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1. The start of Kristen Stewart’s career (1999-2012).

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1. The start of Kristen Stewart’s career (1999-2012).

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At the beginning of Kristen Stewart's acting career, the image of a literary young woman shown in films contrasted with the reality of a debauched and uninhibited personality.

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Kristen played a high school girl who was raped multiple times in the film Speak, a film that allowed her to begin to build some buzz, and her screen image as a literary young girl was established.

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Speak is a 2004 American independent coming-of-age teen drama film based on the award-winning 1999 novel of the same name by Laurie Halse Anderson. It stars Kristen Stewart as Melinda Sordino, a high school freshman who practically stops talking after a senior student rapes her. The film's story is told through Melinda's perspective. It was broadcast on Showtime and Lifetime in 2005 after premiering at the Sundance Film Festival in 2004.

Fourteen-year-old Melinda Sordino begins her first year in high school and struggles on the first day. She doesn't have any friends to hang out with, and appears awkward and uncomfortable when speaking to others. Throughout the day, she is made fun of by several students, repeatedly called a " squealer". A series of flashbacks reveal that she called the police to a house party during the previous summer. Her reason for calling 9-1-1 was to tell the police that she had been raped by a senior student at the party, Andy Evans, but her trauma prevented her from reporting the rape over the telephone or to the police when they arrived.

When her parents see her report card, they prompt Melinda to see a teacher named Mr. Neck, who tells her to write an essay on any history topic. After refusing to read her paper aloud to her class, she is sent to the principal's office. Melinda is nice to a new student named Heather Billings, who claims to be Melinda's "friend", but Heather soon abandons Melinda when the chance for social advancement arises. The only other student with whom Melinda has a positive experience is her lab partner, Dave Petrakis, who has successfully managed to avoid affiliating himself with a clique.

The restoration of Melinda's confidence progresses at a painfully slow rate, with some help from Dave and her art teacher, Mr. Freeman. Her former best friend, Rachel Bruin, starts dating Andy, and Melinda fears that Rachel will suffer the same fate as she did. Melinda meets Rachel at the library and tells her the truth about what happened at the party by writing it on paper. Rachel first refuses to believe, thinking that Melinda is lying out of jealousy and calls her "sick", but comes to realize the truth by confronting Andy who had spoken Melinda's name earlier (despite claiming to have never met any of Rachel's friends before). Rachel then avoids Andy out of anger for his lies and for fear of getting raped by him, telling other people of what happened at the party all the while.

Exposed as a rapist and a liar, Andy retaliates against Melinda, cornering her; he tries to force her to tell everybody at school that the incident is false and attempts to rape her again. Melinda struggles and throws a bottle of turpentine at his face, blinding him, and overpowers him after holding a shard of glass from a broken mirror to his neck, threatening to kill him. They are found by Melinda's distanced friend Nicole who, along with other girls from her field hockey team, help Melinda trap a now-helpless Andy to prevent further attack. The altercation removes any doubt about what happened at the house party, and the girls who restrain him are outraged by it and tempted to beat him with their sticks out of spite. Mr. Neck sees Melinda walking away from the scene and asks what was going on, but Melinda doesn't respond.

On the way back from the hospital after being treated for her injuries, Melinda rolls down the car window and breathes in deeply. She finally finds the strength to tell her mother, who already suspects something awful, the truth about what happened at the party.

Producer and screenwriter Annie Young Frisbie read the novel and successfully made a bid to get the rights to a film version. Production took place in Columbus, Ohio because a production partner, Matthew Myers, was relocating there with his wife.

Film production took 21 days in August 2003, on a budget of $1 million. Flooding during an especially heavy summer rain caused filming to be temporarily postponed and during that time author Laurie Halse Anderson visited the set with her daughter. Anderson cameos in the film as the lunch lady who gives Melinda the mashed potatoes.

The school scenes for the movie were shot at Eastmoor Academy on the east side of Columbus.

The film premiered at the 2004 Sundance Film Festival and played the film festival circuit, including the Woodstock Film Festival. It later aired simultaneously on the cable networks Showtime and Lifetime on September 5, 2005.

On Rotten Tomatoes, the film has an 80% "fresh" score based on 5 reviews.

Marilyn Moss of The Hollywood Reporter gave an overwhelmingly positive write-up, describing the film as, "well-made and extremely touching." She praised Stewart's performance, saying she gave an "understated performance that will touch everyone who sees [the film]." Moss also praised the score and editing, saying it "merges [Stewart's] character's interior and exterior worlds beautifully." On his YouTube channel, critic Chris Stuckmann gave the film a retrospective positive review, praising Stewart and Zahn's performances, the cinematography, and direction. Stuckmann also said the film feels "at home" for him, because of the filming that took place in Ohio (Stuckmann's home state). Barbara Shulgasser-Parker of Common Sense Media gave the film a rating of four out of five stars, and called it, "a startlingly good film on what has become a familiar subject in both fiction and life." She praised Stewart's performance and the direction. Although Neil Genzlinger of The New York Times opined the film "comes nowhere near capturing the wise, subtle tone of the book it's based on", "[it] is still an effective treatment of a difficult subject, thanks almost entirely to the performance of Kristen Stewart as the young victim."

Christopher Null of ContactMusic.com gave the film a rating of three out of five stars, saying it "is decent, even pretty good at times, but ultimately this material feels so familiar that we see every turn in the story telegraphed from miles away." Dennis Harvey of called the production values "OK," but said, "Eventual coming-to-terms (plus the culprit's public humiliation) would've been much more potent with less caricatured adult characters and more nuanced direction."

In 2006, the film was nominated for a Writers Guild Award. Jessica Sharzer was also nominated for a Directors Guild Award in the category of Outstanding Directorial Achievement in Children's Programs.

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Speak is a 2004 American independent coming-of-age teen drama film based on the award-winning 1999 novel of the same name by Laurie Halse Anderson. It stars Kristen Stewart as Melinda Sordino, a high school freshman who practically stops talking after a senior student rapes her. The film's story is told through Melinda's perspective.

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In 2002, starred opposite Jodie Foster as her ailing daughter and co-starred in the film Panic Room, where she was nominated for a Young Artist Award as a 12-year-old. But in this film, Kristen is still a tomboy and hasn't begun her transformation.

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Panic Room is a 2002 American thriller film directed by David Fincher. The film stars Jodie Foster and Kristen Stewart as a mother and daughter whose new home is invaded by burglars, played by Forest Whitaker, Jared Leto, and Dwight Yoakam. The script was written by David Koepp, whose screenplay was inspired by news coverage in 2000 about panic rooms.

The film was Fincher's fifth feature film, following (1999). Fincher and Koepp brought together a crew of people with whom each had worked before. The house and its panic room were built on a Raleigh Studios lot. Nicole Kidman was originally cast as the mother, but she left after aggravating a previous injury. Her departure threatened the completion of the film, but Foster quickly replaced Kidman. The filmmakers used computer-generated imagery to create the illusion of the film camera moving through the house's rooms. Foster became pregnant during the shooting schedule, so filming was suspended until after she gave birth. The film's production cost $48 million.

The film was commercially released in the United States and Canada on March 29, 2002. The film grossed $30 million on its opening weekend. In the United States and Canada, it grossed $96.4 million. In other territories, it grossed $100.7 million for a worldwide total of $197.1 million. The film was well-received by critics, who praised Foster's performance and the film's suspense. Panic Room has been assessed for its portrayal of childhood and feminism, the elements of video surveillance and diabetes, and its thematic approach to mortality.

Recently divorced Meg Altman and her eleven-year-old daughter, Sarah, move into a four-story brownstone in New York City's Upper West Side. The house's previous owner, a reclusive millionaire, installed a " panic room" to protect the occupants from intruders. The room is reinforced by concrete and steel on all sides and a thick steel door. There is also an extensive security system with multiple surveillance cameras and a public address system.

On Meg and Sarah's first night, three men break into the home: Junior, the previous owner's grandson; Burnham, an employee of the home's security company; and Raoul, a thug Junior has recruited. They intend to steal bearer bonds locked inside a floor safe inside the panic room by the previous owners, as Junior doesn't want to share them with his extended family when his grandfather's estate is settled in probate.

When Meg awakes during the night to use the bathroom, she sees the men on the security cameras, and she and Sarah rush to the panic room. To force them out, the men pump propane gas into the room's air vents. Meg ignites the gas while she and Sarah cover themselves with fireproof blankets; the ignited propane leaves Junior badly burned. Meg taps into the main telephone line and calls her ex-husband, Stephen. As she attempts to explain their situation, the intruders cut the line, abruptly ending the call.

When all attempts to breach the room fail, Junior gives up on the robbery, while letting slip that there is more money in the safe than he initially disclosed. When he attempts to leave, Raoul fatally shoots him then forces Burnham to continue with the robbery. Stephen arrives and is immediately taken hostage. Raoul severely beats him, making sure Meg sees it on the security camera. Sarah, a diabetic, then suffers a seizure as her glucagon syringes are in her bedroom.

Raoul tricks Meg into thinking it is safe to temporarily leave the panic room and, when she leaves to retrieve Sarah's medication, the men enter the room with Sarah inside. Meg manages to throw the med kit in just as Burnham closes the door, inadvertently crushing Raoul's hand. She pleads with the men to give Sarah her medication, which Burnham does. Two policemen later arrive at the house following up on Stephen's earlier 911 call and complaints from the neighbors. To protect Sarah, Meg convinces the officers everything is fine and they leave. Meanwhile, Burnham opens the safe and finds $22 million in bearer bonds inside.

As the men prepare to leave using Sarah as a hostage, Meg leads them into an ambush where she uses a sledgehammer to knock Raoul over a banister and into a stairwell. As Burnham flees, the injured Raoul crawls back up and overpowers Meg, preparing to bludgeon her with the sledgehammer. Burnham, hearing Sarah's terrified screams, rushes back and shoots Raoul, killing him. The police, alerted by Meg's earlier odd behavior, arrive back at the house in force and apprehend Burnham, who is forced to drop the bearer bonds, which scatter in the wind.

A few days later, Meg and Sarah search the newspaper for a new, smaller home, having recovered from their harrowing ordeal.

Jodie Foster stars as Meg Altman, a recently divorced woman who, with her daughter Sarah, looks for a new home in New York City. Nicole Kidman was originally cast as Meg, but she left the project due to a knee injury. Foster, who almost joined the cast of Fincher's 1997 film , replaced Kidman. Fincher said Kidman's portrayal was "about glamour and physicality", while Foster's portrayal was "more political". Meg was originally written to be helpless, but with Foster's involvement, the character was revised to be stronger. The casting change also led to Meg's being rewritten to be similar to her daughter, whereas Meg had been different from her before. Foster became pregnant soon after she started filming. She told the filmmakers, and they decided to keep filming her scenes but with a wardrobe that would conceal her pregnancy. Studio executives did not like the dailies and suspended production until Foster gave birth and returned to perform re-shoots. Foster was reportedly paid $12 million for her role.

Kristen Stewart stars as Sarah, Meg's diabetic daughter. Hayden Panettiere was originally cast as Sarah, but when she left the project toward the end of 2000, Stewart was cast in the role. Panic Room was Stewart's second feature film after The Safety of Objects (2001). When Kidman was cast as Meg, Fincher said Stewart was "to complement [Kidman's portrayal], to be her antithesis, tomboyish, androgynous, dismissive, a teenager at ten years old. It was about the daughter being a parent to her mother." When Foster replaced Kidman, the character Meg was rewritten so she and Sarah would be similar.

