Anna Kendrick is a Reject Wedding Guest in ‘Table 19’

Who knew there was such a need to see Anna Kendrick in wedding mode: after starring in Mike and Dave Need Wedding Datesthe actress will soon be back to wreak havoc at another set of nuptials in Table 19.

The film follows a group of wedding guests seated at Table 19 – the table where the bride and groom sat all of the awkward people they hoped wouldn’t show up. Starring alongside Kendrick is the queen of cringe, Lisa Kudrow, as well as Grand Budapest Hotel’s Tony Revolori and two alumni of The Office – Stephen Merchant from the original UK series, and Craig Robinson of the U.S. spin-off.

Who knew that we’d be getting excited for another quirky wedding-centric rom-com? Certainly not us. But if Lisa Kudrow jumped off a bridge, we would too.

Watch the new trailer, below.

The Most Exciting Films From This Year’s South By Southwest

This year the film portion of the South by Southwest Conference had thirteen entrees that premiered at Sundance and a number of studio-funded projects destined for wide release, meant primarily to bolster the star power attending the daily and nightly Paramount theater premieres. This is not a bad thing—rather, it’s a testament to how vital the SXSW Film Conference has become to the film scene in general, a diverse conflagration of anything and everything within the strata of a theatrical experience. However, it doesn’t make breaking new, below-the-radar films any easier, especially with a bigger schedule—the much-anticipated premiere of the The East comes on the final night of the conference, after this will be published—and more theaters scattered around town.

That’s where I focused most of my efforts on the film front, catching more than 20 films—in honor of the film conference’s 20th anniversary—most of them produced on very low budgets or premiering for the first time in the United States. I skipped Burt Wonderstone and the Evil Dead reboot, as they’re flicks I’ll see in my local megaplex depending on the Rotten Tomatoes reception. I skipped Before Midnight in favor of a local Austinite’s film, quite regretfully—I’d rather pay to see the final installment of Linklater’s walk-and-talk romance trilogy, anyway. The six films listed here are the ones I found to be the most impressive and important glimpses into the cultural zeitgeist at the 2013 film conference—though there are a number I didn’t get a chance to see due to scheduling conflicts and the fact that the press screening library crammed into the convention center stairwell was so atrociously barren. But with so much paranoia surrounding pirating these days, who’s going to risk turning in a DVD to the media?

Spring Breakers

Unlike anything you’ve ever seen, the charged 1,300 plus audience at the Paramount was—as a Deadline reporter put it—both “joyful and bewildered” when the lights went up after the North American premiere. While some critics may find the surface layers of the film to be a mile wide and an inch deep, or an extended Skrillex music video, this is merely the backdrop Korine wanted to create. The slow-motion montage of barely clothed coeds binge drinking on a Florida Beach in the opening minutes of the film is the ultimate thesis statement—the youthful, primal obsession with self-destruction, beautiful imagery, carefree sexuality and complete sensory overload is all about to come into sharp focus.

With a dreamlike storyline, seedy neon-soaked cinematography, and non-linear editing reminiscent of a Terrence Malick film, Spring Breakers preys on the audience’s senses. You kind of can’t look away, whether you’re enjoying yourself or not. And—without giving up the ending—one could even argue that Korine’s work is a bizarrely magnificent statement about feminism, where the pretty, aggressive blondes in this vapid fantasy world of a St. Petersburg Spring Break are the ones who are the true gangsters.  Regardless of if you agree with any of this analysis, you should see Spring Breakers for James Franco alone, as the corn-rowed, grill-sporting thug who goes by the moniker of Alien—it’s truly a performance for the ages.


Heather Wahlquist has appeared in relatively minor supporting roles in her husband Nick Cassavetes’s films over the past decade, which makes her leading performance in Yellow all the more impressive. In it, she plays one of those artificially gorgeous yet vividly delusional California women named Mary Holmes, who is barely holding it together. She teaches elementary school children and chases pills with vodka nips throughout the day, regularly drifting into her own alternate realities, which are equally colorful, musical, hilarious, and horrifying. As her antics get worse, she is forced to return home to her family, where Wahlquist takes us inside the core of her character, revealing the origins of her mania. The entire film, which Wahlquist also co-wrote, is a quiet yet remarkable achievement.

