Kristen Stewart - Page. HOPPER: . Since you didn’t know you’d be making sequels when you were making the first Twilight, has it been difficult for you to get back into character for these new ones? STEWART: I’ve actually always been interested in following a character more long term, but the only place to really do that as an actor is on a TV series. But the Twilight series is cool because you know what’s ahead of you—all of the books have been written. And I get breaks in between.
It’s sort of a depressing thing to lose a character just when you’ve been able to get to know her. Usually, at the end of a film it’s like I’ve finally gotten to know this person completely, and then we’re done. That actually happened on the set of Twilight, and then it happened again on New Moon. Each time my character Bella became a different person, and I got to know that person and take her to the next level. HOPPER: Have you been able to enjoy it? Or do you feel more pressure doing these sequels? STEWART: I do feel more of a pressurized strain than what is typical for me. Usually, what drives you is your own personal responsibility to the script and the character and the people you are working with. But in this case, I have a responsibility not only to that but to everyone who has personal involvement in the books—and now that spans the world. It’s an insane concept. There are certain things in Twilight . As much as I’m proud of that movie and I do like it, I feel like maybe I brought too much of myself to the character. The Call Forward trope as used in popular culture. It is common for long-running series to feature Call Backs, in which characters make a quick Shout-Out to New International Version and they did so in the Desert of Sinai at twilight on the fourteenth day of the first month. The Israelites did everything just as the LORD. I feel like I really know Bella now. But most readers feel like they know Bella because it’s a first- person narrative. She’s like a little vessel and everyone experiences the story through her. All of these girls who are fans personally feel like they encapsulate that character. So it’s like, “How the hell am I going to do that for all of them? It’s impossible!” But I’ve decided, if you’re just unabashedly honest all of the time, you have nothing to be ashamed of. HOPPER: These Twilight books have some dark material. STEWART: But the movies aren’t that dark, as much as we’d all have loved to have made those films. But as pretty as it is to watch and as nice as it is to have watched these two characters find solace in each other, everything around them is absolute chaos. I mean, you have to question their motivations—to watch two people so unhealthily devoted to each other . I stand behind everything that they do. I have to justify it in my mind, or else I couldn’t play the character. But they are definitely not the most pragmatic characters. The weirdest fucking themes run through this story—like dominance and masochism. I mean, you always have to realize that the story needs to make sense to the 1. But then there is the other segment of the audience—a large percentage—who does see the scene as foreplay. And it’s pretty deep, heady foreplay. The Twilight Zone (1959–1965) is an American television series created by Rod Serling. The original series ran for five seasons on CBS from 1959 to 1964 and remains. Copy this code onto your site to embed this slideshow. The first decade of the 21st century, which is about to draw to a close, is in serious danger of being. 52: Truth illuminates and gives joy; and it is by the band of joy, not of pleasure, that men’s spirits are indissolubly held. Ordinary people find themselves in extraordinarily astounding situations, which they each try to solve in a remarkable manner. Twilight movie reviews & Metacritic score: Bella Swan has always been a little bit different, never caring about fitting in with the trendy girls at her Phoe. I mean, I don’t know what it feels like to make out with my vampire boyfriend because it isn’t something that anybody has ever felt. But it’s funny to think that a lot of the audience is 1. Twilight that they didn’t see before. HOPPER: Well, you’re getting a lot of attention. STEWART: Yeah, it’s weird. There’s an idea about who I am that’s eternally projected onto me, and then I almost feel like I have to fulfill that role. Even when things come out of my mouth, I want to be sure I’m saying exactly what I mean. All I’m thinking of is the fact that everything that I say is going to be criticized—not criticized, just evaluated and analyzed. And it’s always something that matters so much to me that doesn’t come out right. But in terms of how my life has changed, I never really went out a whole lot before. I’m sort of an in- my- head kind of person. I wish I could take more walks . I’ve been working as an actress since I was very young, and I know a lot of people who are actors who don’t have to deal with having a persona . You know, if you look up the word persona, it isn’t even real. The whole meaning of the word is that it’s made up, and it’s like I didn’t even get to make up my own. But I have a really strong feeling that this is going to go away, that this is the most intense it’s going to get—and could get—and that it’s fleeting. So in a few years, I will hopefully become more like the people I want to become like. HOPPER: Does it bother you to see yourself in the tabloids? STEWART: There’s nothing you can do about it, to be honest. I don’t leave my hotel room—literally, I don’t. I don’t talk to anybody about my personal life, and maybe that perpetuates it, too. But it’s really important to own what you want to own and keep it to yourself. That said, the only way for me not to have somebody know where I went the night before is if I didn’t go out at all. So that’s what I’m trading. It