Forest Whitaker, Jared Leto, and Dwight Yoakam star as the film's burglars, Burnham, Junior, and Raoul, respectively. Whitaker's character Burnham was originally written to be "a slick, technical type" and the designer of the panic room in Meg and Sarah's home. Fincher did not think a designer could be persuaded to break into a home, so he rewrote the character to be a blue-collar worker who installs panic rooms for a living. The director told Whitaker to watch (1948) and to emulate Humphrey Bogart's character. Whitaker said he liked Burnham's "conflicted" nature and preferred it to Raoul's villainy. Raoul was originally written to be "a giant scary hulking guy", but Fincher rewrote him to be "this wiry, mean kind of ex-con white trash guy". In one revised instance, Raoul punches Meg instead of slapping her to be reinforced as "an appalling character". The role of Raoul was originally offered to Maynard James Keenan, whom Fincher had directed in a music video for A Perfect Circle's " Judith". Keenan was too busy as the lead singer for Tool, so Fincher then offered the role to Yoakam, knowing him from his performance in Sling Blade (1996). For the role of Junior, Fincher cast Leto, who was in the cast of Fincher's previous film Fight Club (1999). As part of atypical class division, Junior is "the uptown rich kid", where Burnham is blue-collar, and Raoul is undefinable.

Patrick Bauchau had a minor role as Meg's ex-husband Stephen. Kidman, though she left the primary role due to her knee injury, had an uncredited off-screen role as the voice of Stephen's supermodel girlfriend. Screenwriter Andrew Kevin Walker, who was a credited writer for and The Game and an uncredited writer for Fight Club, had a cameo in Panic Room as a sleepy neighbor.

Director David Fincher

Panic Room was directed by David Fincher based on a screenplay written by David Koepp. The film, produced at Columbia Pictures, was Fincher's fifth feature film, following (1999). Koepp was also a producer for Panic Room, and he was joined by Judy Hofflund and Gavin Polone, with whom he collaborated on Stir of Echoes (1999). Fincher included as producer Ceán Chaffin, with whom he had worked on commercials and music videos. Fincher also included in his initial crew people with whom he had worked before: cinematographer Darius Khondji, production designer Arthur Max, costume designer Michael Kaplan, and editors James Haygood and Angus Wall.

Fincher envisioned Panic Room as a popcorn movie about survival. His previous film Fight Club had 400 scenes and 100 locations, so he wanted to simplify the production of Panic Room. To this end, he wanted to focus production on a single set and to plan the scenes and shots thoroughly before the start of filming. Despite the preparation, he experienced difficulty in production with changes in the cast and the crew as well as the inherent inflexibility of his initial planning.

Screenwriter David Koepp was inspired by news coverage in 2000 about how safe rooms were becoming prevalent among the wealthy living in urban areas. He sold the script to Sony Pictures for $4 million. Before Fincher's involvement, director Ridley Scott was briefly connected to the project, and actor-director Forest Whitaker studied the script before declining the opportunity to direct. Fincher said he was interested in the script's omniscience and that he was reminded of "the specific subjectivity" of Rear Window (1954). He also saw Panic Room as a cross between Rear Window and (1971), though he was concerned "a modern audience" would compare Panic Room more to (1990) than to Rear Window.

Fincher also saw Panic Room as a crime thriller similar to The Treasure of the Sierra Madre (1948), where money is "an object that everyone's after for the wrong reasons". The director was also interested in the story's conciseness of happening in one place and in one night, and how the screenplay was well-laid out to let the director decide a variety of shots and use of set-pieces. Fincher also saw the project as a way to be "in lock-step with the audience" in a change of pace from his previous films.

Koepp's screenplay emphasized pace over exposition. Koepp and Fincher agreed to streamline the film so the opening would introduce the characters as soon as possible. Fincher also sought to lay out the film so audiences could see characters make plans and thus be ahead of them, calling the tense foresight "a very cinematic notion". He wanted to track the different characters' agendas and to also keep scenes chronological, so he set up "computer-generated motion-control shots" to move the camera around the set. He planned scenes in which parallel scenes could be seen through the panic room's video monitors and also intercut between different characters. The final screenplay was similar in outline to the original one; there were minor changes in dialogue and specific moments, especially in the interaction between Meg and Sarah Altman due to Foster replacing Kidman. Explicit mention of Sarah's diabetes, such as the emergency syringe containing glucagon, were removed from the dialogue. Careful beverage intake, refrigerated medicine bottles, and Sarah's glucometer watch were intended as evidence of her diabetes.

The house was built on a soundstage on a Raleigh Studios lot. The set was designed by production designer Arthur Max, and it cost $6 million to build. The panic room was 6 feet (1.8 m) by 14 feet (4.3 m). Three versions of the room were built so Fincher could film scenes from multiple angles. A 3D computer model of the set on the soundstage was designed. Fincher, who had done pre-visualization for Fight Club, used the model to design shots and decide their sequence. The computer model also enabled the camera to have "total freedom to travel" inside the house. Fincher said, "What we were just trying to do with CG was to say, there's no camera operator, there's no crew, there's no track, and the camera can go everywhere." The crew applied photogrammetry-"mapping still images over the surface of computer-generated 'sets'". The filming schedule was also shortened since camera setups could be evaluated and discarded virtually. Fincher had two-thirds of Panic Room's shots planned before the start of filming. Director Steven Soderbergh reviewed Fincher's test footage and warned him that excessive planning would make actual production difficult for him and his crew.

Fincher sought to light his film less than most other films; he believed darkness contributed to the scare factor. Entering production, he initially planned to film the first half of the film in near-total darkness but decided that it required too much patience from audiences. Instead, he chose a "shadowy ambience" as a backdrop for Meg and Sarah Altman.

Jodie Foster was cast in the lead role after original star Nicole Kidman exited due to injury. Foster learned she was pregnant five weeks into filming her scenes.

Casting began in 2000, with Nicole Kidman and Hayden Panettiere cast as Meg and Sarah Altman, the film's mother and daughter. Forest Whitaker, Jared Leto, and Dwight Yoakam were also cast as the film's burglars. In December 2000, before the start of filming, Panettiere left the project, and was replaced by Kristen Stewart. Filming began in January 2001. Shortly after the start of filming, cinematographer Darius Khondji was fired from the film. Khondji said he was fired after a conflict with a crew member that he did not want to name, but David Fincher said he and Khondji could not agree "on aspects of production". Much of the film was already planned in pre-production, and Khondji could not be given flexibility. Fincher replaced Khondji with Conrad W. Hall, with whom he found "a balance". Khondji said he supported Hall as his replacement.

After two weeks of filming, at the end of January 2001, Kidman was injured on set. An x-ray revealed a hairline fracture underneath one of her knee joints. The fracture was an injury from Kidman's filming of Moulin Rouge! (2001), and the fracture had never fully healed. When Kidman left the project, Fincher continued filming scenes that did not include her character. During the same time of Kidman's departure, the Writers Guild of America and the Screen Actors Guild were threatening to strike over contractual disputes, so Fincher was pressured to re-cast the role of Meg Altman before it took place. Since the film was early in production, Fincher was ready to shut down, but the studio wanted to continue production and find a replacement. If the studio had shut down production permanently, it would have collected $3 million from insurance. If production was shut down then restarted, it would cost the studio $10 million, necessitating a quick replacement for Kidman. Rumored actors included Sandra Bullock, Angelina Jolie, and Robin Wright. Jodie Foster was previously occupied with directing duties of Flora Plum before its star Russell Crowe was injured and left the project, leading to that production's shutdown. To join Panic Room, Foster also stepped down as head of the awards jury at the 2001 Cannes Film Festival. Foster had a week to prepare for her role before filming resumed.

Five weeks after Foster began filming Panic Room, she learned she was pregnant. She informed Fincher and his producer Chaffin of her pregnancy, and they decided to continue filming. Fincher did not want to rush production, so Foster changed her wardrobe from a tank top to a heavy sweater to disguise indications of her pregnancy. For action scenes, stunt double Jill Stokesberry replaced Foster.

In the film's progression, the house degrades in quality, so Fincher filmed scenes in continuity as the set changed. He also filmed many sequences twice due to their near-parallel appearance on the panic room's video monitors. Editor Wall said there were 2,073 set-ups for the film with most set-ups having two cameras. One repeated take was when Raoul attempts to break into the panic room through the plaster ceiling below it. The plaster took 45 minutes to replace, so combined with repeated takes, a scene that was an eighth of a page in the script took two days to film. Another repeated take was one five-second shot being filmed over a hundred times: Meg being attacked by Raoul and dropping Sarah's medical kit. The shot was repeated so it would look like Meg did not toss the kit but instead lost it. Simultaneously, the kit needed to land in frame and in focus for the audience. Fincher argued for repeated takes so he could combine performances by the actors for "fluid" scenes. He also repeated takes with Stewart to ensure that her acting would be comparable to Foster's veteran performance.

The studio planned to release Panic Room in February 2002, but it determined that production could not be completed by then. Executives reviewed dailies of the film's opening scene and did not like Foster "hiding her stomach under a coat and purse". (Foster was also suffering from a sprained hip from distended ligaments due to her pregnancy.) The studio suspended production until after Foster's childbirth and rescheduled for the film to be released in March 2002. Foster gave birth in September 2001, and she returned to perform re-shoots, including the opening scene. She also returned two months later for additional filming, which concluded that November. Columbia Pictures screened the film for test audiences, who rated poorly the ending with the SWAT raid and Burnham's capture. By the screening, the set had been deconstructed due to storage costs, and Fincher estimated that it would cost $3 million to rebuild enough of the set to reshoot the ending. Instead, editors Haygood and Wall revisited Burnham's scenes and chose takes in which the character would appear less sympathetic. The final production budget for Panic Room was $48 million.

A seamless shot at the beginning of Panic Room took nine days to film on set but took several months to complete in post-production. The shot was a combination of camera footage and computer-generated effects. Koepp originally wrote the opening scene to be a series of shots that would zero in on the brownstone house, but Fincher instead chose a sequence of landmarks in New York City with credits hovering in front of them before the sequence transited seamlessly to introduce the film's main characters. The opening titles were inspired by those seen in The Trouble with Harry (1955) and North by Northwest (1959). The scene of Burnham's arrest also used computer-generated effects. Several scenes also involved practical effects: Junior's injuries from a flaming gas burn and Stephen Altman's bloodied, beaten self. A team of puppeteers was used to move Stephen's sticking-out collarbone. Fincher also sent the film reel to be digitally color-corrected as he had done for Fight Club and .

Academic Jyotsna Kapur identifies Panic Room as one of several American conspiracy thrillers in the 2000s that re-cast the subject of childhood as "one of horror and alarm", where it had previously been a subject of celebration in family films dating back to the early 1980s. Kapur also says the depiction of paranoia in the decade's conspiracy thrillers is divided by gender, describing the male protagonist as "an idealized subject who thinks fast on his feet and cuts through fear to find the conspirators". In contrast, the female protagonist "gives in to her fear, turns delusional and vulnerable to suggestion"; Kapur cites Meg Altman in Panic Room as such a depiction with her divorcee status and her residence in a home too big for her and her daughter Sarah. The academic says calling this depiction merely a sexist stereotype is too dismissive: "It is logical that anxieties around the home and loss of children would privilege women because the domestic sphere has remained a gendered space." Kapur recalls 1940s films wherein a woman enters the husband's home as a stranger, with "the house and the husband as sources of dependence and dread". She contrasts them with films like Panic Room, in which the female protagonists instead defend against dangerous intruders. She writes, "They are not economically dependent on the marriage. Yet they portray for most of the film an image of feminized vulnerability, replaying the racist trope of diminutive white women in need of protection from outsider threats."