Good Ol’ Freda

The Beatles have been covered from just about every angle possible by now—except the one director Ryan White found for Good Ol’ Freda, when he interviewed Freda Kelly, the head of the band’s fan club for much of the ’60s and perhaps the only Beatles employee who had never broken her silence about the band. It’s a sweet film and a fascinating look at an incredibly respectful and moral person who was tasked with protecting and representing some of the most famous people in the world. White’s storytelling does reveal a few new insights into who the Beatles were behind the scenes, but the film focuses primarily on Freda, examining how someone so close to those who were literally changing the world could remain so true to who they really are as a person.

Scenic Route

Bleak tales about the insignificance of man and the brutality of the world are tough to pull off without fine acting and crackling dialogue, which is why Scenic Route works so well. Two friends, played by the diametrical opposed Josh Duhamel and Dan Fogler, are stranded off the incredibly photogenic highway through Death Valley and forced to reexamine their friendship after drifting apart. The situation quickly goes from bad to worse, however, due in part to both men’s egos and stupidity, as well as a bit of bad luck—which, when you get all philosophical about it, is something that life often serves most of us in the end.

Drinking Buddies

There’s a incredibly unique tone to Drinking Buddies, thanks in part to director Joe Swanberg’s technique of having his actors tightly improv every scene in the film. It’s also probably because his core cast consists of seasoned professionals like Anna Kendrick, Jake Johnson, Ron Livingston, and—most impressively—Olivia Wilde, who really shows off her dynamic acting chops while also looking crazy hot. The result is a romantic dramedy—if that’s even a thing—that qualifies as one of the more realistic unrequited love stories that has worked in a while.

Cheap Thrills

The first film purchased at South by Southwest this year—by none other then Drafthouse Films, who held the world premiere in one of their theaters—this fine dark comedy is ultimately a real-world fable about what desperate men will do for money. Made on a shoestring budget with a quality cast (Pat Healey, Sara Paxton, David Koechner, and, by far the most impressive transformation, Ethan Embry as a tough guy) Cheap Thrills is a testament to true independents of the past that deserve to break through to a wider audience. It manages to break new ground and entertain, while keeping its message hidden until the very last frame.   

‘The Last Five Years’ Is Somehow Going to Be Made Into a Movie

Nothing causes more simultaneous glee and horror than the news of a new movie musical, especially when the source material is a musical that I love. That’s why I’m a little conflicted about the announcement that Richard LaGravenese, director of the recent Beautiful Creatures, is planning a big-screen adaptation of Jason Robert Brown’s beloved The Last Five Years

The Last Five Years is a popular choice for regional theaters and universities, as the show is a two-personal musical chronicling the relationship between Jamie, a writer, and his actress wife, Cathy. The musical’s scenes alternate between the pair’s solo scenes, with Cathy’s being told in reverse as their marriage breaks up and Jamie’s chronological version from their first meeting. The couple share one song—when their stories meet in the middle—and the musical is an intimate portrayal of love and loss as well as an exercise in storytelling. It works brilliantly on stage, but I can’t imagine how well a two-person musical will fare for movie audiences.

Of course, the show features some fantastic songs with a slight pop, singer-songwriter sensibility rather than the orchestral fare (which is why it’s never actually been produced on Broadway). Meanwhile, Anna Kendrick is signed on to star as Cathy, which is promising; she’s shown her singing talents previously in last year’s Pitch Perfect and in Camp

LaGravenese reveals some details of the film to

“Anna Kendrick is attached to play [Cathy], and I’m looking for [Jamie] now,” LaGravenese said of the film, which tells the story of a young couple who falls in (and out of) love. “It’s like a $2 million budget. It’s really tiny and small. It will be shot on digital with a 22-day schedule. It’s a really small thing, so we’ll see.” For LaGravenese, The Last Five Years material won’t need much tweaking for the big screen. “It’s all sung, so it’s already written,” he noted.

For New Yorkers who can’t wait for The Last Five Years: The Movie, a revival of the show will begin March 7 at Second Stage Theatre. A new production certainly won’t hurt the chances of a film version’s appeal. Meanwhile, here’s a bootleg clip of Sherie Rene Scott singing "I Could Do Better Than That" from the original off-Broadway production:

Follow Tyler Coates on Twitter.

