New BTS Photos of Ashley's DKNY Photoshoot

DKNY PR GIRL on WhoSay

DKNY PR GIRL on WhoSay

DKNY PR GIRL on WhoSay

DKNY PR GIRL on WhoSay

DKNY PR GIRL on WhoSay

DKNY PR GIRL on WhoSay
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DKNY Spring 2012 BTS – Ashley’s Thoughts on Fashion

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New SWATH Photos and BTS Info

GO BEHIND THE SCENES OF SNOW WHITE AND THE HUNTSMAN WITH NEW PICS AND ON-SET QUOTES

A cold, wet day in the countryside outside of London lent a dreamlike quality to our Snow White and the Huntsman set visit at the end of October. The cast and crew were in the thick of filming the action-adventure fairy tale, which comes out June 1. We got to watch Kristen Stewart and Chris Hemsworth film a scene in which they were hanging upside down by their feet — they were both total troopers about it too! When they wrapped for the day, we chatted with each of the actors as well as the amazing Oscar winning costume designer Colleen Atwood, who gave us a tour of her many studios scattered around the lot. Read our full interview withKristen Stewart on Snow White and the Huntsman, check out these new behind-the-scenes pictures, and watch out for lots more from our set visit!

Kristen Packs a Punch

"Well, we misjudged one another and I head-butted her fist with my nose, which didn't turn out too well for me. She's great. You know, we both loved the script from the beginning. I think we both read it and had a huge amount of excitement coming into it. She leaves no stone unturned and is prepped with the script. She's always asking questions and trying to find out what's the real truth within the scene, which is great — it keeps you on your toes — and the scenes are all the better for it."

Colleen Atwood Does It Again

Oscar winning costume designer Colleen Atwood took us on a tour of her many studios around the movie lot. Thousands of costumes ranging from the most intricate armor for a whole army to the incredible detailing on Kristen's outfits, audiences are in for a treat. Charlize Theron's Queen Ravenna has especially amazing looks in store as she transforms between human and animal – one costume is even made from beetle wings!

Not Your Dainty Snow White

"The puff sleeve is sort of reflected in Kristen's costume, but that's about it. The rest of it -- she's a totally different kind of character. She's much less kind of princess-y and more kind of a badass girl. I just showed her the stuff and she was really into it. She loved the armor and all the other bits that she has, it was -- she's really not obsessed with clothes at this point in her career. She's young and free from that obsession, and in her work previous she hasn't worn those presentational costumes, so it's kind of new for her. She's got a great presence as an actor and you put a costume on somebody that really knows how to wear it and it becomes really strong and kind of scary."
— Colleen Atwood on Kristen Stewart

Don't Expect a Shirtless Huntsman

"Naw, there's not. There was enough skin in Thor! Sort of stay covered up in this one."
— Chris Hemsworth on his famous shirtlessphysique

Another Prince William

"He's a bit grittier. I'm a bit more manly, which is good -- it's good to be able to have the opportunity to play something like that. I mean, oddly enough, on my trailer it says 'Prince William,' so it's kind of nice to sort of every morning wake up and go, 'Yes, I married Kate Middleton.'"
— Sam Claflin says he's the jokester of the group and shared this funny quote about his character's name.

Expect the Epic

"We've had plenty of big fight sequences and battle sequences, which have been great. Just 'epic' is the only word to sort of describe them. We had like a hundred horses on the beach at one stage, and we had 30 or 40 horses within the castle they built and a hundred extras in full armor fighting and things on fire. And we kind of turn up and it all kind of falls together somehow, but it certainly gets the adrenaline going."
— Chris Hemsworth on the big battle scenes inSnow White and the Huntsman

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New BTS Abduction Photos

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DVD/Blu-Ray Exclusive Clip - "Bill Condon"

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SWATH Photoshoot

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DVD Exclusives

Breaking Dawn Part 1 - DVD Clip No. 1

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New BTS Videos of Ashley’s DKNY Photoshoots

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Ashley and Jackson Practicing Their Dance

Choreographer from Breaking Dawn tweeted it.  Video to come soon

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New BTS Abduction Photos

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Nikki On Set of Pawn

Looks like Nikki is playing a pregnant character 

Working nights again! #pawn trying to say warm with @onlyseanfaris @NikkiReed_I_Am@j_benntt! http://yfrog.com/klgnckvj
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A new visual landscape for Twilight

Guillermo Navarro, ASC, AMC knows about sequels and Oscars®. He shot the first two Hellboy movies, but more typically, he says, “I’ve been in the situation where I shot the first movie and then a sequel was done after. But this is the first time where I’m actually closing the saga.”