Panic Room is one of several films at the turn of the 21st century that use video surveillance as a key element. In particular, video surveillance is featured to illustrate aspects of a " surveillance society". The home is wired with a closed-circuit television system, and the images are displayed in the home's panic room. Since the burglars want to access the safe in the panic room where Meg and her daughter Sarah are hiding, there is an irreconcilable contradiction of freedom and safety. Dietmar Kammerer says there is no closed system within the home for the characters: "There is always communication; every action provokes a reaction." In contrast, the film's "camera eye" can travel unimpeded throughout the home, passing through walls. The surveillance footage in the film is never the camera eye; the camera eye itself observes the footage on the monitors. Of the cameras, Kammerer says, they are "Extremely mobile, but unstable: the surveillance technology in Panic Room is useful and harmful, good and evil at once." When the cameras are destroyed, Meg and Sarah are able to overcome the burglars. Kammerer says the cameras reflect ambivalence in the film, between "freedom and security, openness and closedness".

In the film, Sarah is diabetic. Kevin L. Ferguson says, "With diabetes, this self-aware focus on the ethics of the body is drawn sharply by films that also raise the older form of direct, punitive power. This is the reason why diabetics appear with frequency in films involving criminality and law." In a review of nearly forty films with diabetes as a key element, Panic Room is one of the only three that shows a glucometer (a device diabetics use to measure their glucose; Sarah wears a glucometer as a watch.) Sarah's diabetes in the film is never explicitly outlined for audiences, but they hear dialogue about moderating beverage intake and see the glucometer count down. Ferguson says, "The glucometer arranges the viewer's acknowledgement of diabetic selfcare, thus implicating the viewer in the process of control. The pure watchfulness of cinemagoers mimics the controlling relationship diabetic characters must endure." Though mother and daughter bond in the film, the mother actively monitors her daughter's health. Ferguson says, " Panic Room's emphasis on vision and technology necessitates a paternalistic, monitoring attitude towards the diabetic character." He also notes that the glucometer parallels the overarching surveillance system in the film in being read "excessively".

Academic John Kitterman says audiences see Panic Room as a way to confront their fears and to achieve catharsis, but he argues that the film cannot provide that experience authentically. He notes that the film's protagonist Meg Altman is reminded by the panic room of author Edgar Allan Poe, who wrote several short stories related to premature burial. Kitterman highlights one story, " The Premature Burial", as synonymous with Panic Room. He says, in both works, "It is in the representing or acting out of such fears of being buried alive or being the victim of a home invasion that the protagonist actually calls for that trauma to happen." He says that Meg's nervous recognition of the panic room guarantees that her fear will come to pass. Though the home "looks like a mausoleum", the combination of the panic room's being able to monitor all the rooms and the unbounded movement of the film's camera leads audiences to believe they have some control over confronting their fears. Kitterman says the confrontation is unauthentic because of the function of Jacques Lacan's symbolic order, "We can never find what we are looking for because truth and reality exist on a different plane of discovery... Truth is hidden in the symbolic order, and no panoptical vision is going to reveal it to us." Kitterman says the film hides the truth of mortality, especially by making everywhere in the film visible to audiences. He concludes, "[Fincher] hides the truth behind a veil of visibility, using the camera to create a hegemony of vision that brainwashes us all into believing that what we are seeing is real. But the real of death cannot be symbolized."

Columbia Pictures marketed Panic Room as being produced by the same director who produced and . Fincher disagreed with the approach because he believed that Panic Room did not match the tone of his previous two films and that it would not appeal to the same audiences. He believed Panic Room would appeal more to audiences who saw Kiss the Girls (1997) and The Bone Collector (1999). He also disagreed with the studio's marketing materials for Panic Room, which advertised it as "the most terrifying movie ever made". Fincher also argued with the studio about the poster design, which he believed reflected the film's themes, and the studio relented in publishing Fincher's poster.

Panic Room had its world premiere on March 18, 2002 in Los Angeles. Fincher refused to edit the film to receive a PG-13 rating (parental guidance for children under 13) from the Motion Picture Association of America, so the MPAA gave the film an R rating (restricted to filmgoers at least 17 years old) for violence and language. It was commercially released in the United States and Canada on March 29, 2002. It was screened in 3,053 theaters and grossed $30 million on its opening weekend. It ranked first at the box office, and for both actor Jodie Foster and director David Fincher, the opening weekend gross was a personal best to date. It surpassed (1999) to have the biggest Easter holiday-weekend opening and also had the third biggest opening to date for a non-supernatural thriller film, following (2001) and (1996). Audiences polled by CinemaScore, during the opening-weekend, gave Panic Room a "B" grade on an A+ to F scale. The audience demographic was 53% female and 47% male, and 62% of audience members were aged 25 years and older.

In the film's second weekend (April 5-7) in the United States and Canada, it ranked first again with $18.2 million, competing mainly with the new release High Crimes. The film went on to gross $96.4 million at the US and Canadian box office and $100 million in other territories' box offices for a worldwide total of $196.4 million. (In 2006, the film had a re-release in Hong Kong that grossed $682 thousand, increasing the total to $197.1 million.) The film was Fincher's second highest-grossing to date after Seven, which grossed $327.3 million worldwide. In the United States and Canada, Panic Room ranks fifth among David Fincher's films in box office gross. Adjusted for inflation, Panic Room ranks third. Worldwide, unadjusted for inflation, it ranks fifth.

Critics called Panic Room "a high-tension narrative". They compared the film to the works of Alfred Hitchcock, both positively and negatively. Several critics thought the film was too mainstream after Fincher's . Rotten Tomatoes reported that 76% of 188 sampled critics gave the film positive reviews, with an average rating of 6.9/10. The consensus states: "Elevated by David Fincher's directorial talent and Jodie Foster's performance, Panic Room is a well-crafted, above-average thriller." Metacritic, which uses a weighted average, gave the film a score of 65 out of 100 based on 36 critics, indicating "generally favorable reviews".

Joe Morgenstern of The Wall Street Journal said, " Seven was stylishly gloomy, and Fight Club was smarmily pretentious, while Panic Room has been admirably stripped down to atmosphere as a function of architecture, and action as a consequence of character." Morgenstern commended the characters Meg and Sarah as feminist heroines and also called the home invaders "intriguing". He also applauded Foster's performance and the film's cinematography, and he said to Koepp's script as "all worked out too". Film critic Roger Ebert gave the film three stars out of four, describing Panic Room as close to "the ideal of a thriller existing entirely in a world of physical and psychological plausibility." Ebert wrote, "There are moments when I want to shout advice at the screen, but just as often the characters are ahead of me." Ebert also called Fincher "a visual virtuoso", and applauded Foster's performance as "spellbinding".

Panic Room was first released on VHS and DVD on September 17, 2002. The studio produced VHS copies only for rental and not for sale, believing that owners of DVD players were more likely to buy the film. The studio used the design from the theatrical release poster for the video cover, where Fincher had wanted a black cover that would differ from the poster. Though previsualization supervisor Ron Frankel wanted to include materials to show storyboard animation, the DVD was released as a single-disc edition with no audio commentary or other features. Fincher also chose not to include on the DVD scenes filmed with Nicole Kidman before she was replaced by Jodie Foster. In its first week, the film ranked second in DVD sales after Monsters, Inc., though it ranked first in DVD rentals. In March 2004, the studio released a special edition DVD, which consisted of three discs, two which provided featurettes of the pre-production, production, and post-production processes for the film. The DVD also had several commentary tracks, including one by the director. Author John T. Caldwell cites the special edition DVD of Panic Room as an example of demonstrating directorial control to "aesthetically elevate" the film.

Columbia Pictures sold the television rights for Panic Room to Turner Broadcasting and CBS, who shared the rights over five years. In September 2004, Turner aired the film on channels TBS and TNT for 12 months, and afterward, CBS aired the film three times in an 18-month span. Turner resumed airing Panic Room for 30 months after CBS's turn.

A Blu-ray version of the film has yet to be released, but it is available in 1080p HD on Amazon Prime Video, iTunes, Google Play, and other streaming services.[citation needed ]

Howard Shore won from the American Society of Composers, Authors and Publishers an ASCAP Award in the Top Box Office Film music category for his scores for Panic Room and The Lord of the Rings: The Two Towers. The Art Directors Guild nominated Panic Room for the Excellence in Production Design for a Contemporary Film Award. The Online Film Critics Society Award nominated Panic Room for Best Editing. Panic Room won an award at the 3rd Golden Trailer Awards for having the Best Horror/Thriller film trailer, beating fellow nominees , Brotherhood of the Wolf, Jurassic Park III, and No Such Thing. For her performance in the film, Jodie Foster was nominated for a Saturn Award for Best Actress.

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Panic Room is a 2002 American thriller film directed by David Fincher. The film stars Jodie Foster and Kristen Stewart as a mother and daughter whose new home is invaded by burglars, played by Forest Whitaker, Jared Leto, and Dwight Yoakam.

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The release of Twilight set Kristen on fire and made her a hot actress around the world, while her literate screen image completely stereotyped Kristen for audiences.

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Twilight is a 2008 American romantic fantasy film based on Stephenie Meyer's 2005 novel of the same name. Directed by Catherine Hardwicke, the film stars Kristen Stewart and Robert Pattinson. It is the first film in The Twilight Saga film series. This film focuses on the development of the relationship between Bella Swan (a teenage girl) and Edward Cullen (a vampire), and the subsequent efforts of Edward and his family to keep Bella safe from a coven of evil vampires.

The project was in development for approximately three years at Paramount Pictures, during which time a screen adaptation that differed significantly from the novel was written. Summit Entertainment acquired the rights to the novel after three years of the project's stagnant development. Melissa Rosenberg wrote a new adaptation of the novel shortly before the 2007-2008 Writers Guild of America strike and sought to be faithful to the novel's storyline. Principal photography took 44 days and was completed on May 2, 2008; the film was primarily shot in Oregon.

Twilight was theatrically released on November 21, 2008; it grossed over US$407 million worldwide, despite receiving mixed reviews from critics. It was released on DVD March 21, 2009 and became the most purchased DVD of the year. The soundtrack was released on November 4, 2008. Following the film's success, and , the next two novels in the series, were produced as films the following year.

Seventeen-year-old Bella Swan, leaves Phoenix, Arizona and moves to Forks, a small town located on Washington state's Olympic Peninsula, to live with her father, Charlie, the town's police chief. Her mother, Renée, is remarried to Phil, a minor league baseball player whose career often keeps them on the road.