Not Adam Lambert: 6 Men Anna Kendrick Should Take to the Oscars

So I just glanced down at my nonexistent wristwatch and y’all know what time it is? Time to put to bed unsavory rumors that find one of the world’s worst pop singers will escort an Oscar nominee down the red carpet. So here you go: Adam Lambert will not be Up in the Air‘s Anna Kendrick plus-one to the Oscars next month. I know it’s cute to think, “LOL! What if a boy who likes other boys goes with a — gasp! — lady to a public function where all the town will be a-flutter?” And to be fair, it wouldn’t exactly be the first time, because everyone in Hollywood may be gay anyway, their ladies playing the role of well-dressed beard. And with this role priming her to slide up into the A-list, it only seems sensible that Kendrick, to the utter despair of some gay men, should elect one to be her pinkest, glitteriest accessory. After all, it’s a piece of well-iced bling that helps one tart stand out from the next at the Oscars.

There’s always 30 Rock‘s newest addition: Cheyenne Jackson. Despite being Kendrick’s senior by 10 years, Jackson’s still decidedly easy on the eyes and on good terms with the press that a strut down the red carpet could benefit his TV and film career. It’s probably encouraging that there’s a spike of openly gay actors appear on TV, then, because apart from Jackson, Kendrick could try to ask a favor from Ugly Betty‘s Michael Urie or Brothers & Sisters‘ Luke Macfarlane.

Although if she wanted to defect from the mainstream, other similarly dazzling red carpet baubles could also include Rufus Wainwright, the Scissor Sisters’ Jake Shears, and Brit-pop huckster Will Young, because well, why not? Sadly, they’d all probably be harder to convince along for the ride.

But do any of these men have any kind of deep intimate connection to Kendrick? The type that may find them and Kendrick watching Mean Girls on a stormy Sunday night and splitting a Ritter Sport bar? Probably not. But since when were the Oscars about staying within your comfort zones?

Above, Kendrick is pictured with the sparkliest bling that she won’t get to take to the Oscars: Twilight co-star Robert Pattinson.

Links: Adam Lambert at The Oscars?; Jesus and Madonna Break Up

● Oscar nominee Anna Kendrick may bring Adam Lambert to the Oscars, to class up the joint. [Movieline] ● An intrepid reporters has a rendezvous with Nevada’s only prosti-dude. Must read. [NYPost] ● Gabourey Sidibe continues her charm offensive, in this morning’s interview about her Oscar nomination. [Jezebel] ● Find out if your city likes Gaga and Radiohead more or less than other cities around the world. [My City vs. Your City]

● Madonna and Jesus split? God says no, tabloids say yes. [Daily Intel] ● Sunbathing may give you cancer, but it also boosts a dude’s sex drive. [Daily Mail] ● Billboard with a giant cucumber on it offends some in Texas, because they have dirty minds. [CBS]

In Transit: Jason Reitman & ‘Up in the Air’

Jason Reitman’s third feature Up in the Air arrives in theaters today, in a cloud of Oscar buzz and Clooney-swooning. The film, the 32-year old Reitman’s follow-up to Juno, tracks a constantly traveling, emotionally cut off, professional downsizser’s relationships with two women, one a romantic partner, assuredly and sexily embodied by Vera Farmiga, and the other a wunderkind colleague, played by newcomer Anna Kendrick. A few weeks ago (before Reitman produced his infamous pie-chart, otherwise, we would have asked about it too), Reitman got on the phone with us to discuss Kendrick, why it’s more rewarding to write for women, how it’s easier to get a first movie made than a second and a charming spot called Baywash.

What state are you in? I’m in a state of panic! I have been flying every day for the last eight days.

So you don’t know the answer? I am in Orlando and yesterday I flew from LA and the day before I flew from London, the day before that Paris and then Madrid.

You’re well on your way to a million frequent flyer miles yourself. I’ve done this for a long time. Even when I was directing commercials I was doing a lot of travel. I’ve always been a fan of being on planes. There is a reason I made this movie.

And what was that? I have to interrupt your question for one second. I am in Orlando and I swear to God I am passing by a bikini carwash with two girls in bikinis sitting on lawn chairs and the place is called Baywash.

That’s amazing. It’s also 11:50am which is early for bikinis. Seriously. These are the moments that Diablo is really sad that she’s not on the road with me. She was not there for Baywash. These are the times when I am like, “Wow, I should stop and take a photo.” But then I am like, “Oh no, they will think I am a creep.”

