Three new "Breaking Dawn" exclusive clips

Robert Pattinson and Kristen Stewart as Edward Cullen and Bella Swan in "Breaking Dawn" (2011)

Access takes you behind the scenes on the set of “The Twilight Saga: Breaking Dawn - Part 1” where Robert Pattinson and Kristen Stewart talk about filming the wedding and honeymoon scenes. Plus, Robert and Kristen discuss the emotional struggle surrounding Bella’s pregnancy.



Access takes you behind the scenes on the set of “The Twilight Saga: Breaking Dawn - Part 1,” where Taylor Lautner talks about how his character, Jacob, has matured through the different movies. Plus, what does he think will excite audiences the most in the final films? Tune in to Access Hollywood (check local listings) for more of our “Breaking Dawn” exclusive on October 19.



Christina Perri, a big fan of the “Twilight Saga” books and movies, talks about writing her song “A Thousand Years” for “The Twilight Saga: Breaking Dawn - Part 1” soundtrack. “The Twilight Saga: Breaking Dawn - Part 1” comes to theaters on November 18.

Jake Gyllenhaal attending The NYFF Premiere of 'The Descendants' with designer Sophie Buhia

Jake Gyllenhaal and a female friend (his childhood friend, Vena Cava designer Sophie Buhia) attend the premiere of "The Descendants" at the New York Film Festival on 16th October 2011

Gwyneth Paltrow in "Proof", "Thanks for Sharing", Health Wellness

Jake Gyllenhaal out for a job in Central Park, New York, on 8th October 2011

Jake Gyllenhaal as Hal kissing Gwyneth Paltrow as Catherine in "Proof" (2005) directed by John Madden

On the eve of her twenty-fifth birthday, Catherine, a troubled young woman, has spent years caring for her brilliant but unstable father Robert, a famous mathematician.
Now, following his death, she must deal with her own volatile emotions, the arrival of her estranged sister, Claire, and the attentions of Hal, a former student of her father's who hopes to find valuable work in the 103 notebooks that her father left behind.
"A prestigious mathematician and father of two, Robert is the darker side to this exquisite play. The deterioration of his mental health mixed with his unflappable ambition to sustain his incredible level of intelligence, with a flash of genius, Proof sees this intense figure slowly begin to unravel." —John Heilpern, The New York Observer.

Gwyneth Paltrow and Mark Ruffalo kiss on Set of "Thanks for Sharing" on 11th October 2011

Gwyneth Paltrow and Mark Ruffalo, the smoochers in question, are both married, though that’s not the main point. More pertinent here is the fact that the pair are in the midst of shooting a film called, “Thanks For Sharing,” a movie about sex addicts.

Meanwhile, Paltrow plays a businesswoman who falls for Ruffalo’s character, so it’s a bit more of a romantic role for her than the last flick in which she appeared; the Oscar-winner played a philandering wife who quickly dies of a horrible virus in “Contagion.” Stuart Blumberg, writer of “The Kids Are All Right,” which also featured Ruffalo, writes and directs “Thanks.” Source: popbytes.com

"The abundance of chemical compounds and their importance in daily life hindered the chemist from investigating the question, in what does the individuality of the atoms of different elements consist".
-Johannes Stark

Watch health wellness video.
"It's the prefrontal cortex that brings those emotions into play and guides us in our behavior.
If we didn't have a sense of what would be wonderful or awful in the future, we would behave very haphazardly. Emotion is the glue that holds a personality together." -Ned Kalin, director of the University of Wisconsin's Health-Emotions Research Institute in Madison.

Deadly is the Female, Doomed is the Underdog

Farley Granger and Cathy O'Donnell as Bowie Bowers and Keechie in "They Live by Night" (1949) directed by Nicholas Ray

'They Live by Night' pioneered a sub-genre labeled “love on the run” in later films like 'Gun Crazy', 'Bonnie and Clyde',
'Badlands', and Robert Altman’s 1974 remake of 'They Live By Night': 'Thieves Like Us'.

After much commercial success in the 1950s with such great films as 'Rebel Without a Cause' (James Dean, Natalie Wood, and Dennis Hopper) and 'Johnny Guitar' (Joan Crawford and Mercedes McCambridge), Nicholas Ray increasingly became shut out of Hollywood in the late 1960s and 1970s due to his widely-panned sense of experimentation in such films as 'The Savage Innocents' and his Jesus of Nazareth biopic 'King of Kings', along with an immense addiction to drugs and alcohol that left him hospitalized after collapsing on set of '55 Days at Peking', Ray didn’t reemerge back into film until the mid-1970s with a small student driven art film.
That film, which would be his last before he succumbed to lung cancer in 1979, was 'We Can’t Go Home Again'. 'We Can’t Go Home Again' will be screening it’s newly restored version released by Oscilloscope at the New York Film Festival on October 2nd".
Source: www.soundonsight.org


Peggy Cummins as Annie Laurie Starr and John Dall as Barton Tare in "Gun Crazy" (1950) directed by Joseph H. Lewis

"All noir heroes have unhealthy compulsions and a nose for trouble, but none are as victimized by their impulses as John Dall in 1949's spectacularly lurid B-movie 'Gun Crazy'. Dall is cinema's most impassioned gun fetishist; his need to possess (and suggestively fondle) the weapon runs against his gentle nature, which forbids him from ever using it for its intended purpose.
This makes him easy prey for Peggy Cummins, an expert marksman and out-of-control bad girl who seduces him in a memorable sideshow shooting contest that's unseemly in its implied eroticism. The film's original title, 'Deadly Is The Female', could apply to any number of code-flouting noirs, but Cummins deserves the title:
Her lusty cries for action are a clarion call that Dall can't resist, even though he knows they'll lead him to damnation".