Bella becomes re-acquainted with Jacob Black, a Native American teen who lives with his father, Billy, on the Quileute Indian Reservation near Forks. She makes friends at her new high school, but finds the mysterious and aloof Cullen siblings particularly intriguing. Bella is seated next to Edward Cullen in biology class on her first day, but he seems repulsed by her. After a week's absence from school, Edward returns and socializes normally with Bella. A few days later, she is nearly struck by a skidding van in the school parking lot. Edward instantaneously covers a distance of over thirty feet, putting himself between Bella and the van, stopping it with only his hand. He subsequently refuses to explain his actions to her, warning her against befriending him. Jacob tells Bella about a long-standing animosity between the Cullens and the Quileutes, and says the Cullens are not allowed on the reservation.

After much research, Bella concludes that Edward has mysterious powers that resemble a vampire's. He eventually confirms this, but says that he and the other Cullens only consume animal blood. They fall in love, and Edward introduces Bella to his vampire family. Carlisle Cullen, the family patriarch, is a doctor at the Forks hospital. Esme is Carlisle's wife and the family matriarch. Alice, Jasper, Emmett, and Rosalie are their informally-adopted children. The family's reaction to Bella is mixed, concerned that the family's secret could be exposed.

Edward and Bella's relationship is jeopardized when three nomadic vampires- James, Victoria, and Laurent -arrive in the Forks area, and are responsible for a series of deaths being investigated as animal attacks. James, a tracker vampire with incredible hunting instincts, is excited by Bella's scent and becomes obsessed with hunting her for sport. Edward and the other Cullens protect Bella, but James tracks her to Phoenix, where she is hiding with Jasper and Alice.

James lures Bella into a trap at an old ballet studio. He attacks her, infecting her with vampire venom. Edward arrives and, after a ferocious battle, subdues James just as other Cullens arrive. Alice, Emmett, and Jasper kill James, decapitating and burning him, as Edward removes the venom from Bella's wrist, preventing her becoming a vampire. In the aftermath, she has suffered a broken leg and is hospitalized. Upon returning to Forks, Edward accompanies Bella to the high school prom, where he refuses her request to transform her into a vampire. They are unaware that James' mate, Victoria, is secretly watching them, plotting revenge for her lover's death.

Kristen Stewart as Bella Swan, a seventeen-year-old girl who moves to the small town of Forks, Washington from Phoenix, Arizona and falls in love with Edward Cullen, a vampire. Her life is endangered after James, a sadistic vampire, decides to hunt her.

Robert Pattinson as Edward Cullen, a 108-year-old vampire who was changed in 1918 and still appears to be seventeen. He is Bella's love interest and eventually falls in love with her. He has the ability to read minds, with the exception of Bella's, along with superhuman speed.

Taylor Lautner as Jacob Black, an old childhood friend of Bella and a member of the Quileute tribe.

Gregory Tyree Boyce as Tyler Crowley, another one of Bella's classmates, also vying for Bella's attention. He nearly hits Bella with his van.

Solomon Trimble as Sam Uley. Solomon Trimble was credited as "Jacob's friend" in the film, but was widely recognized as playing the part of Sam.

Krys Hyatt as Embry Call. He was recognized as playing the part of Embry in the Twilight film, though his role was uncredited.

Gil Birmingham as Billy Black

Matt Bushell as Phil Dwyer

José Zúñiga as Mr. Molina

Ned Bellamy as Waylon Forge

Ayanna Berkshire as Cora

Katie Powers as Waitress

Trish Egan as Ms. Cope

Production

Development

Stephenie Meyer's paranormal romance novel was originally optioned by Paramount Pictures' MTV Films in April 2006, but the screenplay that was subsequently developed was substantially different from its source material. When Summit Entertainment reinvented itself as a full-service studio in April 2007, it began development of a film adaptation anew, having picked up the rights from Paramount (who coincidentally had made an unrelated film with the same title in 1998) in a turnaround. The company perceived the film as an opportunity to launch a franchise based on the success of Meyer's book and its sequels. Catherine Hardwicke was hired to direct the film and Melissa Rosenberg was hired to write the script in mid-2007.

Rosenberg developed an outline by the end of August, and collaborated with Hardwicke on writing the screenplay during the following month. Rosenberg said Hardwicke "was a great sounding board and had all sorts of brilliant ideas.... I'd finish off scenes and send them to her, and get back her notes." Due to the impending Writers Guild of America strike, Rosenberg worked full-time to finish the screenplay before October 31. In adapting the novel, she "had to condense a great deal." Some characters from the novel were not featured in the screenplay, whereas some characters were combined into others. "[O]ur intent all along was to stay true to the book", Rosenberg explained, "and it has to do less with adapting it word for word and more with making sure the characters' arcs and emotional journeys are the same." Hardwicke suggested the use of voice over to convey Bella's internal dialogue - since the novel is told from her point of view - and she sketched some of the storyboards during pre-production.

Adaptation from source material

The filmmakers behind Twilight worked to create a film that was as faithful to the novel as they thought possible when converting the story to another medium. Producer Greg Mooradian said, "It's very important to distinguish that we're making a separate piece of art that obviously is going to remain very, very faithful to the book.... But at the same time, we have a separate responsibility to make the best movie you can make." To ensure a faithful adaptation, Meyer was kept very involved in the production process, having been invited to visit the set during filming and even asked to give notes on the script and on a rough cut of the film. Of this process, she said, "It was a really pleasant exchange [between me and the filmmakers] from the beginning, which I think is not very typical. They were really interested in my ideas", and, "...they kept me in the loop and with the script, they let me see it and said, 'What are your thoughts?' ... They let me have input on it and I think they took 90 percent of what I said and just incorporated it right in to the script." Meyer fought for one line in particular, one of the most well known from the book about "the lion and the lamb", to be kept verbatim in the film: "I actually think the way Melissa [Rosenberg] wrote it sounded better for the movie [...] but the problem is that line is actually tattooed on peoples' bodies [...] But I said, 'You know, if you take that one and change it, that's a potential backlash situation.'" Meyer was even invited to create a written list of things that could not be changed for the film, such as giving the vampires fangs or killing characters who do not die in the book, that the studio agreed to follow. The consensus among critics is that the filmmakers succeeded in making a film that is very faithful to its source material, with one reviewer stating that, with a few exceptions, " Twilight the movie is unerringly faithful to the source without being hamstrung by it."

They could have filmed [the script developed when the project was at Paramount] and not called it Twilight because it had nothing to do with the book... When Summit [Entertainment] came into the picture, they were so open to letting us make rules for them, like "Okay, Bella cannot be a track star. Bella cannot have a gun or night vision goggles. And, no jet skis...."

However, as is most often the case with film adaptations, differences do exist between the film and source material. Certain scenes from the book were cut from the film, such as a biology room scene where Bella's class does blood typing. Hardwicke explains, "Well [the book is] almost 500 pages-you do have to do the sweetened condensed milk version of that.... We already have two scenes in biology: the first time they're in there and then the second time when they connect. For a film, when you condense, you don't want to keep going back to the same setting over and over. So that's not in there." The settings of certain conversations in the book were also changed to make the scenes more "visually dynamic" on-screen, such as Bella's revelation that she knows Edward is a vampire-this happens in a meadow in the film instead of in Edward's car as in the novel. A biology field trip scene is added to the film to condense the moments of Bella's frustration at trying to explain how Edward saved her from being crushed by a van. The villainous vampires are introduced earlier in the film than in the novel. Rosenberg said that "you don't really see James and the other villains until to the last quarter of the book, which really won't work for a movie. You need that ominous tension right off the bat. We needed to see them and that impending danger from the start. And so I had to create back story for them, what they were up to, to flesh them out a bit as characters." Rosenberg also combined some of the human high school students, with Lauren Mallory and Jessica Stanley in the novel becoming the character of Jessica in the film, and a "compilation of a couple of different human characters" becoming Eric Yorkie. About these variances from the book, Mooradian stated, "I think we did a really judicious job of distilling [the book]. Our greatest critic, Stephenie Meyer, loves the screenplay, and that tells me that we made all the right choices in terms of what to keep and what to lose. Invariably, you're going to lose bits and pieces that certain members of the audience are going to desperately want to see, but there's just a reality that we're not making 'Twilight: The Book' the movie."

When they told me Rob was probably the one, I looked him up and thought, "Yeah, he can do a version of Edward. He's definitely got that vampire thing going on." And then, when I was on set and I got to watch him go from being Rob to shifting into being Edward, and he actually looked like the Edward in my head, it was a really bizarre experience. [...] He really had it nailed.

Kristen Stewart was on the set of Adventureland when Hardwicke visited her for an informal screen test that "captivated" the director. Hardwicke had trouble finding an actor otherworldly enough to play vampire Edward Cullen. Then she got a call about a guy in London. "I looked at a couple pictures and was like, 'I'm not sure,'?...He had been fired from his last job, he was unemployed, he was in debt." Pattinson flew to Los Angeles on his own dime to read with Stewart. Shiloh Fernandez, Jackson Rathbone, Ben Barnes, and Robert Pattinson were the final four up for the role of Edward. Meyer had imagined Henry Cavill in the role while she was writing the book, but he was deemed too old by the time production began. Hardwicke did not initially choose Robert Pattinson for the role of Edward Cullen, but after an audition at her home with Stewart, he was selected. Hardwicke said, "Kristen was like, 'It's got to be Rob!' She felt connected to him from the first moment. That electricity, or love at first sight, or whatever it is." Hardwicke gave him the part, but he had to make a promise. "You've got to realize that Kristen is 17 years old," Hardwicke told him, "She's underage. You've got to focus, dude, or you're going to be arrested. I made him swear on a stack of Bibles." Pattinson was unfamiliar with the novel series prior to his screen test but read the books later on. Meyer allowed him to view a manuscript of the unfinished Midnight Sun, which chronicles the events in Twilight from Edward's point of view. Fan reaction to Pattinson's casting as Edward was initially negative; Rachelle Lefèvre remarked that "[e]very woman had their own Edward [that] they had to let go of before they could open up to [him], which they did." Meyer was "excited" and "ecstatic" in response to the casting of the two main characters. She had expressed interest in having Emily Browning and Henry Cavill cast as Bella and Edward, respectively, prior to pre-production.

Henry Cavill, Meyer's original choice for Edward, turned down the role of Carlisle. Peter Facinelli was not originally cast as Carlisle Cullen. "Hardwicke liked me, but there was another actor that the studio was pushing for," Facinelli said. For unknown reasons, that actor was not able to play the part and Facinelli was selected in his place. The choice of Ashley Greene to portray Alice Cullen was the subject of fan criticism due to Greene being 7 inches (18 cm) taller than her character as described in the novel. Meyer had also stated that Rachael Leigh Cook resembled her vision of Alice. Nikki Reed had previously worked with Hardwicke on , which they wrote together, and Lords of Dogtown. Reed commented, "I don't want to say it's a coincidence, because we do work well together, and we have a great history. I think we make good work, but it's more that the people that hire [Hardwicke] to direct a film of theirs [have] most likely seen her other work."

Kellan Lutz was in Africa shooting the HBO miniseries Generation Kill when the auditions for the character of Emmett Cullen were conducted. The role had already been cast by the time that production ended in December 2007, but the actor who had been selected "fell through"; Lutz subsequently auditioned and was flown to Oregon, where Hardwicke personally chose him. Rachelle Lefèvre was interested in pursuing a role in the film because Hardwicke was attached to the project as director; there was also "the potential to explore a character, hopefully, over three films"; and she wanted to portray a vampire. She "thought that vampires were basically the best metaphor for human anxiety and questions about being alive." Christian Serratos initially auditioned for Jessica Stanley, but she "fell totally in love with Angela" after reading the novels and successfully took advantage of a later opportunity to audition for Angela Weber. The role of Jessica Stanley went to Anna Kendrick, who got the part after two mix-and-match auditions with various actors.