Don’t you think people stop and take photos of them all the time? Isn’t that the point? Maybe. But maybe you have to get a carwash if you want to take a photo. I guess it’s less creepy for me to say, “This is funny, I want to take a photo.” Rather than, “Here, start washing my car and then I am going to start taking photos.” That’s probably nastier. Oh there’s WJR! Sorry there’s a radio station here with my initials that we are actually passing. Okay I will answer your questions because I know that’s why we’re on the phone.

How did you go about casting Anna Kendrick for this part? I don’t want to make it sound as though I went into my career thinking, I’m going to discover talented young actresses. This wasn’t an agenda of mine from day one. That’s what I find filmmaking is, it’s only once you’re a few movies in, people look back and go, “Oh you seem to be drawn towards this or you do that.” Anna and Ellen [Page, of Juno] are obviously very different actresses but I guess their commonality is the uniqueness of their voices. Ellen Page is unlike anyone her own age and Anna Kendrick is unlike anyone her own age. There is an authenticity to their voices that really stands out amongst a generation of actresses that feel built for television. Anna Kendrick represents the type of girl I never see onscreen, a girl who is just too smart for her own good and kind of thinks she has the world summed up and at the same time is completely vulnerable. She reminds me of two of the girls I have fallen in love with over the course of my life, including my wife. Young girls are almost tormented by their own intelligence. There is kind of a wicked intelligence to Anna Kendrick that reminds me of actresses from the forties and fifties, like Veronica Lake in Sullivan’s Travels. They just speak a mile a minute and are so smart and so funny and really one of a kind. It’s exciting to put those kinds of voices and faces onscreen. There is so much homogeny and so much that seems the same I feel excited to put a voice up there that’s unlike anything anyone has seen before.

Do you think the homogeneity of actors is a result of pressure for a type from the industry? I mean look, at the end of the day, people want a certain kind of thing on television and in the theaters, and studios and television networks want to provide that and actors want jobs. So they try to fit the mold that sells. It’s kind of obvious. My instinct is to do something different. There is something really addictive about finding fresh voices and I feel like I have done that now, two movies in a row and I would like to continue that.

Did you know you wanted to cast Anna after watching her in Rocket Science, and Ellen after seeing her in Hard Candy? Yeah, absolutely. I remember seeing both those girls and going, “Who is this and where has she been hiding?” I remember thinking about there is just an insane amount of confidence to both of them. I find that more and more people are scared of being unique. You find that not only among actors but among young people. There is just this tendency to be as similar to the next person as humanly possible. I saw Rocket Science and she just kind of burst from the screen. I don’t really know how to articulate how exciting her performance was.

Do you remember as a kid, or younger man, watching films and having a similar feeling about other performances? It was kind of different because as a kid if I would have seen Anna or Ellen I would have just fallen in love with them and would have been infatuated with them. Now I have a slightly more professional point of view. I remember seeing Reese Witherspoon in Election and being blown away by her. Reese in Election was like, “Why aren’t there more parts like this for young women?”

Are you cognizant of writing those kinds of parts for women? Well, it’s more interesting to write for women in that most of men’s stories have been told. I want to write original stories. I want to write stories that when you meet these characters and when you when you hear what they’re about you feel like you’re meeting someone new. A lot of the guy stories, quite frankly, have just been told and there are so many women’s stories that have yet to be told.

Do you have a sense of what qualities make an actor have longevity? Honestly, I think it’s figuring out who you are each decade of your life. It’s one thing to be lucky enough to have a persona that translates to the screen for a series of five to ten years. But you do change as a person and then you have to figure out how that new persona fits onscreen characters again. There are certain actors that are chameleons and it never really matters and they can move from movie to movie and we never actually figure out who they are. But in general, people kind of give off a certain feel and that defines them as an actor. The big job is, can you recognize what that thing is and can you replicate it onscreen with honesty. For instance, Ellen Paige has so clearly defined who she is right now. But the next question will be, who is Ellen Paige at thirty? She will have to figure that out herself and find that transition and make us believe and understand who she is onscreen at thirty and forty and fifty. One nice thing about being a director is that I kind of do that in private whereas actors have to do it very publicly.

Are you already working on your next project? Yeah, I am working with Jenny Lumet who wrote Rachel’s Getting Married on a script I’m adapting from a new book by Joyce Maynard, Labor Day.

