he’s also got to deal with promotion and publicity — like this pre-release interview — and an occasionally-too-rabid fan base ready to pounce. I hadn’t seen “Breaking Dawn” prior to this interview with Condon — but at the same time, if ever a film gave you more than enough to talk about sight unseen, this is it. Condon spoke with us about his grueling schedule, the pleasures of filming a finale, and, yes, how you shoot a scene where, as some wags dismiss, “A werewolf falls in love with a baby.”
As you’re preparing to release “Breaking Dawn,” how much time does this take up for you right now? Is this all you’re doing for the next several weeks, days? Are you thinking about a next film, or are you just in the middle of it?
Condon: You know what ? It took up 18 hours a day, including weekends, for the longest time until about 10 days ago when we finished. We’ve all taken a break of two weeks. This is the only thing I’m doing these two weeks, obviously, and just kind of decompressing — and then we’ll start up again on Monday with movie (part) 2, where we’re kind of in the middle of putting together a first cut. But, yeah, I’m starting to think about other movies — but I’ll be on this until the end of spring next year, you know?
And how early did you say, ‘Sure I can do this, but it’s going to be two movies?’
Condon: Well, you know that was a plan that was in place before I got there.
Right, so you have the chance to look like a genius.
Condon: No, no, that idea was someone’s idea to do it, and it was right I think, because there’s so much that happens in this book, you know?