Filming and post-production

On a bed in Catherine Hardwicke's house is where Pattinson kissed Stewart for the first time for the Twilight screen test. "That bed made Pattinson who he is right now," says Reed. That's also where Hardwicke auditioned Evan Rachel Wood, when she had her get into her bed with Nikki Reed for the film . When asked about her lair, Hardwicke says, " MTV came and did an episode in my house filming the bed. It's legendary." Principal photography took 44 days, after more than a week of rehearsals, and completed on May 2, 2008. Similar to her directorial debut Thirteen, Hardwicke opted for an extensive use of hand-held cinematography to make the film "feel real". Meyer visited the production set three times and was consulted on different aspects of the story; she also has a brief cameo in the film. Cast members who portrayed vampires avoided sunlight to make their skin pale, though makeup was also applied for that effect, and wore contact lenses: "We did the golden color because the Cullens have those golden eyes. And then, when we're hungry, we have to pop the black ones in," Facinelli explained. They also participated in rehearsals with a dance choreographer and observed the physicality of different panthera to make their bodily movements more elegant.

Scenes were filmed primarily in Portland, Oregon, including at the Cullen House, a striking glass-and-wood residence. Stunt work was done mainly by the cast. The fight sequence between Gigandet and Pattinson's characters in a ballet studio, which was filmed during the first week of production, involved a substantial amount of wire work because the vampires in the story have superhuman strength and speed. Gigandet incorporated mixed martial arts fighting moves in this sequence, which involved chicken and honey as substitutes for flesh. Bella, the protagonist, is unconscious during these events, and since the novel is told from her point of view, such action sequences are illustrative and unique to the film. Pattinson noted that maintaining one's center of gravity is difficult when doing wire work "because you have to really fight against it as well as letting it do what it needs to do." Lefèvre found the experience disorienting since forward motion was out of her control.

Instead of shooting at Forks High School itself, scenes taking place at the school were filmed at Kalama High School and Madison High School. Other scenes were filmed in St. Helens, and Hardwicke conducted some reshooting in Pasadena, California, in August. Twilight was originally scheduled to be theatrically released in the United States on December 12, 2008, but its release date was changed to November 21 after Harry Potter and the Half-Blood Prince was rescheduled for an opening in July 2009. Two teaser trailers, as well as some additional scenes, were released for the film, as well as a final trailer, which was released on October 9. A 15-minute excerpt of Twilight was presented during the International Rome Film Festival in Italy. The film received a rating of PG-13 from the Motion Picture Association of America for "some violence and a scene of sensuality".

The score for Twilight was composed by Carter Burwell, with the rest of the soundtrack chosen by music supervisor Alexandra Patsavas. Meyer was consulted on the soundtrack, which includes music by Muse and Linkin Park, bands she listened to while writing the novels. The original soundtrack was released on November 4, 2008, by Chop Shop Records in conjunction with Atlantic Records. It debuted at number 1 on the Billboard 200.

Twilight grossed over $7 million in ticket sales from midnight showings alone on November 21, 2008. The film is fifth overall on Fandango's list of top advance ticket sales, outranked only by its sequel the following year, Star Wars: Episode III - Revenge of the Sith (2005), The Dark Knight (2008), and Harry Potter and the Half-Blood Prince (2009). It grossed $35.7 million on its opening day. For its opening weekend in the United States and Canada, Twilight accumulated $69.6 million from 3,419 theaters at an average of $20,368 per theater. The film grossed $192,769,854 in the United States and Canada, and $214,417,861 in international territories for a total of $407,187,715. Its opening weekend gross was the highest ever of a female-directed film, surpassing that of Deep Impact (1998).

Critical reception

Based on 219 reviews collected by Rotten Tomatoes, the film has a rating of 49% and a weighted average score of 5.41/10. The website's critical consensus reads: "Having lost much of its bite transitioning to the big screen, Twilight will please its devoted fans, but do little for the uninitiated." On Metacritic, it has a weighted mean score of 56 based on 38 reviews from film critics, indicating "mixed or average reviews". New York Press critic Armond White called the film "a genuine pop classic", and praised Hardwicke for turning " Meyer's book series into a Brontë-esque vision." Roger Ebert gave the film two-and-a-half stars out of four and wrote, "I saw it at a sneak preview. Last time I saw a movie in that same theater, the audience welcomed it as an opportunity to catch up on gossip, texting, and laughing at private jokes. This time the audience was rapt with attention". In his review for the Los Angeles Times, Kenneth Turan wrote, " Twilight is unabashedly a romance. All the story's inherent silliness aside, it is intent on conveying the magic of meeting that one special person you've been waiting for. Maybe it is possible to be 13 and female for a few hours after all". gave the film two out of four stars and Claudia Puig wrote, "Meyer is said to have been involved in the production of Twilight, but her novel was substantially more absorbing than the unintentionally funny and quickly forgettable film". Entertainment Weekly gave the film a "B" rating and Owen Gleiberman praised Hardwicke's direction: "She has reconjured Meyer's novel as a cloudburst mood piece filled with stormy skies, rippling hormones, and understated visual effects".

The film was released on DVD in North America on March 21, 2009, through midnight release parties, and sold over 3 million units in its first day. It was released on April 6, 2009 in the UK. Bonus features include about 10 to 12 extended or deleted scenes, montages and music videos, behind-the-scenes interviews, a "making-of" segment, and commentary featuring Hardwicke, Stewart, and Pattinson. The Blu-ray disc edition of the film was released on March 21, 2009, in select locations, but was made more widely available at further retailers on May 5, 2009. As of July 2012, the film has sold 11,242,519 units, earning $201,190,019.

The film and the next two installments of the Twilight Saga was rereleased as a triple feature with extended cuts on January 13, 2015.

Twilight was released on 4K Blu-Ray on October 23, 2018.

A film trivia video game developed by Screenlife Games and published by Konami for the Wii, Nintendo DS, PC and iPhone was released alongside the second film.

Since its release, Twilight has received numerous nominations and awards. In January 2009, Carter Burwell was nominated for Film Composer of the Year by the International Film Music Critics Association. Robert Pattinson won Bravo TV's A-List Award for A-List Breakout. At the 2009 MTV Movie Awards, Pattinson, who was nominated alongside Taylor Lautner, also won an award for Male Breakthrough Performance, " Decode" was nominated for Best Song from a Movie, Twilight won an award for Best Movie, Kristen Stewart won for Best Female performance, Stewart and Pattinson were awarded Best Kiss, and Pattinson and Cam Gigandet won an award for Best Fight. Christian Serratos won a Young Artist Award for Best Performance in a Feature Film: Supporting Young Actress. For the 2009 Teen Choice Awards, held on August 9, the film and its actors received a combined total of 12 nominations, nine of which the film won. At the 2009 Scream Awards, the film was nominated for nine awards, four of which it won. The film won two ALMA Awards for makeup and hairstyling. It also won the Public Choice Award at the World Soundtrack Awards, where Carter Burwell was also nominated for Composer of the Year. Catherine Hardwicke received a Young Hollywood Award for her directing. In addition, the film was nominated for Best Fantasy Film at the 35th Saturn Awards and two Grammy Awards.

Extended Edition

In 2015, Lionsgate released an Extended edition a bit over 4 minutes longer. It edits into the movie scenes already released as "Deleted Scenes" on previous DVD releases.

MTV reported in February 2008 that Summit Entertainment intended to create a series of at least three films based on Meyer's books. The studio had optioned , the second book in the series, by October 2008, and confirmed their plans to make a film based on it November 22, 2008. Because Catherine Hardwicke had wanted more preparation time than Summit's schedule for the production and release of the sequel would provide, Chris Weitz was selected to direct it in December 2008.

References

External links

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Twilight is a 2008 American romantic fantasy film based on Stephenie Meyer's 2005 novel of the same name. Directed by Catherine Hardwicke, the film stars Kristen Stewart and Robert Pattinson. It is the first film in The Twilight Saga film series.

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Kristen dated the Twilight actor Robert Pattinson and for a while, the two became the perfect couple in the minds of the media and the public.

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Kristen dated the Twilight actor Robert Pattinson and for a while, the two became the perfect couple in the minds of the media and the public.

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This romance between Kristen and Robert is a great way for the audience to expand the plot of the film while also better establishing themselves. It's a great and simple marketing tool, and by hyping up the romance it not only drives traffic to the film but builds popularity for itself.

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robert pattinson & kristen stewart all cute moments

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While fans were buzzing about Kristen and Robert's relationship, the media caught Kristen cheating on married director Rupert Sanders, an event that forced Kristen into the spotlight at a time when her career was on the rise.

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While fans were buzzing about Kristen and Robert's relationship, the media caught Kristen cheating on married director Rupert Sanders, an event that forced Kristen into the spotlight at a time when her career was on the rise.

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This event also gave the public and the media a thorough look at Kristen in her real life in her truest form. She is no longer the quiet literary high school girl on screen, but a female entertainer with no moral boundaries.

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2. Kristen breaks the stereotype and tries to balance screen image and personal image(2012-Now).

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2. Kristen breaks the stereotype and tries to balance screen image and personal image(2012-Now).

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The cheating incident also forced Kristen to transform, and although she went through a grey period, she decided to be herself instead of maintaining the image of a literary woman even in front of the public.

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Kristen has been tagged as Bella from Twilight.

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Kristen has been tagged as Bella from Twilight.

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Not typically perfect.

Tough.

Romantic.

Brave.

Pretty.

Cool.

Smart.

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Kristen's screen persona has always given audiences a nice literary feel, but in real life, she is the opposite of that. There is a stark contrast between the two. The reality is that Kristen seems to care nothing about public perception and does many things that have no bottom line. An actress who has always been known for her innocence does have such a lack of moral boundaries in her private life, and it can't help but make netizens sigh!

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Kristen was photographed smoking marijuana with her boyfriend when she was 13.

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Kristen was photographed smoking marijuana with her boyfriend when she was 13.

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Kristen has always had this rebellious image personally, it's just that when she was younger Kristen wasn't famous and no one noticed her behavior.

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MTV Movie & TV Awards: 2009 Best Actress Award.

Teen Choice Award: 2009 Best Actress in a Drama Film.

MTV Movie & TV Awards: 2010 Best Actress Award.

People's Choice Award: 2010 Most Popular Actress Award.

Scream Award: 2010 Best Actress in a Fantasy Category.

MTV Movie & TV Awards: 2011 Best Actress Award.

...

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The Twilight Saga managed to put Kristen on top.

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With Twilight's high level of popularity, the cast's own words and actions are also under the scrutiny of media opinion, and Kristen, as the only female cast member among them, has been treated differently by media opinion.

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With Twilight's high level of popularity, the cast's own words and actions are also under the scrutiny of media opinion, and Kristen, as the only female cast member among them, has been treated differently by media opinion.

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In 2009, Kristen was surrounded by paparazzi in her hotel in Brazil and the police were finally called out to get her out of the way, and in 2010, at Sydney Airport, she was again surrounded by paparazzi and nearly injured in a push and shove.