Do you prefer to adapt from books? I do. Often I find that I have an instinct to ask a certain question or tell a certain story but I am kind of looking for the language. I am looking for someone who is saying and feeling the same thing. In Thank You For Smoking and in Up in the Air and now in Labor Day, I kind of recognized things that I wanted to say and I used the book as a toolbox to articulate my own questions.

So what question are you thinking about now? Honestly, I rarely can articulate it until the movie is done. I am not trying to avoid your question I just really don’t know until I finish it. There are certain kinds of instincts I have, but I really have to go through the process of writing to clear it up.

What was the question for Up in the Air? The question for Up in the Air was, what do I want to put in my life and why. If my life is so complete, why do I still have the desire to unplug? I have a wife, I have a beautiful daughter, I get to do what I love for a living and yet I still love being in airports and I still love being among strangers. I love being alone and I love looking at destination boards and wondering what it would be like to wake up in Tulsa and not know a soul. So for me these are kind of the biggest life questions I have been asked so far. And I kind of get the feeling that everyone wonders about these things. The idea of losing your job and having to search for purpose again was the perfect metaphor for that and travel was also the perfect metaphor for that.

Do you feel that people are still intrigued by your youth, or is it transforming into thinking, hey, this guy is going to make movies for a long time? The fact that this is your third movie, has it changed the way people are approaching you? It’s an excellent question. It’s actually easy to get a first movie made and it’s difficult to get a second movie made. There is a tendency to always be looking for something fresh and new and different and what is the next thing. I remember as a short filmmaker, going to film festivals and having my films and … What is it called in football when right after high school before college they send all the players through this system together and all the players and coaches are there and they go to show off? I just can’t think of the word right now. Anyhow, there is this sense that people are on the lookout for something different and if you can make a short film that is unique and if you have a script that makes sense you can, oddly, get your movie made. Once people know who you are it’s oddly harder, when you actually have something to say. I don’t want to say that as an insult to anyone who is having a hard time making a movie. It is very difficult to get a movie made, but having gone through the system now once, if you told me I had to start from scratch and start my career over I think I could quickly come up with an agenda to get my first movie made, if I had to start from nothing. Purely on the basis that people are looking for a fresh voice and I think that it is easy to get people excited about that idea. My head of development, who is really smart, and I have talked about, Could we just create a character and get Hollywood excited about that character? Because I think it actually wouldn’t take much. The longevity is harder. I t is very difficult to keep people interested year to year and decade to decade.

That’s true for actors as well. Yeah, it’s just different with actors. As a director you create your own business. It’s a blessing and a curse. It’s a blessing in that unlike an actor, where you are waiting for an audition, you can actually just create your own business. However, you’re relaying on yourself, so if you have nothing to say, you’re not going to make any movies. As an actor, you don’t have to write your own material but you have to get the job. I can’t imagine being at the mercy of other people.

But in both cases there is a certain buzz about being brand new. Yeah, you can feel it around Anna Kendrick right now. There is this kind of, “Who is this girl and where did she come from?” I can already hear people talk about her performance in this movie even though the majority of people haven’t seen it. People are much more excited about Anna Kendrick and what she did in this role then they are about Hilary Swank and what she did with Amelia because we know who Hilary Swank is, we know she’s a brilliant actress and she’s won two Oscars. They want to know what is this Anna Kendrick and why is she so special? Why is what she’s doing so different and exciting?

Is it exciting to know you gave this kid her big break? Not right now, but I would think ten or twenty years from now, if I can look back and see actors who have had careers that I helped get started, I might have kind of a Bob Evans attitude. Right now I am young myself and I just feel a certain amount of excitement for working with great people.

Just before we finish up, who is singing the song during the closing credits? I Shazammed it in the movie theater and it didn’t come up. That’s a guy named Kevin Renick. He’s a guy in St. Louis who literally just walked up to me at a speaking engagement at a university in St. Louis. He told me that he had just lost his job and handed me a cassette tape. So I had to find a car with a cassette deck just to listen to it and it was just honest and sincere and spoke authentically about the idea of searching for purpose in the middle of your life.

I just thought the soundtrack wasn’t out yet. No. You know those tape decks where you press play and record at the same time? That is what he recorded it with. That’s why you here a click in the beginning. Once I put it in the movie, he was like, “Can I rerecord it?” I was like, No! I think part of the value is how real it is.