Navarro also earned an Academy Award for Best Cinematography in 2007 on Pan’s Labyrinth. His wide-ranging work also includes such films as Stuart Little, The Long Kiss Goodnight, From Dusk Till Dawn and Desperado.

Navarro was director Bill Condon’s choice for lensing Summit Entertainment’s The Twilight Saga: Breaking Dawn - Part 1 and Part 2, the final two films in the hugely-popular Twilight series. “Being approached by Bill immediately drew my interest,” Navarro says. “He’s a filmmaker I’ve always liked. It was a very, very strong collaboration, and I enjoyed every bit of it.”

The two films were cross-boarded and filmed simultaneously at locations varying from Vancouver  to Louisiana to Brazil. “One week, we were shooting one movie, and within the same week, a piece of the other. It was very complicated.”

Just as complex was the creation of the looks for Breaking Dawn. It was not simply a matter of watching the previous three films and attempting to recreate the work of the earlier cinematographers. “There is nothing which defined a single look for the three films,” he says. “The first movie is entirely different from the second and the third. It’s a completely different aesthetic.”

The concept of a movie being assigned “looks,” Navarro says, “is something I very much resent. That expression kind of implies responding to a scene and pulling out a gadget to see what existing recipe we should apply to the problem. If it’s dark, light it one way, or a fight, light it another way. That’s not at all how I work and come up with things.”

Upon reading the script, he says, “It was clear that the story was sufficiently different from the previous movies, and that things were extended in a way that I could approach them from a different perspective. I felt that doing a strong change in the film language would help the story. And that’s what we ended up doing.”

Navarro explains that he and Condon created a “dramatic visual landscape” for the whole movie. “We created visual highs and lows, chose where those fit in, and then found a very good visual narrative for certain sequences that really benefited from it. I’m very happy with how it came out.”

The films were shot on a challenging schedule. Navarro and Condon had to efficiently map out their various aesthetics before shooting began. “There was very limited time to execute and bear with all the difficulties and adversities of a movie like this,” he says. “We looked at how we were going to tell the story, combining all of those elements.”

Taking a fresh approach meant re-creating from scratch the parallel realities of the different characters’ worlds. “We did a lot of tests and work on how the look of those worlds was going to appear. We wanted to stay away from other things that worked for the other movies,” such as Edward’s (Robert Pattinson) heavy white make-up, a signature of his vampire look, in order to focus more on what was going on inside the characters.

“The movie is very centered in the main characters’ emotions, and what’s really going on with them,” the cinematographer explains. “There are such profound changes with them in these films, so we made sure to allow room for exploration.”

Most significantly are the changes Bella (Kristen Stewart) goes through: her transformation into life as a vampire, her wedding with Edward, and the birth of their child. “We took full advantage of the range of emotions she experiences during her transformation, putting as much dramatic weight as we could on the sequence,” he says.

“For example, the wedding scene is very romantic and profound, after which things settle a bit. The camera is used subjectively; you really are there with them, enveloped in the passion.”

Prior to the wedding, Bella fantasizes about a different sort of wedding – one in which the couple is seen atop a wedding cake, but the cake is actually made up of a pyramid of dead bodies. “It’s a very beautiful shot of them, as if they were the cake toppers with this huge collection of bloody corpses beneath them,” Navarro describes. “We did a shot with Kristen and Robert on top of a little platform with all of these bloodied actors lying around, which you see as the camera starts revealing what’s there. So at the end, it really looks like a wedding cake, but it’s a nightmare wedding that she’s experiencing. It’s a pretty impressive shot, and one with incredibly strong imagery.”