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The film follows an established middle-aged actress (Binoche) who is cast as the older lover in a romantic lesbian drama opposite an upstart young starlet (Moretz). She is overcome with personal insecurities and professional jealousies—all while sexual tension simmers between her and her assistant (Stewart). Kristine won the French César Award for Best Supporting Actress for Clouds of Sils Maria the following year at the age of 25. Kristen became the first actress in U.S. history to take home a Cesar trophy.

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Kristen and her first girlfriend (2014-2016).

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Kristen and her first girlfriend (2014-2016).

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Alicia and Kristen have been close friends for years, and she's a visual effects producer who was by Kristen's side during the torturous years of her cheating affair.

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"I'm deeply sorry for the hurt and embarrassment I've caused to those close to me and everyone this has affected. This momentary indiscretion has jeopardized the most important thing in my life, the person I love and respect the most, Rob. I love him, I love him, I'm so sorry."

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(CBS News) Kristen Stewart has issued a public apology to "Twilight" co-star/boyfriend Robert Pattinson, confirming reports that she cheated on him with her "Snow White and the Huntsman" director Rupert Sanders.

In a statement released to People on Wednesday, the actress said, "I'm deeply sorry for the hurt and embarrassment I've caused to those close to me and everyone this has affected. This momentary indiscretion has jeopardized the most important thing in my life, the person I love and respect the most, Rob. I love him, I love him, I'm so sorry."

Pictures: Kristen Stewart
Pictures: Robert Pattinson
Pictures: High-profile apologies

Sanders, 41, who is married and has two young children with British model-actress Liberty Ross, also issued an apology via the magazine.

"I am utterly distraught about the pain I have caused my family," he told People. "My beautiful wife and heavenly children are all I have in this world. I love them with all my heart. I am praying that we can get through this together."

The apologies came after Us Weekly published photos of Stewart, 22, with Sanders. The magazine said the two were caught by photographers in a "steamy rendezvous" on July 17 in Los Angeles. Other media outlets also reported news of the infidelity.

The final "Twilight" installment, "Breaking Dawn - Part 2," arrives in theaters on Nov. 16. Earlier this month, the cast, including Stewart and Pattinson, 26, appeared at Comic-Con to promote the film.

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First published on July 25, 2012 / 6:34 PM

© 2012 CBS Interactive Inc. All Rights Reserved.

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Kristen Stewart apologizes for cheating on Robert Pattinson

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Actress releases a statement confirming reports she cheated on her "Twilight" co-star/boyfriend with a married director

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Kristen was subjected to abuse from the media, from the general public.

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Kristen was subjected to abuse from the media, from the general public.

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In 2012, Kristen became the highest-paid actress in Hollywood that year at the tender age of 22. With high fame comes great pressure, and Kristen's interviews during that time were all incoherent and fidgety. At that time, the cheating incident broke out, so that Kristen was practically tracked by paparazzi 24 hours a day, trolled by the media network, ridiculed and chastised by crowds of people, and besieged by paparazzi, so much so that she broke down and cried on her way to be besieged by paparazzi, and at that time, she was only 22 years old.

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Chanel's spring 2023 codes are rife with meaning and intention. Actress Kristen Stewart, photographer Inez van Lamsweerde, and Chanel designer Virginie Viard debate the je ne sais quoi of the French maison.

American actress Kristen Stewart, the star of Twilight, Spencer, and Café Society, among other box office hits, became an official ambassador of the maison Chanel a decade ago. She has since attended shows, dinners, given interviews, and of course, worn the clothes handcrafted in Paris and adored the world over. When the award-winning actress caught the eye of Karl Lagerfeld, he often photographed her campaigns himself. With the passing of the torch to Virginie Viard, the Chanel creative director since 2019, Stewart remains in the spotlight, with Viard recently amplifying her creative role. Stewart wrote the text used to narrate the Spring 2023 collection film, first screened at its Paris Fashion Week show. "Our identities are these life-long, evolving projects ... It's no longer important to know who you are or even what you want. I think it's important to burn down your very best yesterday - every day - so that you can start again," she wrote. The black-and-white film was made by the Dutch duo and Chanel faithfuls Inez van Lamsweerde and Vinoodh Matadin. The couple, who lensed Vogue Arabia's debut cover starring Gigi Hadid in March 2017, have worked together since 1986 and have photographed the likes of Clint Eastwood, Julianne Moore, and Madonna. Here, Stewart, Viard, and Van Lamsweerde unite again, seeing into their respective crafts; and in the process, they penetrate the spirit of the French house.

Inez van Lamsweerde: The starting point this season was the allure of Chanel. It's difficult to explain what this is. It brings together Gabrielle Chanel's body language, her iconic creations, as well as her apartment, friends, ideas ... Kristen's body language can really be related to Gabrielle Chanel: the way she stands, sits, walks. She's almost a natural reference to Gabrielle Chanel's iconic pictures and films. She embodies it perfectly.

Virginie Viard: French film director Olivier Assayas writes that Chanel allowed Kristen to open all the doors and find herself. I'm happy about that because it's how I feel too. It's important to me that models like the clothes they wear and with Kristen even more so, especially since she's not playing a role, she really is her.

Kristen Stewart: Virginie is an authentic spirit and therefore so is her art. She has a mode of expression that she is able to funnel into what she creates that is her ... and also all of us. I think allure is reciprocal. You get as much as you put into something. With Virginie, the human connection, the curiosity, the allure is unending, it's boundless. Chanel doesn't impose a fantasy. It encourages you to deepen your reality. Aspire to take up space. It's so helpful to feel grounded by a chosen aesthetic, one you feel chosen by: clothing that bolsters you in environments that feel flimsy or insubstantial - or even ones that feel intimidating - is essential. Wearing Chanel has always imbued me with a feeling of capability.

Van Lamsweerde: At the beginning, two things stood out, perfectly embodied by Kristen. The first thing was a quote by Gabrielle Chanel from 1961. Its bottom line is: once you wear something and you feel so comfortable and so at ease with a sense of style, you can actually forget about trying to look good, overcome any confidence issues or hurdles because they are solved by the clothing ...

Stewart: Unpacking that quote is interesting because it's an eloquent and historical explanation of how long the road to self really is. How many years it has taken us to find ourselves exactly where we are. Where we are allowed to just be. Which is a product of our progressive pulling away from the binds of patriarchy. Her words resonate. I'm grateful for the ones who came before us. A true elegance I suppose, is something you feel when you're at ease with who you are ... but that this self is not fixed and allowed to change. I feel this hard-earned allowance ... and therefore a willingness to really interact with the world around us. As the world revolves ... knowing who you are does the same. It evolves.

Van Lamsweerde: The second thing that stood out was this idea of masculinity and femininity existing together in all of us. It is expressed in all of Gabrielle Chanel's creations. There is no difference between both, a constant duality and non-definition. This is what sets Chanel apart. And the never-overt sexiness that comes from that. And Kristen is the natural embodiment of all these elements. You play with the masculine and the feminine, consciously, or not.

Stewart: Beauty is two dimensional, it is cultural, it's not very interesting. Art isn't meant to be beautiful, it's meant to mean something, to make you feel something. It's not a simple thing to learn how to stop imagining the experience of others while exhibiting what should be honest and natural to you. What ultimately is the most alluring thing about anyone ... their commitment to self. The exploration of desire. That is contagious. You are only ever as valuable as you value yourself. The power of suggestion is strong. I want a lot. I am easily lured. A nature that craves isn't beholden to aesthetic. Your allure is self generative, cyclical, fed by the lives and the world around you. Bouncing off each other and toward a universal truth and one-ness that is the beauty of art ... love ... life.

Van Lamsweerde: The collection's images translate these two ideas of ease and masculine-feminine as well as the spirit of Gabrielle Chanel into moments with Kristen in Paris. She wrote a text that we used as a narration for the film. It's about this idea of constantly reinventing yourself. Starting new each day, and the freedom that is related to the masculine and feminine intertwined.

Viard: There is also something very nouvelle vague about Kristen that I really like. I can imagine her in an Agnès Varda film. We share a number of references, notably in French cinema. When I look at the photos taken by Inez & Vinoodh, for example in the brasserie, it's like being in a Claude Sautet film with Romy Schneider.

Van Lamsweerde: We also looked at Alain Resnais' film Last Year at Marienbad, which fits so well with the world of Chanel. The intensity of the actress Delphine Seyrig dressed by Gabrielle Chanel in that movie expresses these ideas of masculine and feminine with the way her hair is styled, her body positions. In the press kit film, there's a discrepancy between the voice-over and what we see in the movie, which is kind of surreal. For example Kristen is coming out of a cinema, where she would be expected to answer some very basic questions like "What are you wearing?", "Can you talk about your shoes?", and yet she is asked a very deep question by the interviewer. So it's all about this idea of living to your full potential.

Viard: Yes, Last Year at Marienbad is one of the references of this collection. We find it in several Chanel collections, as is Kristen too, but we don't necessarily say so. Everything comes to life when we accessorize the looks. At that point, I don't think about Marienbad anymore, it has to be in the now.

Van Lamsweerde: With her collections, Virginie is pushing Chanel into the future while also being embedded in the past. Putting it all together, you see where it comes from and where it's going. It's a linear progression. Time doesn't exist. In Last Year at Marienbad the voice-over is constantly reminding her what happened a year ago. Time is a human invention. The decor of this show is circular: it relates to the cycle, there is a full-circle moment where the past and the future come together.

Stewart: I loved the shoot because it felt like we stepped out of time and into an adjacent, shared reality. Like dreaming and not being able to articulate that dream in the light of day but knowing we all share that unknowable space. As a performer, to inhabit a tone rather than a narrative is limitlessly personal. There was no plot in our film but there was so much momentum. Friction. Atmosphere. With something suggestive and undefined, as long as the environment exists and the artists are present, you can go deeper, you can project your own thoughts, your own memories ... you can be a part of it. Be a part of each other.

Viard: I also adore working with Inez & Vinoodh. I trust you completely and I have no secrets with you. I give you a lot of freedom and I tell you everything I think. You are more than a photographic duo, it's a whole universe - the scenography, the films - that we create together. I've always loved your world. We understand each other so well. You are always listening, looking out for the tiniest detail. I give you a reference and you send me hundreds of photos. You love Chanel, the clothes, the bags, the jewelry ... It's very natural. That's what I like about Inez & Vinoodh, talking about all of that.

Van Lamsweerde: Chanel allows you to be your full self. Clothes - the right ones - can really change the perspective you have of yourself and how you want to present to the world. And there's something about this letting go, this idea of, "Okay, I can be who I want to be now because of what I'm wearing. I feel good. It's letting me be who I am. It's letting me live my life." And I personally feel that was Gabrielle Chanel's intention ...

Viard: Gabrielle Chanel was a true genius. She created things that didn't exist, and that was her whole life, that was another era. Without her and Karl, none of this would ever exist: the links between Chanel and cinema, this unique relationship with Kristen, this freedom of creation. I've known Chanel for 30 years and today I can let myself go towards something else that's more about the order of feelings, emotions. I like everything about Chanel, Gabrielle, Karl, I can take what I like from it. For me, Chanel is always like treasure. I love dressing women, I like them feeling good.
Originally published in the April 2023 issue of Vogue Arabia Compiled by Caterina Minthe Read Next: Then and Now: Kristen Stewart's Complete Style Evolution

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Kristen Stewart, Chanel's Virginie Viard, and Inez van Lamsweerde Dive into the Spirit of the French House

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Actress Kristen Stewart, photographer Inez van Lamsweerde, and Chanel designer Virginie Viard debate the je ne sais quoi of Chanel.