Well thank you so much. I hope you get your photo of Baywash. I literally have been parked outside waiting to take pictures.

Anna Kendrick on Robert Pattinson Hysteria & Impending Stardom

If you’re Anna Kendrick, you’ve got to be pretty excited right about now. Your second tour of duty in the Twilight franchise is coming out in a week, and you get to enjoy everything that comes with being involved in a phenomenon without the terrible scrutiny faced by its two leads. But more importantly, your role in George Clooney’s next movie is receiving unilateral praise, and the film itself, Up in the Air, is already being called one of the year’s best. And for the capper, there’s a good chance that come winter, at the age of 24, you’ll have your first Oscar nomination. You’re no longer just the girl whose face was licked by Robert Pattinson. Here ‘s the budding star on her proximity to the supernovae that are Robert and Kristen, that infamous photo, and the sneaking suspicion that things are about to change.

Does your relationship with George Clooney in the film have any romantic undertones? No, that’s actually one of the things I love about this script and this role. My character is a young woman, but there is never a romantic plot for her, and there is never a romantic interest with George. George has his own love interest, and the role really could have been for any general age, it just happens to be a young woman. She’s not romantic in any way, just smart and driven.

Is it true that you beat out people like Ellen Page and Emily Blunt for the part? I don’t know anything about that. I know it was printed, but certainly I don’t know anything about that.

What was your reaction when you got the role? I had already signed up to do Scott Pilgrim, and I was so worried about scheduling problems and letting anybody down that my immediate reaction was this overwhelming anxiety about not being able to all the things I was signed up to do at the same time. So, it should have been this really overwhelming thing and immediately my brain goes to, how is this going to work and who am I going to piss off?

How do you spend downtime between movie shoots? Basically, I watch a lot of movies too. I’m trying to kind of get all of the classics under my belt. I’m a big fan of staying at home and watching movies.

Do you think your supporting role in Twilight can result in backlash from fans of more serious fare? I understand a certain amount of backlash to something that’s really popular. I think particularly this being popular with young women, it takes a certain amount of flack. I mean, I can tell you a lot of the actors in Twilight are incredibly talented. It might be something that’s driven toward young females, but it has no bearing on anybody’s acting chops.

There’s a picture online of Robert Pattinson kissing you. Do people tease you about that? I have seen fans comment on places that post them, but no one in person has ever said anything but nice things to me about being in Twilight. The fans, when you are removed from them and they’re on the internet, can seem a little scary and overwhelming. Even at the premiere, which was loud and massive and crazy, once you got up to the fans to start signing stuff, they were really warm and respectful.

Is that part of your job a source of anxiety? Premieres are always interesting. Every time I sort of convince myself that it’s going to be fun, I get a little nervous right beforehand even though it’s coming from a good place. Having that much energy thrown at you is really intense and just a little jarring.

Can you even begin to fathom what Rob is going through? Yeah, I went Comic-Con and I have never seen anything like it. For whatever reason Rob and Twilight kind of flipped the switch in people’s heads, and all they can do is scream. It is really intense but I kind of wanted to see what it was like for myself. I kind of needed to know first-hand because I’d seen these videos from the first Comic-Con they did. I just figured it was a once in a lifetime kind of thing, so I had to see for myself. And it was every bit as intense and terrifying as I thought it was going to be.

What’s the hysteria like on set in Vancouver? The one thing that we had to shoot outside was just with Kristen, and they kept Rob really covered because again, even if it’s Kristen, girls seem to have the ability to stay quiet and be respectful, but with Rob, it’s like a different story. So, they have to kind of block out the set and we are kind of working in something of a cave because having him around is a security risk.

With Up in the Air getting so much positive buzz, does it feel like you’re approaching a career turning point? I’ve been pretty lucky in terms of the films I’ve been in, and having a slow and steady build. I have done smaller films that a lot of people in the industry have seen, and I feel sort of fortunate that it hasn’t been this overnight thing. I’m hoping that it continues to be this slow and steady thing so that I can take a deep breath and get used to it.

How did shooting New Moon differ from shooting the first film? The set feels different, but I think part of that is we are shooting in a different city. We understand better what the film is going to be and what it means to people. That was something that even I forget sometimes, just how little anybody in the cast really understood what a phenomenon this was. So there’s a little bit more of an expectation to deliver, because you understand what it means to people.