Navarro recalls another shot filmed in Brazil when Bella first realizes she is pregnant with Edward’s child. “It’s probably one of the best shots in the movie, because she realizes not only that she is pregnant, but that she wants to keep the baby. We used a Steadicam to follow her, until she finds her reflection in a mirror, and locked in on that sentiment. It’s a shot that really takes you with her in her process. It’s actually one of my favorite shots of the whole movie.”

The most powerful sequence, according to Navarro, is the one that fans of the films and books have long been awaiting: the birth of Edward and Bella’s baby. “The birth scene is extreme and strange,” he says. “We pull the audience in so they really feel like part of the event.”

Contrary to how the scene is graphically described in the book, Condon and Navarro chose to shoot the sequence strictly from Bella’s perspective for the movie. “The camera was pretty much positioned from her point of view, with everybody interacting with the lens as the drama takes place. And then we just cut to her, taking everything in.”

To make the scene more eerie, Navarro also lit it in an extreme manner. “Our lighting was similar to a set-up for a surgical procedure. I would go in and out, and then bounce from that out to what you could not see. There are things you don’t see, but you imagine. It puts the viewer in a very strong, uncomfortable state of mind.”

For less intense scenes, Navarro found himself working on the other end of the scale. “It’s a very dialogue-heavy series. These films come from very strong and popular books. It’s a difficult thing for a book to become a good movie. It has to go through a whole transformation of its own narrative and its own language.”

To help keep the energy flowing in the film’s many dialogue scenes, Navarro made use of several of his favorite techniques. “I like to move the camera a lot, so I would use a Steadicam and occasionally go handheld. It’s all part of how I exercise the film language, particularly in the dialogue scenes.” His cameras of choice were a combination of Moviecams and ARRICAMS, using Optima zoom lenses and Zeiss Ultra Prime lenses.

Another favorite piece of gear was the 27-foot Scorpio Telescopic Camera Crane, which features a remote camera head. “It’s very versatile because you can extend and retract, and boom up and down. We cooked a lot with that.” Navarro also used a smaller 12-foot Puchi crane with a similarly-operated remote head. “It’s more of a human scale crane,” he notes.

Navarro chose KODAK VISION3 500T Color Negative Film 5219 and VISION3 250D Color Negative Film 5207 to capture the emotions and action of both movies. “They’re terrific stocks – probably some of the best stocks ever made. They respond incredibly well. They really obey what you’re doing and are very loyal to the choices and decisions you make.”

The cinematographer put the 5219 through its paces during the filming of many nighttime scenes. “Nighttime scenes are very dangerous to address in terms of their scope,” Navarro explains. “A lot of action happens in forests, and if you have to light a forest, that brings a huge level of specialty to it.”

Navarro had been experimenting with day-for-night cinematography, which he successfully applied to scenes in Breaking Dawn. “I do a combination of using tungsten film, which cools down the color by definition. And then I add neutral density filters to it to keep the level stop as if it was in real darkness.”

To ensure consistency in the looks designed by the filmmakers during capture, Navarro essentially color timed every shot on set, accomplished by his son, Alvaro. “We color corrected on set with (Adobe Photoshop) Lightroom software, and then printed pictures, which got sent to EFILM for dailies. They used the photos as a reference in order to follow the lineup of the color timing that we did. Our dailies were spectacular because the colorist wasn’t guessing or trying to interpret anything on his own. When I deal with darkness and extreme situations, I need to make sure the images stay as I intended. The only way I’ve found to do that is to spend some extra time, and do the color correction as we go.”

The on-set color timing also equated to efficiencies for EFILM’s DI colorist Yvan Lucas. It also kept various visual effects teams on track. “Those shots are farmed out to effects houses around the world. They’re completely disconnected from the look of the movie. So all those things help to tie in and connect all the dots.”

Injecting a breath of fresh air into the series could only be achieved with a strong team. “I knew that could only happen with the support of a creative entity,” Navarro concludes. “In addition to Bill and me, we had very strong visual effects and production design support. I trusted them.” 

