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10-30-2007, 05:29 AM
| #121 (permalink) |
| I heart Joshtopia   |  I got the Conan Show!!!!! Sorry had to resize it and decrease the quality or else the video size would be too big. download it below. its seriously funny. http://luckynumberjosh.com/videoarch...album=31&pos=0 |
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10-31-2007, 12:58 PM
| #123 (permalink) |
| ICHiBAN HoOT  | Spending '30 Days of Night' with Melissa George Lisa Collins Hollywood.com Staff """She loves the people in her town, she loves Eben--and she loves her gun."" Touted Aussie actress Melissa George describes her character Stella, an Alaskan fire marshal (married to Josh Hartnett's Eben), with the utmost respect for her half-tough, half-vulnerable essence. With more than 70 percent of the film set at night, it takes a tough cookie, male or female, to sign on for a shoot where pitch-black dark would be the 'order of the day'--for weeks. In fact, 30 Days of Night used 33 days of night shoots. With film credits that include strong supporting roles opposite Clive Owen in Derailed, Josh Duhamel in Turistas, and Ryan Reynolds in the Amityville Horror remake, and TV credits such as a recurring role on Alias and a popular guest star on Friends as the lesbian nanny, George doesn't shy away from non-traditional fare. And in playing an estranged wife who reconnects with her stalwart, but understandably overwhelmed sheriff husband Eben while an entire frost-bitten, snow-banked town is being gouged of its blood and guts by the arty walking dead, Melissa encouraged her collaborators to bring it on! George met whet with Hollywood.com to shed some light on a few behind-the-scenes happenings of the darksome vampiric set where 30 Days of Night was just the beginning... Hollywood.com: What is behind a legacy of human fascination with vampires? Melissa George: I think because it's other worldly. I think there's a fascination with that. It's very curious to see a vampire film because it doesn't play on something that could happen to you in real life. HW: How was it shooting at night? MG: It was very difficult actually. You know, coming home at 7 a.m. in the morning. HW: Tell us about your romantic tough gal city official character, Stella. MG: In Hollywood you can often get the pretty, little wife [character] who doesn't say much but these roles tend to be very, very strong women. I enjoyed playing this sort of strong characters. HW: These definitely weren't romanticized vampires… MG: No, no. It's very couture. You know the part when they're all walking towards us? It felt like [Michael Jackson's music video] ""Thriller."" It was kind of like, ""What the hell are we doing? This is so great."" HW: Speaking of a romantic element of this film, what was it like working with onscreen sheriff Josh Hartnett? MG: Josh is probably one of the most intelligent actors I've worked with: a deep thinker; really loves the rehearsal process; a gentleman. I can't say enough good things about him, it was just lovely working opposite of him. You know what I love about him, he's a young handsome man, but he doesn't act like, 'I'm gonna be this young, handsome Hollywood heartthrob'. He's all about craft and he's all picking alternative roles--if they don't make money at the box office--we know that some of the best movies don't make money, and some of the worst movies in the world make a ton of money. He's not interested in that. He just wants to tell a beautiful story. HW: Did you read the graphic novel before shooting? MG: I did not. I read it after and I was wishing it looked exactly like the graphic novel. Just the colors and I loved the fact that most vampire films are just two little fangs this is not the average vampire. I was glad they made the movie look like the novel. HW: What did the vampires truly come to Alaska for in this film's case? MG: Feeding. It was a feeding frenzy. To build enough blood so they could outlast the winter. Most vampires sort of just infect you but they didn't want their breed to keep going. They wanted to keep what they had already which was a different version of a vampire film. So, yes, the blood was messy. I kept getting told off for standing in the blood. I was like, ""I'm really sorry guys but there's four gallons of blood"" and I was trying to walk to the door. HW: Any interest in doing the sequels? MG: Absolutely! I want to get a mohawk! I've always wanted to do a great mohawk but I wanted to get paid to do that haircut. HW: Do you choose film roles by genre? MG: I never pick a script by genre. You look within it and see what the character is. I don't want to come out as the weak thing on the floor with her clothes ripped off and being eaten alive. Okay, it's a horror