"It's fight night at Paradise City, the low-rent, small-town sweatbox in Robert Wise's underappreciated 1949 palooka gem 'The Set-Up', one of five sterling noirs collected from Warner Brothers' vault for a box set labeled Film Noir Classic Collection.
Still filling out the undercard at 35, well past a prime that wasn't so great to begin with, boxer Robert Ryan has had his latest bout scheduled after the Main Draw, when punch-drunk fans are likely to walk out or stick around just to boo.
Pit against a young comer more than 10 years his junior, Ryan is such an underdog that his own manager not only agrees to throw the fight, but doesn't bother to tell his fighter about the fix. If Ryan gets knocked out, he's the loser everyone expects. If he wins, he's an even bigger loser.

Though 'The Set-Up' may not be considered a noir by the strictest definition, Ryan's dilemma typifies the existential malaise unifying the genre, more so even than the single-source black-and-white lighting effects, the hard-bitten narration, the femme fatale, or other obvious signifiers.

In a postwar America where cynicism and disillusionment carry the day, small-timers like Ryan try to assert themselves as men, but they're rendered impotent by situations that prey on their weaknesses and rob them of leverage. The heroes in all five of the set's Warner noirs are turned into suckers, yanked around by desires and schemes that are doomed to bite them in the tail". Source: www.avclub.com

"Bob [Ryan] didn't want to be seen as a sentimental man, which he was" -'Requiem for a Heavyweight' playwright director Arvin Brown

"Although 'The Set-Up' had received substantial critical praise in America, its relegation to budget status lessened its general public recognition. Wise recalled having a conversation with director Billy Wilder concerning the irony in 'The Set-Up's reception in Europa and in the United States. "If 'The Set-Up' had been made in France or Italy and had come over here", Wilder told Wise "it would have been acclaimed to the heavens by the critics".

"The figures that Robert Ryan creates with such authority are all, in different ways, isolated; if their aloofnes is not due to some violent obsession, it conceals something else: the secret of failure, or personal unhappiness, or extreme discontent. It is this persisting inner quality of restlesness, of disturbance, that gives him his individuality". -Coronet magazine (article, 1963)

-from "Robert Ryan: A Biography and Critical Filmography" by Franklin Jarlett (1997)

Joan Bennett and Robert Ryan as Peggy and Scott in "The Woman on the Beach" (1947) directed by Jean Renoir

"The Woman on the Beach" is still a remarkable film, the only true noir that Renoir ever made, and one of the most economical and relentless examinations of a marriage in collapse ever filmed, along with Jean-Luc Godard’s 1963 masterpiece 'Le Mépris' (Contempt).

As Tod Butler, Bickford gives the most nuanced performance of his career, at once tender and yet dangerous,
while Robert Ryan brings an intensity to the role of Scott Burnett that is both haunting and achingly realistic.

Dan Duryea and Joan Bennett as Johnny Prince and Kitty March in "Scarlet Street" (1945) directed by Fritz Lang

Joan Bennett’s foredoomed femme fatale is essentially a reprise of her role in 'Scarlet Street', but in Woman on the Beach, she seems more tragic and human than in Lang’s much colder moral universe". Source: www.noiroftheweek.com

Where are the new Jakes and Leos?

Where did all our new Leos, Tobeys, and Jakes go?

If you were wondering why the industry had so many hopes pinned on Taylor Lautner and Robert Pattinson, or why there was so much buzz on Alex Pettyfer prior to the underperforming I Am Number Four, here's the answer: We're in the middle of a pretty brutal young actor drought.

When it comes to famous names, you've got one unequivocal superstar in 25-year-old Shia LaBeouf, who toplined Transformers but can also open movies like Disturbia, Eagle Eye, and Wall Street: Money Never Sleeps, but after that, there's a real drop-off in the 25-and-under set.

There's Michael Cera and Zac Efron, who are arguably on the wane and a little niche-y to begin with. You've got Daniel Radcliffe, but who knows? And while there are several critically acclaimed, 110-pound actors out there like Ezra Miller, Logan Lerman, and Anton Yelchin, your mom has never heard of them — even the ones who've already had the chance to star in $100 million movies.

Compare their résumés with the boys who came before them, and things look even more dire. Before he turned 25, Leonardo DiCaprio was an Oscar nominee who'd starred in the then-biggest movie in the world, Titanic, as well as projects like Romeo + Juliet, The Basketball Diaries, What's Eating Gilbert Grape, This Boy's Life, and Celebrity.
Tobey Maguire hadn't yet played Spider-Man prior to his 25th birthday, but he had already shot movies like The Ice Storm, The Cider House Rules, Deconstructing Harry, Pleasantville, and Wonder Boys.

And before Jake Gyllenhaal blew out the candles on his 25th birthday cake, he'd acted in Donnie Darko, October Sky, Jarhead, Proof, The Good Girl, and Brokeback Mountain — the latter of which would earn him an Oscar nomination.

In fact, Gyllenhaal's Oscar nod for the 2005 film was the last time a 25-and-under actor found himself nominated. Curious about how many young actresses have gotten nominations since then? Ten.

Part of the issue is that TV used to be the place where your LaBeoufs, your Goslings, and your Gordon-Levitts would hone their chops as child actors, but now that Disney and Nickelodeon are searching for the next Hannah Montana, there are fewer breakout roles for teenage guys. But we suspect the problem goes even deeper than that, and it's the one we discovered when Australians and Brits started stealing all the big superhero and action movie roles: American boys simply aren't that interested in acting anymore. It's why Gary Ross had to go abroad to fill one of the two male leads in The Hunger Games, and it's why the initial casting short list for those roles was so much less impressive than the heavyweight Oscar nominees like Lawrence and Steinfeld who vied to play Katniss. Source: nymag.com