It's one of the most romantic scenes in Breaking Dawn — Edward and Bella's honeymoon — and we know how R-Patz is getting ready for it — and where!
Robert Pattinson has been spotted on a Louisiana river learning how to drive a speed boat, and you Twi-hards are going to swoon when we tell you why!
An eyewitness tells HollywoodLife.com that Rob was on a river in Baton Rouge early this morning, driving a "speed boat" with an instructor. We're told by another source that he was followed by a rescue boat with certified scuba divers — just in case. This is Rob Pattinson we're talking about, after all.
It's one of the most momentous scenes in the entire Twilight tetralogy — the moment when Edward and Bella take off for connubial bliss at Isle Esme. Clearly, Rob wants to be fully confident at the helm when he takes Kristen Stewart on the water.
Josh began the question: "So many young actresses have played..." "Strippers!" Kristen filled in. "I know!"
But while some girls might be nervous about baring so much skin onscreen, Kristen told us that for her, it felt totally natural to let it all hang out—even when she wasn't in character.
"I got rid of my nerves once I started," she explained. "I was walking down the street in, like, a robe and fishnets, but I wouldn't tie the robe up. I just did not care, I was so comfortable and just not afraid of anything."
And what do we call this magical moment in Kristen's career? She's on that, too: "That's Stripper Day!"
Meanwhile, Kristen was quick to point out that while you don't actually see her strip in the movie, she still took it upon herself to hone her pole-dancing skills—and she wants full credit for her hard work. "I learned how to do it, and there's one shot that people should know is definitely me. I twirl down this pole in the background and it's entirely in silhouette, like... you can't see anything." (Did you hear that, guys? Don't get your hopes up.)
But back to the question at hand: When it came time to film, was there even a moment of hesitation? Kristen says no way.
"Every normal question that you would be asking yourself—are you okay with looking like this in front of the world, are you feeding into cliches... For me, I'm not saying what the result is, but the experience was so naturally found. The story was so important to everybody, and I didn't think about that kind of stuff on set. If I had, I wouldn't have been able to go through with it."
Could you be as comfortable as Kristen on "Stripper Day"?
Kristen Stewart is the lead actress in one of the biggest Hollywood franchises ever, and if she seems caught off guard by her massive fame (and she does, often), she's not as shocked as Jodie Foster. "I am surprised she is an actress," Foster recently told E!. When Stewart was just 11, she played Foster's daughter in the David Fincher thriller Panic Room, and "I didn't think [stardom was] where she was headed," Foster confessed. "And even though her mom said, 'No, she really, really wants to be an actress,' I felt like, 'Nah, she won't because she really doesn't have the stereotypical personality."
What Foster means, of course, is that we're used to seeing our female movie stars a certain way: bubbly, ambitious, and willing to do hard time in run-of-the-mill romantic comedies if it eventually leads to eight-figure paychecks and one prestige picture that nets them an Oscar nod. To say the least, the 20-year-old Stewart has circumvented that route on her path to the top, but what comes next for such an unconventional starlet? Does Kristen Stewart actually want to be a movie star, and what kind of post-Twilight prospects does she have? Vulture asked industry insiders those questions to answer that Star Market perennial: If Kristen Stewart were a stock, should you buy, sell, or hold?
Stock History: Before landing her transformative role in the 2008 film Twilight, Stewart had carved out a career as a promising child actress. Aside from a few bids at the mainstream (it may be hard to believe the super-serious Stewart ever starred in a comedy called Catch That Kid, and yet it happened), Stewart spent adolescence honing her indie bona fides in films like The Safety of Objects, Undertow, Fierce People, and In the Land of Women. Her offhandedly sexy performance in Sean Penn's Into the Wild put her at the top of several directors' wish lists, including Catherine Hardwicke's, who cast Stewart in what would become a five-film Twilight saga.
Since then, Twilight has taken up most of Stewart's time, though she did squeeze in an acclaimed performance as Joan Jett in the little-seen rock biopic The Runaways. Several of the indie films Stewart shot prior to the release of Twilight have been trickling out since—this weekend's Welcome to the Rileys, where she plays a foul-mouthed stripper, is the last of them—but by and large, Stewart's been too wrapped up in Bella Swan to truly test her mettle outside the franchise.