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Kristen cut her signature long hair and was appreciated by Karl Lagerfeld of CHANEL (2013).

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Kristen cut her signature long hair and was appreciated by Karl Lagerfeld of CHANEL (2013).

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Kristen: "I cut my hair short when I was 23 and the results were amazing. My long hair had been something I relied on, I was called 'sexy' no matter what, and I could hide behind it. And the moment I cut them off, my face was revealed. I felt a confidence I hadn't felt in a long time, and it felt so good, like when you're separated from your iPhone for two months, it's equally liberating. It sounds obvious, but it was the long hair that made me feel like a 'real girl', pretty and feminine. I don't know why I valued it so much before as if it was something I needed to prove to others."

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From being outed by paparazzi in 2014 for being in a relationship with a woman, Kristen spent 3 years sorting out her emotions and thoughts and finally publicly acknowledged her coming out in 2017. During the 3 years without a public admission, Kristen still suffered accusations and criticism from all walks of life. Due to Kristen's mother accidentally revealing in front of the media in 2015 that Kristen had come out of the closet, Kristen's relationship with her mother became icy.

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Kristen Stewart on Coming Out as Queer and Her Past ‘Caginess’ Dating Robert Pattinson

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″[In the past], I didn’t like giving myself to the public, in a way. It felt like such thievery.”

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Kristen took off her high heels while walking the red carpet.

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Kristen took off her high heels while walking the red carpet.

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Kristen is used to being barefoot on red carpet walks, and Kristen thinks it's discriminatory against the female gender that actresses have to wear heels on the red carpet, Kristen is brave enough to be the one to break the rules. Perhaps most memorably Stewart appeared as a member of the jury at the premiere of The Black Caucus at the 2018 Cannes Film Festival, where she wore a shimmering silver Chanel mini-dress and, once again, black stilettos. But when it suddenly started to drizzle, Kristen's determination to take off her heels and walk the red carpet was met with rave reviews from fans and media around the world. The move was made specifically in defiance of Cannes rules that require women to wear high heels at premieres and strictly "no flats".

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On 4 February 2017, Kristen appeared on Saturday Night Live, where she described herself as "very gay", although, in an interview with The Guardian, she clarified that she's bisexual, saying, "If you're bisexual, you're not confused. It's not confusing at all. For me, it's the opposite.‘’

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In 2017, Stewart coauthored a computer science preprint about the use of neural net techniques in the making of her short film Come Swim. Come Swim depicts a day in the life of a man who has lost his love and was inspired by one of her paintings from the time of the cheating incident. She wanted to convey, "One day you wake up, get dressed, and suddenly realize that you're no longer sad, no longer soaking wet as if you're back in everyone's reality and can finally live again."

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From Wikipedia, the free encyclopedia

Come Swim is a 2017 American short film written and directed by Kristen Stewart. It was shown in the 70th Anniversary Events section at the 2017 Cannes Film Festival, and was part of the 2017 Sundance Film Festival. The short was produced by David E. Shapiro of Starlight Studios, who worked with Stewart for a period of approximately three years. The film was streamed from November 10, 2017.

Josh Kaye is the only acting cast of the film. Sydney Lopez provides voice-over.

Within a paper published on the subject of a technique developed especially for the creation of the film, the film is described as "a poetic, impressionistic portrait of a heartbroken man underwater ... the film is grounded in a painting of a man rousing from sleep". The Cannes Film Festival described the film as: "a diptych of one man's day; half Impressionist and half realist portraits". Little White Lies thought the film was about loss.

Cannes Suisse listed the film as Réalité Virtuelle. Next projection identified the film as experimental.

The idea of the film originated in ("is grounded in") a painting by Stewart of "a man rousing from sleep". In a paper co-authored by Stewart, a description of reaction to the " impressionistic" painting states it "evokes the thoughts an individual has in the first moments of waking, (fading in-between dreams and reality)... " A subsequent exploration correspondent to this painterly thematic element is explored within the film during the introductory and final scenes.

More-over, in accordance to the painting, the original concept for the film came from an image in the mind of Stewart of "...a person sleeping contently on the bottom of the ocean floor, and getting such satisfaction from that isolation..." For Stewart, her film is, amongst other things, about an experience of heartbreak (otherwise expressed by her as an "existential netherworld").

In order to create the piece, Stewart, together with film producer David Ethan Shapiro and Bhautik Joshi at Adobe Inc., innovated a technique described as neural style transfer; a technique detailed in a paper submitted on January 18, 2017, to Cornell University Library online, and subsequently classified at the library as Computer Vision and Pattern Recognition.

Kristen Stewart partnered with Refinery29 in the production of the work. David Ethan Shapiro, the CEO of Starlight Studios, situated within Los Angeles, was producer.

Stewart used John Guleserian for cinematography, and Framestore to produce the visual effects.

The film was first screened at the 2017 Sundance Film Festival on January 19, 2017. Next projection identified the film as portraying in part something described as " nightmarish". Robbie Collin from The Telegraph awarded it four stars out of five saying: "It's an earnest, sombre, often unsubtle work - but it's also disciplined, sharply coherent, and cine-literate in an old-fashioned surrealist way." Matt Hoffman from Little White Lies (magazine) found minor issues with the script, but nevertheless praised the short: "Come Swim is a beautiful looking piece of work. With the help of cinematographer John Guleserian, Stewart has crafted a rapturous visual wonder that far outshines the deficiencies of the screenplay."

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From Wikipedia, the free encyclopedia Come Swim is a 2017 American short film written and directed by Kristen Stewart. It was shown in the 70th Anniversary Events section at the 2017 Cannes Film Festival, and was part of the 2017 Sundance Film Festival. The short was produced by David E.

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Kristen's performance received praise. Time magazine declared her performance the 10th best performance of 2019. Kristen returned to mainstream Hollywood with starring roles in the action comedy film Charlie's Angels.

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Charlie's Angels is a 2019 American action comedy film written and directed by Elizabeth Banks from a story by Evan Spiliotopoulos and David Auburn. It stars Kristen Stewart, Naomi Scott, and Ella Balinska as the new generation of Angels who are working for a private detective agency named the Townsend Agency. The film is the third installment in the Charlie's Angels film series and serves as a continuation of the story that began with the television series of the same name by Ivan Goff and Ben Roberts, and the two previous theatrical films, Charlie's Angels (2000) and Charlie's Angels: Full Throttle (2003).

Development of the film began in September 2015 when Sony Pictures opted to reboot the series following the cancellation of the 2011 television reboot and the release of 2003's Full Throttle. Months later, Banks joined the project as director, producer, and writer. Casting announcements were made throughout 2018, with Banks herself also confirmed to star. Principal photography commenced in September 2018 and took place in Germany and Turkey. The lead single from the film's soundtrack, " Don't Call Me Angel", performed by Ariana Grande, Miley Cyrus, and Lana Del Rey, was released in September 2019, followed by the soundtrack and score album's respective releases on November 1 and 8.

Charlie's Angels was theatrically released in the United States on November 15, 2019, by Sony Pictures Releasing to mixed reviews from critics and a poor opening weekend box office performance. It was ranked by both and as one of the biggest box-office disappointments of 2019. The film eventually grossed $73.3 million worldwide against an estimated production budget of $48-55 million and an estimated advertising budget of $50 million.

A team of Angels including Jane and Sabina, led by senior operative John Bosley, capture international embezzler Jonny Smith in Rio de Janeiro and turn him over to American authorities.

A year later, the European division of the Townsend Agency is informed that Elena Houghlin, an engineer and programmer employed by entrepreneur Alexander Brok, wants to expose her superiors. She knows that Brok's head of development, Peter Fleming, is covering up a flaw in an energy conservation device that she helped invent, Calisto. It has the potential to trigger fatal seizures when used.

Elena meets with operative Edgar "Bosley" in Hamburg to turn over her findings, but the assassin Hodak ambushes the meeting. After a subsequent car chase in which Edgar is shot dead before the car is flipped into the river, the assassin leaves Elena to drown. Edgar's protégé, Jane Kano, is also in the car. She rescues her and brings her to operative Rebekah "Bosley" with the help of her partner, Sabina Wilson. Meanwhile, John, who has since retired from the agency, discovers that Rebekah has tagged him with the agency's specialized subdermal implant tracking device without his knowledge.

Rebekah tasks Sabina and Jane, joined by Elena, with breaking into Brok's corporate headquarters to steal the remaining Calisto prototypes before they can be duplicated. Elena finds one but is forced to use it to escape, accidentally killing the chief of security, Ralph, in the process.

After learning that Fleming took the other prototypes, Rebekah tracks him to Istanbul, where Jane utilizes one of her old intelligence contacts, Fatima, to locate him. They first seek him at a horse racetrack, where he doesn't seem to find a buyer.

Later, they track him to a remote rock quarry, where the supposedly imprisoned Smith is revealed to be Fleming's intermediary for selling Calisto. Hodak is also present and kills Fleming before the Angels break up the sale. Rebekah suddenly disappears, allowing Smith and Hodak to escape with the prototypes.

Returning to their safehouse, Sabina shares her growing belief that Rebekah is secretly working against the agency and manipulating them to steal Calisto for her own benefit. While the three ponder Sabina's suspicion, the safehouse is bombed. Rebekah shows up only to be shot by John, who has come to 'rescue' Elena.

Sabina and Jane manage to survive and seek medical help from Fatima. Rebekah reappears and explains that John is the real traitor and that he has spent the last few decades secretly building his own network within the agency after he was passed over to succeed the late Charlie Townsend.

John takes Elena to a party in Chamonix hosted by Brok, who reveals himself as the mastermind behind the attempt to assassinate Elena and, unbeknownst to him, John's plan to weaponize Calisto. Using Elena's colleague Langston as a hostage, John forces her to program a Calisto device to kill both herself and Langston before leaving.

The Angels deduced his plan due to the information provided by Smith, who has defected to their side. So, they show up and rescue Elena and Langston, although Elena had already disabled the Calisto device. Jane exacts revenge by impaling Hodak on a spike, while Rebekah catches up with John and his men. Outnumbered, she has numerous other Angels posing as guests subdue the men, after which Sabina knocks out John with a punch.

Brok is arrested for conspiracy, and Jane and Langston start a relationship. Elena is recruited as an Angel by the Townsend Agency after passing a series of rigorous training exercises.

In a mid-credits scene, Elena receives an official Angels tattoo and congratulations from former Angel Kelly Garrett ( Jaclyn Smith), who has become the new "Charlie".

Kristen Stewart as Sabina Wilson, a wild and rebellious Angel

Naomi Scott as Elena Houghlin, an engineer, programmer, and creator of the Calisto project, who gets recruited to become an Angel

Ella Balinska as Jane Kano, a former MI6 agent who became an Angel

Elizabeth Banks as Rebekah "Bosley", a former Angel who became one of Charlie's assistants

Djimon Hounsou as Edgar "Bosley" Dessange, one of Charlie's assistants

Sam Claflin as Alexander Brok, Elena's employer

Noah Centineo as Langston, Elena's assistant

Nat Faxon as Peter Fleming, Elena's superior

Patrick Stewart as John Bosley, Charlie's first and original assistant. Stewart replaces Bill Murray, who portrayed the character in the first installment.

