"For Doubleday, it was about balancing the Francois within Sheeni.
"She's really complex. In the book, she's way more manipulative, and to be frank, bitchy," she says. "When I read the book, I felt for Nick: 'Whew. She's a mean one!' If my guy friend was dating her, I'd say, 'Dump her!'
"But I think what made me fall in love with her was that her aloofness is sort of her vulnerability -- she's a really smart person stuck in an environment that she cannot relate to. All she thinks about is moving to Paris. I loved that she's in love with Jean-Paul Belmondo. It's hard being 16 and not being so young anymore but not being old enough to do anything. It was fun to figure out how to play a person who wasn't just one thing." Source: articles.latimes.com
James Dean and Natalie Wood as Jim Stark & Judy in "Rebel without a cause" (1955)."When you think back on the best movies about teenage rebellion which ones come most immediately to mind? Rebel Without A Cause? Ferris Bueller’s Day Off? Pump Up the Volume? Freeway?
Ellen Page as Bliss Cavendar in "Whip it" (2009).The common denominator among them isn’t the degree of trouble the teens cause or the level of drama and danger they find themselves in… instead what makes these movies stand apart from the Whip It’s of the world is the charisma and quality of both the lead character and actor.
Cera fills that gap like a Na’vi warrior fills Smurfette. (I know that’s both nonsensical and obscene, but Avatar is all the rage now so I felt compelled to include it somehow…) 
He begins the movie in basically the same role he played in Superbad, but when Francois appears Cera manages to steal the movie not only from the other actors but from himself. His demeanor, expressions, voice, and even the way he carries himself all change visibly and dramatically from Nick to Francois. 
It’s truly the first new and different character Cera has played, and it hints at untapped abilities within the young actor.
Michael Cera and Portia Doubleday at the premiere of ''Youth In Revolt'' on January 6, 2010 in Los Angeles, California.
The movie exists in it’s own little universe of style and hipness slightly reminiscent of last year’s (500) Days of Summer. The opening credits convey a trip in claymation, a later car ride is presented via photo cutouts, illustrations leave the page and float into air… director Miguel Arteta does a fine job of limiting the use of such scenes so they never outgrow their welcome. Another important facet of the film is the fine line it walks between innocence and filth". Source: www.filmschoolrejects.com
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