Peers: Stewart leads a pack of under-25 actresses like Mia Wasikowska (21), Emma Stone (21), Carey Mulligan (25), and the surging, similar Rooney Mara (24). She's closely followed by The Lovely Bones star Saoirse Ronan (16), her Twilight colleague Dakota Fanning (also 16), and Dianna Agron (24) from Glee.
Quote: If you need more proof about how wildly Stewart's career swings from vampire blockbusters to the art house, here it is: She'll earn $25 million for doing the final two Twilight films, but for Welcome to Rileys, she settled for scale plus 10 (meaning, the SAG-negotiated minimum weekly payment plus the agent's usual 10% commission, which is also picked up by the production).
Kristen Stewart’s status as the mopey face of gothic teenage angst in the “Twilight” franchise has easily overpowered the other achievements of her brief career. At age twenty, she has appeared in a number of thematically advanced character studies (“Adventureland” among them), suggesting the antithesis to the murky innuendo and hackneyed drama of the big screen vampire craze. More often than not, the “Twilight” movies downgrade Stewart’s talent from credible understatement to a plastic vision of post-adolescent frustration. In “Welcome to the Rileys,” the second feature from music video director Jake Scott, Stewart delivers the legitimate version of that archetype with a role that rejects commercial standards: She plays a 16-year-old stripper.
In “Rileys,” Stewart’s baby-faced appearance is a storytelling device. The disconnect between her adult sensuality and childish looks elicits the sympathies of Doug (James Gandolfini), a depressed business man equally reeling from the death of his daughter in an automobile accident eight years earlier and the more recent passing of his mistress. On a business trip to New Orleans, Doug encounters Mallory (Stewart) in a strip club and follows her into a back room to avoid getting noticed by his peers. Mallory makes a few under-the-table advances toward Doug that reveal her true profession. Like anyone perturbed by the juvenile sexual prowess of the characters in “Twilight,” Mallory’s potential client recoils at the advancements of an underage girl in her skivvies.
Despite his emotional hang-ups, Doug’s latent parenting skills suddenly kick in, providing an excuse to escape his stale marriage to the similarly glum Lois (Melissa Leo). In short order, he crashes at Mallory’s deteriorating apartment, pays her daily rent and aims to reform her life. The mission is simultaneously heartwarming and creepy.
Growing increasingly fixated on rectifying Mallory’s smutty existence, Doug’s true motive involves his attempt to create a ghostly alternative version of his own broken family life. “I feel like I landed on Mars,” he says after a few days of his new arrangement, and the setting does have an otherworldly quality compared to the suburban home he left behind.
Needless to say, this isn’t just the Kristen Stewart show. A full 180-degrees from Tony Soproano territory, Gandolfini expresses an even greater fragility than the teen his character strives to protect. His face, a frozen scowl, expresses everything his words never can. An early scene finds Doug strolling through the cemetery, drifting from the tombstones of acquaintances and family and unexpectedly coming upon his own name, prematurely placed by his wife. With a subtle shrug, Gandolfini enunciates the movie’s ongoing meditation on grief and morality.
Still, Ken Hixon’s screenplay gives Stewart the raunchy spotlight. Here, the boundaries of Stewart’s onscreen capabilities face the ultimate test. Her explicit one-liners sometimes ruin the narrative spell, dragging the story down to “Showgirls”-level campiness. “God, did somebody open a can of tuna?” she chuckles after yanking a dollar bill out of her crotch while Doug drives her home from turning tricks. Seeing his disdain, she responds, “I bet your balls smell like apple fritters, right?” Stewart can get angry and aggressive, but the moment she goes lewd, something seems fishy—and it’s not the money. These weaker outbursts are counteracted by the believably jaded Mallory rolling her eyes at Doug’s paternal support rather than lifting her skirt.