film but if you look beyond that there's a lot more in there. HW: What was it like to be around the vampires communicating with each other in their own language? MG: Oh my God! I just got chills thinking about it. They did this sound that they invented. (The impeccably dressed, lady-like Melissa throws her energy into attempting to (gently) convey the breathy, inhuman screech!) They made up this language which took months of classes. They would do this sound, I can't do it, so I don't know how they did that. It was spectacular to watch them create this dialogue. HW: Did you get nightmares from the ghoulish set? MG: I don't go home traumatized at all. This was just a fantastic, fun vampire film. HW: Can you talk about working with your super meticulous director, David Slade? MG: He's my modern day Hitchcock. He was wonderful to us. Great energy. Treated us so fantastic. And just a fun guy. Never raised his voice or lost his cool. It was a big, big heavy shoot. HW: Ben Foster is always so full of explosive energy. What was he like on this collaboration? MG: I love watching Ben Foster work. He really gets into it--for real. When he was walking across the snow, that long wide shot where he's walking--I think the original shot went for nine minutes and David and I were like, 'Yes, this is so European.' But [the shot] wasn't very studio oriented for America. I think Ben Foster filled his clothes with ice to feel really cold. It's a rumor, maybe, but you should really ask him. HW: In working with Josh to bring this married couple, Eben and Stella, to life, how did you bridge the real gap they begin with at the story's start? MG: That was the biggest challenge for us: Starting out as an estranged couple and reuniting in a diner after nine months of not seeing each other--and the town has gone into a terrible phase, and just how we're going to pave us reuniting our love. That was challenging, because we didn't want it to be too soapy, and 'Oh, I missed you sooooo much!' The ending of the movie says it all--how they feel about each other. That's my favorite thing. I cried for like a week after that. We really connected, Josh and I. And it really made sense to the film. HW: What's your own biggest fear? MG: Somebody breaking into my home or being attacked or one day not having my family around me or not being able to have children. There's a lot of fears that I have. HW: There was a lot of kinetic action and combat going on. Were the actors engaged in doing a lot of their own stunts? MG: We did all of it. All of it! Funny, funny story--it wasn't funny at the time. [Josh and I] were in the car--the scene where it gets tipped over. So I said, ""Sooo, was my double called today!?"" They [the crew] said, ""No, no, no. You're going for it!"" I said, ""Oh, that's ... great."" Okay. [Exhales] ""So, is there a harness?"" They were like, ""Yeah, there's a little one in the back that holds you to the seat."" I said, ""Okay, but don't make it too tight because I really want to fall into the windscreen."" Anyway, they tipped it up on its nose and we just went FLYING like the worst car accident you've ever seen. My brother was over from Australia and he went running thinking I was just like--you know … I was like, ""No buddy. It's acting. You know?"" But everyone was really worried. We just went flying! HW: This is when you and Josh Hartnett are flipped over? MG: We were upside down, with the roof caved in, and we kind of rolled up into a ball because there wasn't any room for our bodies anymore. I remember being upside down looking over at Josh and thinking, 'Are you okay?' And him being like, 'Uh, I don't know?' That [scene] was a bit rough. [The film crew] kept pulling and pulling--and finally it [the caved-in car hood] popped right back out. Take two! It went even more! But, every take Josh and I were getting smaller, and smaller, and smaller in this car. I said, ""I don't know about this anymore."" [Nervous laugh] Something doesn't feel quite right about this job. HW: Are you always up for doing your own stunts? MG: I love it! As long as you don't feel like you're going to endanger yourself. HW: Growing up did you have any favorite horror or vampire films? MG: Yes, yes Creepers. Oh-my-God! I think I watched it 50 times, and at every slumber party we'd watch the same movie. |
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10-31-2007, 01:03 PM
| #125 (permalink) |