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Behind the Scenes: Twilight's CG Wolf Pack

~Robstenfan

Young Adult BTS B Roll

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New/Old “Twilight” Dress Fitting Photos and a Behind The Scenes Photo

I don't remember seeing all of these before and I love the new BTS Photo

Fittings after the break

Behind the scenes of The Twilight Saga: Breaking Dawn—Part 1

Production designer Richard Sherman chats with AD about the sets for the fourth movie in the vampire series, starring Kristen Stewart, Robert Pattinson, and Taylor Lautner—with a cameo appearance by a house featured in our January 2011 issue

Readers of Architectural Digest might feel a tug of déjà vu watching certain scenes of Breaking Dawn—Part 1, the latest movie in the popular Twilight series. It’s the penultimate installment of the five-film saga, whose story line centers on a love triangle involving a young woman, a vampire, and a werewolf, played by Kristen Stewart, Robert Pattinson, and Taylor Lautner. As it happens, a Brazilian beach house designed by the architecture firm Bernardes + Jacobsen, which was featured in AD’s January 2011 issue, also has a starring role, as the honeymoon retreat where Bella Swan (Stewart) and her vampire husband, Edward Cullen (Pattinson), finally consummate their romance. In anticipation of the November 18 release,AD talked with the film’s production designer, Richard Sherman, to get the stories behind the movie’s sets, life on location with the young stars, and his approach to designing the wedding of the century.