In contrast to her exuberance, “Rileys” sports a contained, somber mood epitomized by Leo’s character. When Lois follows Doug’s trail and discovers his newfound mission, she immediately comprehends the problem. “That is not our child,” she says. So begins the next stage of his unorthodox therapy, in which he reemerges from his fantasy and figures out how to get along with the family that remains alive. The trajectory may sound unoriginal and slight, and it certainly fits that description on paper. But the leisurely pace and assured performances add a welcome layer of naturalism when they could have easily deteriorated into sentimental mush.
Satisfyingly moving if not particularly groundbreaking, “Rileys” is a stepping stone in the right direction for Stewart.
Unhappy middle aged man. Unhappy agoraphobic wife. Spunky teenaged prostitute. There's probably a joke there, somewhere - there are certainly a bevy of cliches. On top of that, who would think to pair James Gandolfini with Kristen Stewart? And then let Jake Scott, with only music video and TV commercial credits to his name, direct? Yet here we have "Welcome to the Rileys": quiet, sad, splendidly told. A sum of some unusual parts that comes together more seamlessly than seems possible.
Doug (Mr. Gandolfini) and Lois Riley (Melissa Leo) are crumbling in the unspectacular way that two people who have drifted apart are wont to do. Not that there hasn't been drama - eight years prior, their teenage daughter was in a fatal accident, something that neither of them have yet dealt with. Now, they are so completely incapable of relating to each other, they can barely have a conversation. So when Doug goes to a conference in New Orleans for a few days, meets Mallory (Ms. Stewart), a teenage stripper, and tells Lois he is not coming home, it seems obvious where that's headed. Refreshingly, it never gets there. Instead, we're left with a compromise of a relationship between two people who are getting what they need from one another over an uneasy truce. When Lois joins the pair, the fragile balance that's been struck is tipped and not one of them is unchanged.
Mr. Scott (Ridley's son), while perhaps more experienced in shorter formats, takes his time with the 110 minutes of his first feature and tells the story with a gentleness that belies his past credits. Likewise, James Gandolfini, so much larger than life as the Tony Soprano we all remember may not be the first person you'd think of to play the drawling, soft-spoken Doug Riley. His performance is spot on, though, as is the ever talented Ms. Leo's. It's Ms. Stewart that seems a little out of place, and probabaly out of her depth, with her seasoned costars. Her stacatto delivery is abrupt at times, and not always suited to the dialog, though she does bring an awkward vulnerability to her role that seems to (mostly) fit.
There isn't a ton of action in this film, but then, there doesn't need to be. Its richness comes from the depth of its characters, the demons they're struggling with and, of course, the transformation that each goes through - however subtle. In the end, it makes for an interesting, thoughtful experience that is not always pleasant, but will stay with you long after the credits have rolled.
Mr. Cobb. A vampire?….Well that explains why he doesn’t age. And if Edward Cullen (aka Robert Pattinson of the Twilight series) says so, it must be true. Mike, a three-sport varsity captain, and Neve, who does it all—they can’t be human. So Pattinson and Peter Berg ’80 decide it’s time to shut Taft down.
No one thought Headmaster Willy MacMullen could top last year’s Headmaster Holiday announcement. But director/producer Peter Berg came through yet again, filming a video message with Pattinson in a Baton Rouge cemetery.
Berg recapped his theme of unfairness from last year (headholiday09), reminding students that he didn’t have what they have at Taft now. “You guys are continuing to dominate, “ he says to the camera, “and I’m going to deal with it.”
The tradition of a Headmaster Holiday goes back more than a century, to the election of William Howard Taft, whose son was then a student. Knowing Taft’s son would want to attend the inauguration, Horace Taft declared the first Headmaster Holiday--allowing both Horace and his nephew to attend the ceremony.
"I love this tradition,” said MacMullen. “Every student and teacher needed a break from our labors, but the seniors needed it the most, and it is a really great class. Needless to say, when the film was shown, it was deafening! Peter Berg has directed another blockbuster hit! I thought we were going to have to call in the medics--several of the girls looked as if they were about to have a heart attack!"
Of course the stakes have been raised now. "To top this year's video, I have a few requirements for the announcement of the headmaster's holiday for my senior year," middler Cassie Willson emailed the headmaster shortly after. "I'm going to need Paul McCartney in person in Bingham, and he will announce the day off and then pull me on stage to perform an impromptu concert for the school. You can make that happen, right?"