How has the atmosphere changed around Robert and Kristen, now that they’re superstars? The atmosphere hasn’t changed, and they haven’t changed and certainly the way that they behave, or we behave around them hasn’t changed at all. It’s as though everything is normal except there are these crowds of screaming people, but it feels completely separate from the movie. It feels almost as though it has almost nothing to do with what we are actually working on.

Are you embracing life in Los Angeles? I’ve been living here for a few years now, and at first I was really fighting it. When I first got here somebody told me that it takes a year to really embrace it and I think it took me a little bit longer. Growing up back East and coming to L.A. when you’re 18 is quite a culture shock. But yeah, it’s home now and I’ve kind of learned how to navigate.

What is your favorite thing in the city? I really love the silent movie theater on Fairfax. I saw a screening of The Passion of Joan of Arc with a live new age electronic band scoring the movie. It was sort of mind blowing. If nothing else, it seems a be a town that’s committed to film, and that’s pretty fantastic.

Would you call yourself a film buff? I always hesitate to categorize myself that way because I know there are so many films I haven’t seen and a true film buff could eat me for breakfast.

Are you nervous about becoming famous? Yeah, I’m sort of trying to allow myself to think about it because I think the worst possible thing would be to be caught off guard.

We Like to Watch: Anna Kendrick of ‘Up in the Air’

Anna Kendrick has the sneaking suspicion that her life is about to change. She’s onto something. The 24-year-old actress will star opposite George Clooney in Up in the Air, Jason Reitman’s adaptation of the best-selling Walter Kirn novel about a man obsessed with accruing frequent flier miles. “I’m allowing myself to think about the possibility that this could be a big deal, because I think the worst thing would be to get caught off guard,” says Kendrick, best known for playing Jessica, the fickle friend to Kristen Stewart’s Bella in Twilight. (She will reprise the role in this fall’s ravenously anticipated sequel, New Moon.)

Kendrick first turned heads as a motor-mouth debater in the little-seen festival oddball Rocket Science, a performance that impressed Reitman so much he wrote the part in Up in the Air with her in mind. (Still, she had to fight to keep it: rumor has it Juno ingénue Ellen Page auditioned for the role.) After Twilight, she’ll play Michael Cera’s sister in Scott Pilgrim vs. the World, an adaptation of the quirky graphic novels. With all of these high-profile projects about to be released, Kendrick will have to adjust to some of the more bizarro elements of movie stardom. Namely: premieres. “I always convince myself they’re going to be fun,” says Kendrick. “But having that much energy thrown at you is always jarring.” She’d better get used to it.

image Shirt by H&M, jewelry by Bulgari.

Photography by Hellin Kay. Styling by Jodi Leesley. Hair by Jonny Stutz for Bumble and Bumble @ Photogenics. Beauty @ Smashbox. Makeup by Riko Camp @ Celestine. Stylist’s Assistant Jessica Goddard. Location, Bardot, Los Angeles.

Anna Kendrick Trashes ‘Twilight’ Sequel

imageThere are two paths one can take after stumbling upon a highly anticipated, unreleased film script. There’s the road paved in gold that leads straight to the doors of US Weekly and OK!, who would both fight over the abandoned script as if they were Brangelina baby pics, eventually throwing wads of cash at you. Or, there’s the righteous route that leads back to studio executives who would shower you in thanks amounting to a movie premiere invite.

I would take a shot in the dark and guess that the majority would most favor the get-rich-quick route, but lucky for Twilight fans, Casey Ray just wants to see a movie. Ray recently found pages to the Twilight follow-up New Moon, along with another script titled Memoirs, in the trash outside of a hotel, and Anna Kendrick is to blame.

Well, it seems that way at least. To save the dramatics, Ray was loitering outside of a St. Louis hotel that just so happened to be housing a bunch of celebrities when she spied the ditched script. Kendrick, who reprises her vamp role as Jessica Stanley in New Moon, just so happened to be staying at said hotel because she just so happened to be shooting a new George Clooney flick, Up in the Air.

I’m no detective, but it seems the following can be surmised: Kendrick was a little careless with her work; studio bigwigs suck at giving out rewards — sort of like that time you found a wallet stuffed to the gills with one thousand dollars cash and all you got upon returning it was a pack of gum and a pat on the back; and Ray may or may not be a celebrity stalker (or perhaps just guilty of loitering by the garbage).