| ICHiBAN HoOT | Josh has little praise for Halloween H20 Josh Hartnett may have made his film debut in Halloween H20: 20 Years Later, but he has little praise for it. The star says his latest film, 30 Days Of Night, "is a cut above that film". "That film was my first movie. This film is a completely different type of film. I wouldn't even put them in the same category," he says. Josh, who stars as sheriff Eben Oleson in the vampire thriller, admits he had his doubts before he signed on for the role. "It was mostly director David Slade convincing me. I talked to (producer) Sam Raimi first off, and he said, 'I really want you to take a look at this'," he says. "I was like, it's a vampire film, how good can it be? David came and talked to me for hours and told me why this film was going to be great. "His commitment was evident and I thought his passion was unlike a lot of directors. A lot of directors just don't have that vision or passion. And I knew he was going to make something that was special and that was new," he adds. "And I felt the character was a full character, and he assured me that the acting was going to remain intact and it wasn't just going to be about the plot the whole time." |
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10-31-2007, 02:58 PM
| #127 (permalink) | |
| Love Will Tear Us Apart..  | ^LOL, yeah, me too!  Quote:
Thx for the articles!!!  Last edited by Mónica : 10-31-2007 at 03:08 PM. | |
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11-01-2007, 02:25 AM
| #130 (permalink) |
| ICHiBAN HoOT | 30 Days of Night - Josh Hartnett interview Compiled by Jack Foley JOSH Hartnett discusses some of the challenges of shooting vampire thriller 30 Days of Night and why he likes playing darker roles as his career progresses.  He also talks about writing his own material, working in Hong Kong for his next movie and living in a house of prostitution while filming that same project… Q: How brutal was this shoot – filming over 33 nights? A: We weren’t really up for the entire time at night. We shot a lot of studio stuff so we’d shoot during the day as well. There were sections of it where we were shooting at night. I’m semi-nocturnal anyway so I didn’t mind. Q: What hours do you keep personally? A: Noon to 4am, if I can pick my own hours. Q: Director David Slade was saying how depressing it can be when you don’t get to see daylight for days on end. Did this effect you? A: Well, I had one of those visors with the UV lamps on them, so I was good! They actually have them in Barrow, Alaska. It’s pretty amazing. No! Q: Have you ever had a black-out in real-life when there’s no light or power? A: There was a black-out here in New York a few years ago. Unfortunately, I’d just gotten on a plane so I missed it. But, no, I’ve never been in a black-out, surprisingly. Q: This is a very dark movie. How was that for you? A: It was fun for me. As an actor its fun to kind of move into, I guess, the darker realms. The more obscure realms that these people occupy. Q: David Slade mentioned that you’d turned down Spider-Man? A: No, I was never going to do any of them. It just wasn’t right for me. I knew Sam [Raimi – Spider-Man director and also 30 Days of Night producer] from that process. But I never wanted to play a super-hero like that. I feel like once you’ve really become that sort of iconic character, people will always look at you that way. I want to play more different types of roles, and to be believeable. So I wasn’t really looking to play anything like that. Q: What was the first point in your life when you realised that you could make it in movies and that you didn’t have to go back to some crummy day-job? A: For me it seemed like when I did Cracker. The first time I got a pay-cheque that was more than US$150, in my life. I felt like I’d made it at that point. I guess the trick, for me, is not to fear becoming obsolete, and having to go back to McDonalds. Not letting that run my life. To try and choose things that I like and not really worry about the consequences too much. Q: Have you ever been back to that McDonalds?! A: I’ve never worked in McDonalds! Where’s that coming from?! I never worked in McDonalds or Burger King! Q: As a child did you believe in vampires and ghosts? A: Of course, yeah. I had a friend named Nicky Galley, whose mom would allow him to watch scary movies and I wasn’t allowed. So I’d go up to his house, and he lived two doors away, and we’d watch Poltergeist or The Exorcist and all those terrifying movies. And they would stick with me for a few days. And there was this run – a hedge between my house and his house – and then there was like another 20-yard sprint to my door. And so I would take off from his house and literally get back to my house before that latch door closed. Like, I would jump the hedge, and like run through. I was terrified of what might come out from behind the Winstons’ house which was right across the yard. I believe in all that stuff completely. Q: What was the bar that you took 30 Days of Night director David Slade to where he convinced you to take this role? A: It’s a place called Bradley’s