The Volunteer Council took advantage of the opportunity to remind students of the Red Cross blood drive today, with the posting “Edward Cullen wants your blood!”
The Twilight star plays a teenage stripper in forthcoming flick Welcome To The Rileys.
She learnt to pole dance - and even got offered a JOB as a stripper while visiting a club to research her role.
Yet in her most famous part as Bella Swan in the hit vampire romances, she does nothing more raunchy than kiss and generally keeps her curves covered.
Thanks to the series, she gained a reputation for being moody and conservative - an image she has maintained off-screen by turning up at premieres in grungy clothes.
So the 20-year-old American admits she was "shocked" she had no problem dressing in fishnets and little else.
She says: "What surprised me most was probably the fact I was so unaware that I was walking down the street with my robe open, wearing fishnets and just not caring at all. I had no inhibitions, I wasn't scared."
And she reveals that learning to pole dance was no easy feat - and that she got so bruised she considered having some of them covered up, fearing they would look fake.
Kristen told The Sun: "I learned how to pole dance even though you only see it for a second in the film.
"I got bruises in rehearsal. It really hurts. You don't realise that of course it's going to show.
"I mean, there were so many that I wasn't sure, like, do you keep all of them - or is that too much - or is it going to look hokey?"
Kristen Stewart became a household name by playing mortal heroine Bella Swan in the 'Twilight' franchise. But in 'Welcome to the Rileys,' she takes on a much more brazen role. Twi-hards might have to shield their eyes -- because in this compelling drama, Stewart plays foul-mouthed, teenage runaway-turned-stripper Mallory, who forms a platonic friendship with Doug Riley (James Gandolfini), a man who lost his daughter in a car accident eight years prior.
We got a chance to chat with the actress about how she prepared to take on the role of a stripper and her thoughts about wardrobe in the film (she wears some killer high-heeled shoes). Stewart also addressed the Oscar buzz she's garnered for this role and, of course, what she's most looking forward to in the final installment of the Twilight Saga. And we just had to ask what her favorite vampire movie is.
The 20-year-old "Twilight" star was enjoying a rare moment of anonymity at one of her favorite restaurants, a rustic hideaway shrouded by a canopy of ferns, perched alongside a twisty road in Topanga Canyon. Notices for a local farmers market, a childbirth preparation class and a 70th birthday celebration for John Lennon decorated the haunt's bulletin board.
A few honeybees circled the veggie burger on her plate as she chatted about playing a teenage runaway-turned-stripper in her latest film, "Welcome to the Rileys," a drama coming to theaters Friday. She wasn't running her hands through her hair, or incessantly shaking her leg, or stuttering as she tried to express herself — all of the characteristic nervous tics she's often displayed in public since the first "Twilight" film rocketed her into a frightening orbit of celebrity two years ago.
Then, suddenly, her face fell. A stranger was timidly inching over to her table.
"Could I take a picture for my girlfriend in Thailand?" the man, who appeared to be in his 30s, asked. "She's a great-looking girl. I just recently got into your movies with her. Is that cool?"
Foulmouthed and feral, the kohl-eyed stripper-prostitute portrayed by Kristen Stewart in Welcome to the Rileys is a battery of neurotic tics: she nibbles her fingers, scratches her undefined lips, and shakes one foot mechanically. There are bruises on her calves from pole-dancing. Her hair is unkempt, her skin waxy. In her willful self-neglect, she is pitiful.
This 17-year-old apparition could, in a different life, be Bella Swan's sister -- the promiscuous one who acted out and vanished, leaving Bella uncertain, unsmiling, and ill-equipped to deal with rejection. There's no such sister, of course, in the Twilight movies to rationalize Bella's depressiveness, alienation and her attraction to the undead and the vulpine -- though part of it stems from her parents' split. But Stewart makes Mallory, the girl in Rileys, so defensive and evasive, so willing to offer a lap-dance or oral sex in lieu of explanations, that we know she has a history fraught with traumas, desertions, and betrayals.