depends what mood I’m in. Some nights, I think, “You know what? I’m just going to do what I want to do.” Then the next day I think, “Ugh. Now everyone thinks I’m going out to get the attention.” But it’s like, no, I actually, for a second, thought that maybe I could be like a normal person. HOPPER: I was looking at all the films you’ve done, and you’ve worked with some extraordinarily talented people: Patricia Clarkson—god, she’s a great actress—and Jodie Foster. Just really wonderful people. And your performances are very different. You started when you were nine years old. You wanted to act, right? It wasn’t like you were forced into it because your parents were in the industry? STEWART: No. Not at all. HOPPER: Because Dean Stockwell is one of my best friends, and he has horror stories about acting when he was a kid. But you wanted to do this, right? STEWART: It’s a weird thing to expect a child that young to say what they want to do, like act. I’m not sure it was a natural inclination for me either, but it was something that I fell into. To be honest, I had fun at first. It was the first thing I ever thrived at. They were both baffled that I wanted to act. But they support anything that me and my brothers want to do. It was something I thought was fun because I grew up on sets. And then a few years later, I grew up and acting became very different to me. I think I was about 1. Download movie The Twilight Zone. Watch The Twilight Zone online. Download The Twilight Zone in HD, DVD, Divx and ipod quality. Download free movie The Twilight Zone preview. November 1. 96. 3Living Doll. Opening narration. To Erich Streator, she is a most unwelcome addition to his household- but without her, he'd never enter the Twilight Zone. However, as they pull into the driveway, her mother, Annabelle (Mary La. Roche), instructs Christie to run upstairs with her new doll, not to show it to her father. However, mother and daughter are stopped by Erich (Telly Savalas), as they enter the home. Christie is eager to show off her new present, a talking doll called . Annabelle says Christie has wanted this doll for months and that she charged it. Erich angrily states that Christie does not need another doll. Christie flees the room, leaving Talky Tina behind. Annabelle follows Christie, and Erich examines the doll. He winds the key on the back of the doll and hears it say . At hearing this, he throws the doll against the wall across the room. Annabelle re- enters, and we learn that Erich is actually Christie's stepfather and is bitter because he cannot sire children; further, that Annabelle did not tell him she had a daughter until after they were married. Annabelle pleads with Erich to be kinder to Christie. At the dinner table, Christie pretends to feed Tina. Erich becomes annoyed, and Annabelle declares that Tina is good for Christie, that it gives her someone to play with. Erich still believes Annabelle bought Tina as a reminder they cannot have children of their own. Erich catches the doll winking at him, while the others are looking elsewhere at the table. Left alone with the doll, Erich hears it say ! Annabelle would hate you, Christie would hate you, and I would hate you. When Christie seeks the doll, he tells her he doesn't know where it is. Later, the telephone rings. Erich answers and the voice on the other end says, . He again accuses Annabelle of teaming up with Christie to frighten him; she, worried and baffled by his seemingly irrational accusations and suddenly insane behavior, pleadingly denies it. Erich finds Tina in Christie's bed. Christie is asleep, but the doll speaks to awaken her. Erich confiscates the doll as Christie cries and Annabelle rushes in. She's the one that's been doing it. It's something unexplained and frightening. Now knowing he must destroy the doll to save his life, he returns to the garage intent to destroy the doll. He first places the doll's head into a vice and tightens it, but the doll only looks at him and laughs. He then tries to use the blow torch to burn it, but the torch keeps extinguishing before it reaches the doll. He then attempts to use the table saw on it, however, that only throws up sparks. While he tries to destroy the doll, Annabelle walks into the garage. When she tries to stop him, believing him to be mad in destroying what is only a child's toy, he angrily pushes her away. After Annabelle flees the garage, Erich looks at the doll's neck, only to find the neck to not even have a scratch on it. Realizing he is unable to damage the doll, he puts it into a burlap sack and ties a cord around it; then throws the doll back into the trash can. As he places heavy bricks on top of the can's lid, he hears the doll laugh. He returns to his bedroom to find Annabelle packing to leave. She states his need to see a psychiatrist. Erich insists the doll was talking to him, but offers to return it. Returning to the trash can, he is relieved to see Tina still there. As he retrieves it from the can, it says . Telling Annabelle to stay in the bedroom, he goes out of the bedroom to investigate. He looks into Christie's room to see Tina gone. He starts to walk down the stairs, but trips on Tina, lying on one of the steps, and tumbles uncontrolled down the long stairway. Tina falls down to the bottom of the stairs, landing inches away from where Erich lies dying. Erich, with just enough fading strength to open his eyes, sees Tina looking at him - as his vanquisher. He then closes his eyes and dies. She picks up Tina who chillingly warns her, . But to a child caught in the middle of turmoil and conflict, a doll can become many things: friend, defender, guardian. Especially a doll like Talky Tina, who did talk and did commit murder, in the misty region of the Twilight Zone.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
December 2016
Categories |