ARCHITECTURAL DIGEST: How did you choose the Bernardes + Jacobsen house for Edward and Bella’s Brazilian honeymoon?
RICHARD SHERMAN: We looked at pictures and found a house we loved. But two days later we learned it was going to be blown up because it had been built illegally. The next morning I got on a plane to Brazil, hopped on a boat, and went through countless islands along the coastline south of Rio. It took us four weeks to finally find the Bernardes + Jacobsen house, which had a tropical modern interior and was located near Paraty on the coast that we liked.
AD: Did you change anything about the house?
RS: For the movie we actually created our own exterior—what’s visible when you approach the house by boat—in the visual effects department. What you see of the real house is the front door, the steps leading up to it, the veranda, and all those glass doors. I loved the interior. We made a big open kitchen and living room. Some of the scenes that take place inside the house were actually shot on soundstages in Louisiana, where we created a courtyard, a bathroom, and the bedroom where Edward and Bella spend their wedding night. It was a seamless set—you really couldn’t tell the difference between the house and our stages.
AD: How closely did you follow the descriptions in the book when filming in Brazil?
RS: In some cases we really veered away from the book. What works well on the page doesn’t always work well on film. The location was challenging. Stephenie Meyer, who wrote the novels, set the honeymoon on an island in the middle of nowhere. Brazil is famous for its many islands down the coastline from Rio to Paraty. When you look out from the location where we shot, you don’t just see a horizon of water, as she wrote, but all these beautiful tropical islands. In the end it all worked out very well.
AD: Basically the whole series has been building toward Bella and Edward’s wedding. What was your approach to designing such a momentous scene?
RS: The way Stephenie has written it in the book, it’s a very pretty wedding—it has the white path and the white chairs that are covered in white fabric. But Bill [Condon, the film’s director] and I thought, How can we make this truly special and unique? For the people who know the books and movies, this is the wedding of the century. So we created this very organic, whimsical, fairy tale–like atmosphere—A Midsummer Night’s Dream kind of thing—with benches and seating made of branches that came out of the ground and were covered in moss and flowers. The whole forest floor was covered in moss. The ceiling was dripping flowers.
AD: Were some of the sets recycled from previous movies, or are they all new?
RS: Bella’s house is the same. But we rebuilt the whole three-story set of the Cullen house in Louisiana on a soundstage, and we remade its exterior in the woods of Vancouver. We changed the interior decoration of the Cullen house subtly but completely. If you remember the original house well, you’ll notice that it is completely different. This has the same tone, but it’s a lot prettier. The other huge change is the castle of the Volturi, a group of vampires from the Roman Empire. The sets from the other movies kind of looked like—no offense to those art directors—the Four Seasons Hotel, with marble columns and sconces. So we built an old castle on stage.
AD: Did you worry about the perceptions of the fans?
RS: You have to keep your fan base in mind, because they’re the real critics. They know the story so well, they know what happens, and they know the environments and the atmosphere. You hope that your sets coincide with what the audience and the fans expect. The producers, studio, director, and I were all very conscious of that.
AD: What was it like on the set?
RS: Everyone had a good time. The three main actors are all very fun to work with. Kristen is quite serious. Rob and Taylor are a little bit wild. Rob and Kristen are actually a couple in real life. When he’s with her, he’s a little more restrained. When she’s not around, like most guys when their wives or girlfriends aren’t around, he’s a little looser. Taylor’s a kid—he’s 19—so he was bouncing all over the place.
Photos:
 Edward’s sisters, Alice (Ashley Greene) and Rosalie (Nikki Reed), help Bella (Kristen Stewart) prepare for her wedding in Alice’s bedroom, one of the new sets created for Breaking Dawn—Part 1. Production designer Richard Sherman says for this movie subtle changes to the decor in the Cullen house kept the same tone but made it “a lot prettier.”
 Here, Alice and soul mate Jasper (Jackson Rathbone) are seated with their adoptive—and ageless—vampire parents, Esme (Elizabeth Reaser) and Dr. Carlisle Cullen (Peter Facinelli), at the nuptials on moss-covered benches amid a cascade of white flowers.
 The best part of working on the movie? “We got to travel all over the place,” says Sherman. “It was like being paid to go on vacation.” For a scene during Edward and Bella’s honeymoon, the crew blocked off a street in Rio’s bustling Lapa district, which led to complaints from residents.
 Sherman and his team re-created Edward and Bella’s fictional honeymoon destination, Isle Esme, on Saco do Mamanguá, a remote tropical fjord near Paraty, Brazil, accessible only by boat or helicopter. The house was designed by Thiago Bernardes of the architecture firm Bernardes + Jacobsen and was featured in the January 2011 issue of Architectural Digest.
 A number of the scenes that take place inside the Brazil beach house were actually shot on sets—a bedroom, bathroom, and courtyard—built on a Louisiana soundstage. The production team’s challenge was to create a seamless transition between the house and the sets. “We see Edward and Bella arrive at the house at night,” Sherman says. “Then she walks through the living room, and the scene cuts to our set. You can’t tell the difference. It looks like a part of that house.”
 Pivoting glass doors along the veranda span the entire length of the house, allowing breezes to pass through, while the double-height ceiling adds to the feeling of openness. Everything about the design is intended to enhance the architecture’s integration with the surrounding landscape.
 Edward and Bella play chess on the terrace with neighboring islands in the background. “The view from the house became a problem with the studio because that’s not how Stephenie described it,” Sherman recalls. Meyer was persuaded to keep the natural surroundings in the scene instead of the empty horizon she described in the book.
 Another sticking point was the verdant yard. “Bill Condon, the director, really wanted a sandy beach,” Sherman says. “I tried to explain to him that most Brazilian beach houses don’t have that. But he insisted, so we covered the whole front of the property in sand.”
 Condon directs Stewart and Pattinson between takes of a scene shot in the bedroom of the Isle Esme house, one of the sets built in Louisiana.
 Sherman also gave the Volturi castle—home to Aro (Michael Sheen, center) and Caius (Jamie Campbell Bower)—a new look for Breaking Dawn—Part 1. “That was fun for me as a production designer because we started with a big empty stage and ended up with a medieval castle.” But fans will have to wait until Part 2 comes out, in 2012, to see it fully. “Though we didn’t show too much of it in the first movie, you’ll see a lot of it in the second,” Sherman says.
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Stand In Ben Jeran McGinn Tweets A Bunch of On Set Photos

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New Photo From A Few Best Men

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On Set "A Warrior's Heart" Behind the Scenes Exclusive!

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New Breaking Dawn BTS Pictures in HQ

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