"We find her on the cusp of giving up, of becoming one of those girls that you see in those clubs who are dead inside," said Stewart, 20, in a recent interview. "They really have nothing behind their eyes when they look at you, you're not equals anymore because they've lost something -- they don't feel wholly about themselves. She's been abused and made to think that she's a lesser person, and she truly hates herself. She doesn't have the capacity to trust other people, or feel worthy of love. But hopefully in this movie, if it's the movie that I wanted to do, I think you can see that she's starting to envy people that are more whole, that like themselves. I'm not saying that she makes a full recovery, but what happens to her in the story does spark a question."
Cast: James Gandolfini, Kristen Stewart, Melissa Leo
Sometimes, when circumstance meets opportunity at just the right time in someone’s life they might be inclined to do something unexpected…crazy even. The more severe the circumstance, the more probable the action will be all the more drastic when that opportunity presents itself. Often, the act of doing the unexpected leads to adventure: your old life is postponed, situations you would have never found yourself in present themselves, and relationships you never would have formed (and maybe never should have) become profound.
When Doug Riley (James Gandolfini) and Mallory (Kristen Stewart) meet at a seedy strip club just off the French Quarter, Doug has just embarked on the cathartic adventure on which WELCOME TO THE RILEYS is based, but Mallory just sees him as another mark. After Doug escapes to the champagne room, narrowly avoiding a group of generic businessmen from the convention he’s supposed to be attending, he rejects the persistent Mallory who just wants to turn a trick and go back to the stage. She thinks he’s a cop (and I would too, really) and storms out, only to have a chance encounter again with the troubled Mr. Riley at a local diner. Their friendship is fast-forming albeit somewhat peculiar given their differences, but the unlikeliness of these two meeting has an underlying sweetness found in the instant recognition of two damaged souls that have just found one another on an otherwise lonely night.
For most of us, the adventure would have ended there. But Doug Riley and his wife Lois (Melissa Leo) are living with a dark tragedy in their hearts – a tragedy that thankfully most of us will never have to endure. Their fifteen year-old daughter Emily was killed in a severe car crash…and the two understandably haven’t been the same since. Doug is having an affair when we first meet him, and Lois glides around their house like she’s part wife, part ghost. At first glance, their relationship seems perfectly normal given the fact that they’ve been married thirty years, but we slowly learn that the Rileys are suffering, and suffering deeply at that.
So, when Doug meets Mallory in New Orleans and suddenly feels responsible for her, his motivations and rash action are more justified than someone who hadn’t endured such a tragedy had acted just as spontaneously. Doug makes a deal to sell his Plumbing Company, buys some bolt-cutters and cleaning supplies, and sprints over to Mallory’s shady domicile to get the electricity back on and get Mallory’s life back on track.
In the face of being blind-sided by their daughter’s death it’s more believable that Doug would act so indiscriminately, so instead of accusing screenwriter Ken Hixon of shoddy plot development, the audience can buy into the bizarre actions of the characters as long as it’s only the Rileys who act insane. The rash decisions the characters make are just as sudden as the car wreck that killed their daughter Emily.
Continuing with that logic, Lois Riley does indeed act impetuously, and ventures out to surprise Doug in The Big Easy. Lois has become a shut-in that hasn’t been outside for years and is a rock’s throw away from existing in a constant state of catatonia. However, her condition and reason for being a hermit is not made known to the audience until much later in the movie, so her actions and inability to drive a car lead to a disconnect from her character and some incredibly out of place comedic moments as she struggles behind the wheel before heading out to confront her husband in New Orleans. We learn much later why she is more affected by Emily’s death in a heartfelt scene between Lois and Mallory.
Kristen Stewart’s quirks serve her well here, but her ratty appearance and bipolar behavior lend themselves to a drug problem that we never get introduced to. The performance is bold and racy, and Stewart doesn’t seem self conscious at all throughout the film. For a sixteen year-old runaway, Mallory is already close to being irrevocably damaged and Doug and Lois know it and try to take care of her even though the prospect of a healthy nuclear family at this point is highly unlikely. Mallory seems to know it before the Rileys ever do, in fact.