Bowl in Minneapolis where I grew up. I’ve gone to that place for a long time. Its like a 50s-style restaurant/bar with a couple of bowling lanes in the back. And it was like where all the hipsters hung out so I grew up looking at that place as like a cool place. So I go there when I can. Its a very bright place, and on this day it was incredibly bright as well – late spring, probably 75 degrees, and really sunny. And David comes in and somehow makes the place look creepy with his camera. Q: Did you enjoy shooting in New Zealand? Did you hang out much there? A: I had a great time filming in New Zealand. I almost bought a home there while I was there because I loved it so much. The fact that so much topography is jammed into such a small area. Its like everything in the United States, basically in a country the size of California or whatever. And there’s so few people, it feels like an open life; it feels just natural. It’s a really nice place to be. Q: Where do you live now? A: I have a place in Minnesota and a place here [New York]. I moved here at 17. Q: Do you prefer the quiet life or city life? A: I think I like both. That’s kind of my problem. Q: Are you the party animal kind of guy? A: No, not necessarily. But I can be. I think it’s good to have a balance in your life, and be able to do everything. I’m not afraid of people but I also don’t like to spend a lot of time around strangers in a bar. I don’t want that to be my life. Q: You’ve just finished filming I Come With The Rain in Hong Kong. Can you talk about that? A: Shooting in Hong Kong was nice. It was interesting but it wasn’t all that different from shooting in the US or in Europe. But shooting in the Philippines was. We shot for a bit in a place called Diwalwal, outside of Davao in Mindanao. It was literally a five hour car ride from the nearest airport to the foot of the mountain where this town was. And we went up in the mountains and they’d never seen white people in person before. It was a really interesting dynamic. They would follow us around – literally there were 42,000 people in this town, and there would be 2,000 of them following us everywhere. People were very nice, very sweet but there was a chance of… there were some rebels around the area who kidnap for money and so we had to have the Philippine army with us. And so we had a whole regiment with us, which was pretty wild. But everybody was very cool. I escaped from them a few times and went and hung out with people, which was good. We lived in a “house of prostitution” because it was the only place that we could rent. Q: Were the girls there?! A: No, the girls were not there! [laughs] It was wild though. I’ve never seen a place like this. It wasn’t like it was a place from the past because it was still somewhat modern. We have a great picture of our producer standing in a tiny little alcove where they had two video games – like a Galactica and something else – and right next to that was a big poster of Britney Spears! So our culture was there, it just wasn’t, we weren’t there. Q: You will turn 30 next year. Have you noticed any changes in yourself? A: I think I’m calming down. Which is good. I’m starting to care less about what people think of me and care more about just what I want to do from day to day. Its amazing how – and this is going to sound ridiculous – but it’s amazing how when a year becomes less and less of a fraction of your life. And it goes so much quicker, the more you mean to try and hold on to it and enjoy the moments. It’s all just kind of moving at a faster and faster pace. Q: What are your passions outside of acting? A: Lately. it’s been mostly writing and photography. I’m writing a screenplay but I’m also just writing for myself. A friend of mine and I have been working on screenplays for a long time, and trying to find one that actually works. He wrote one with another friend of mine that I’m going to produce and we’re going to film that back in Minnesota next year. Q: Is this tough for you – writing for yourself? A: Yes, but everything’s hard. To do anything well is hard. I’m not afraid of the challenge, really. If it’s no good, it’s no good. And I have plenty of people who will tell me if it’s no good. I have people around me that I trust. A lot of people have written movies that they’ve been in and that they’ve directed. It’s nothing special. It’s like creating a song from beginning to end. It’s just a much longer and more extensive song. |
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11-01-2007, 04:50 AM
| #132 (permalink) | |
| Love Charlie Babbitt  | Thanks Hoot... good interview although some of it looks familiar. Quote:
And Josh is writing, so we do have something in common. | |
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