Chris Pang as Jonny Smith, an international smuggler

Jonathan Tucker as Hodak, an assassin

Luis Gerardo Méndez as the Saint, a Townsend Agency employee specializing in weapons and technology

David Schütter as Ralph, the chief of security at Brok's corporate

Hannah Hoekstra as Ingrid, an Angel who works as a secretary at Brok's corporate

Marie-Lou Sellem as Fatima Ahmed, Jane's contact in Istanbul

Robert Clotworthy as the voice of Charles "Charlie" Townsend, the owner of the Townsend Agency. Clotworthy replaces John Forsythe, who voiced the character in the television series and previous film installments, following Forsythe's death in 2010.

Making cameo appearances in the film are Hailee Steinfeld, Lili Reinhart, Aly Raisman, Huda Kattan, and Chloe Kim as newly recruited Angels; Ronda Rousey, Danica Patrick, and Laverne Cox as the Angels' instructors; and Michael Strahan as the Townsend Agency's New York branch "Bosley". Jaclyn Smith also makes a cameo appearance as Kelly Garrett, reprising her character from the television series for her second appearance in the film series, after cameoing in the second theatrical film. Still photographs of Kate Jackson, Farrah Fawcett, Cheryl Ladd, Cameron Diaz, Drew Barrymore, and Lucy Liu as their respective characters from the television series and previous installments also appear on a screen in the Townsend Agency's Los Angeles office.

Official logo, as released by Sony Pictures.

In September 2015, Sony Pictures Entertainment announced that it was rebooting the Charlie's Angels franchise, with Elizabeth Banks in talks to direct the film, as well as produce, with her Brownstone Productions partner Max Handelman. Evan Spiliotopoulos was hired to write the script for the reboot film. Banks was officially confirmed as the film's director the following year in April, and rewrote the screenplay, which had previously been rewritten by Jay Basu, along with earlier touch-ups by Craig Mazin and Semi Chellas. Banks received sole screenplay credit, with "story by" billing for Spiliotopoulos and David Auburn.

In July 2018, it was announced that Kristen Stewart, Naomi Scott and Ella Balinska would play the leading trio of the fighting team and that Banks would also appear as a Bosley, with the film featuring multiple characters by that name. Doug Belgrad also co-produced the film through his 2.0 Entertainment, along with Elizabeth Cantillon, Banks and Handelman. Patrick Stewart was cast as a second Bosley in September. That same month, Luis Gerardo Méndez and Jonathan Tucker joined the cast of the film, with Djimon Hounsou added as a third Bosley, while Bill Pope was announced as the film's cinematographer. Sam Claflin, Noah Centineo, Chris Pang and Nat Faxon later joined the cast in October 2018.

Principal photography on the film began on September 24, 2018. Filming took place at the Elbphilharmonie in Hamburg, Germany from October 2-7. Further filming took place at the Spice Bazaar, Veliefendi Race Course and Sultanahmet, all in Istanbul, Turkey in early December. Filming completed on December 9.

Initially developed as a reboot of the franchise, the film instead serves as a continuation of the events of the original TV series and the McG-directed films. Drew Barrymore, who had produced and starred in the previous film installments, executive produced the film. Producer of the original series and first two films Leonard Goldberg came on board as an executive producer as well.

Musician Brian Tyler composed the film's score, while singer Ariana Grande co-executive produced the soundtrack along with music producer Savan Kotecha and record executive Scooter Braun. Grande collaborated with fellow singers Miley Cyrus and Lana Del Rey on a song titled " Don't Call Me Angel", which was released as the lead single from the soundtrack on September 13, 2019. A promotional single, " How It's Done", by Kash Doll, Kim Petras, Alma and Stefflon Don, was released on October 11. A second promotional single, "Pantera", by Brazilian singer Anitta, was released on October 23. The soundtrack and score albums were released on November 1 and 8, respectively.

Charlie's Angels was released on November 15, 2019, by Columbia Pictures. Prior to this, Sony Pictures Releasing announced that the film would also be released in IMAX format in select theaters. The film was originally set for November 1 date, but was pushed back to avoid competition with Terminator: Dark Fate.

The first theatrical trailer for the film was released on June 27, followed by the second trailer on October 11. While Sony had originally intended to spend $100 million to promote the film, the company reduced the overall promotional cost to approximately $50 million in light of the film's underperformance during its opening weekend.

Charlie's Angels was released digitally on February 18, 2020, and on Blu-ray and DVD on March 10.

Charlie's Angels grossed $17.8 million in the United States and Canada, and $55.5 million in other territories, for a worldwide total of $73.3 million.

In the United States and Canada, the film was released alongside Ford v Ferrari and The Good Liar, and was projected to gross $10-12 million from 3,452 theaters in its opening weekend. However, after making $3.1 million on its first day (including $900,000 from Thursday night previews), it went on to debut to just $8.4 million, finishing in third place below Ford v Ferrari and . Following the film's poor opening weekend, Deadline Hollywood cited the film's mixed critical response and a lack of public interest in the franchise as reasons for the underperformance. The Hollywood Reporter also observed that the film specifically "failed to attract moviegoers over the age of 35", as well as "younger females-its target audience-in enough numbers". In response to the film's opening weekend underperformance, Banks stated that she was proud of the film regardless. The film fell 61% to $3.2 million in its second weekend, finishing in eighth. and ranked the film as one of the biggest box office failures of 2019.

On Rotten Tomatoes, the film has an approval rating of 52% with an average score of 5.4/10, based on 232 reviews. The website's critics consensus reads: "Earnest and energetic, if a bit uneven, Elizabeth Banks's pulpy Charlie's Angels adds new flair to the franchise with fun performances from its three leads". On Metacritic, the film has a weighted average score of 52 out of 100, based on 41 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, while those surveyed by PostTrak gave it an overall positive score of 69% (including an average 3 out of 5 stars), with 46% saying they would definitely recommend it.

Beandrea July of The Hollywood Reporter commended how the film "honors its precursors while elevating itself beyond them", while Sandra Hall of The Sydney Morning Herald opined that the film exudes a "jaunty feel" as well as incorporates "a few well-placed plot twists, lots of good-humored banter and the usual fun to be had from the Angels' fondness for disguise." Owen Gleiberman of praised Elizabeth Banks' direction as a source of the film's strength, stating that she "proves herself to be a filmmaker who can stage fireworks with extreme flair." Writing for The Boston Globe, Tom Russo favorably regarded Kristen Stewart's performance as "a completely unexpected, who-knew mash-up of sexy and offbeat". Likewise, Mark Lieberman of The Washington Post wrote that Stewart "upstages everyone, from the opening close-up on her gleeful grin to her array of colorful costumes, riotous non sequiturs and unconventional posture choices".

In a mixed review, Peter Travers of Rolling Stone was critical of the film's pacing and comedic dialogue, but highlighted Stewart, Naomi Scott and Ella Balinska as "the angels you need when a movie needs rescuing." Similarly, Michael Phillips of the Chicago Tribune commented that the film's characters "have their fun, and we have a reasonable percentage of theirs," while the New York Post's Johnny Oleksinski noted conversely that the three actresses "click as a unit, but lack much of the exuberance and distinctiveness of their predecessors." Stephanie Zacharek of negatively regarded the film as "a shaggy, listless action movie that's too messy to be fun," the Los Angeles Times' Kenneth Turan deemed the plot "overly complicated", The Detroit News's Adam Graham criticized the film as "out-of-style," and in an even more scathing review, BBC Online columnist Nicholas Barber called it "grimly unimaginative" and "tediously formulaic."

During an interview with The New York Times, Banks - who wrote, directed and co-starred in the movie - weighed in on why she feels the marketing for Charlie's Angels didn't quite work:

"I'll just be in trouble. Let me say I'm proud of the movie. I loved Kristen Stewart being funny and light. I loved introducing Ella Balinska to the world. I loved working with Patrick Stewart. It was an incredible experience. It was very stressful, partly because when women do things in Hollywood it becomes this story. There was a story around Charlie's Angels that I was creating some feminist manifesto. I was just making an action movie. I would've liked to have made Mission: Impossible, but women aren't directing Mission: Impossible. I was able to direct an action movie, frankly, because it starred women and I'm a female director, and that is the confine right now in Hollywood. I wish that the movie had not been presented as just for girls, because I didn't make it just for girls. There was a disconnect on the marketing side of it for me."

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Charlie's Angels (2019 film) - Wikipedia

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Charlie's Angels is a 2019 American action comedy film written and directed by Elizabeth Banks from a story by Evan Spiliotopoulos and David Auburn. It stars Kristen Stewart, Naomi Scott, and Ella Balinska as the new generation of Angels who are working for a private detective agency named the Townsend Agency.

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In June 2020, Kristen was announced as having been cast as Diana, Princess of Wales in Pablo Larraín's biographical drama film Spencer, which chronicles Diana's decision to divorce Charles, Prince of Wales. She worked with a dialect coach and studied Diana's posture for the part. Describing Diana as someone who "sticks out as a sparkly house on fire", Kristen said she "felt more free and alive and able to move" in the role than she did in any of her previous projects. Kristen received nominations for the Academy Award for Best Actress and Golden Globe Award for Best Actress in a Motion Picture – Drama for her performance.

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Spencer is a 2021 historical psychological drama film directed by Pablo Larraín from a screenplay by Steven Knight. The film is about Princess Diana's existential crisis during the Christmas of 1991, as she considers divorcing Prince Charles and leaving the British royal family. Kristen Stewart and Jack Farthing star as Diana and Charles respectively, joined by Timothy Spall, Sean Harris, and Sally Hawkins.

Spencer premiered at the 78th Venice International Film Festival on 3 September 2021, and was theatrically released in the United Kingdom and the United States on 5 November 2021. The film grossed $25.2 million worldwide on an $18 million budget. It received generally positive reviews from critics, with Stewart's performance garnering widespread acclaim. For portraying Diana, Stewart was nominated for the Academy Award, Golden Globe Award, and Critics' Choice Movie Award for Best Actress.

On Christmas Eve 1991, the British royal family prepares to spend the Christmas holidays at the Queen's Sandringham estate in Norfolk. Among the attendees is Diana, Princess of Wales, whose marriage to Prince Charles has become strained due to his relationship with Camilla Parker Bowles. The staff of Sandringham prepare for the royals' arrival, and Diana drives around the Norfolk countryside. On the verge of a breakdown, she avoids heading to Sandringham until running into Royal Head Chef Darren McGrady. She notes that the long-abandoned neighbouring estate, Park House, was her childhood home. Then she notices a scarecrow in the distance and eagerly runs towards it with a nostalgic expression. Diana takes off its jacket, which once belonged to her father John Spencer, 8th Earl Spencer, and goes back to her car.

When Diana arrives at Sandringham, her sons William and Harry are excited to see her, but she does not attempt to socialise with the rest of the royal family, who mostly ignore her. Diana's only friend at Sandringham is royal dresser Maggie, who encourages her to both combat the royal family and fulfil the obligations expected of her. Diana finds a book on Anne Boleyn in her bedroom. She begins to have dreams about Boleyn (including a hallucination of her at a Christmas Eve dinner where she imagines herself destroying a pearl necklace given to her by Charles and eating the pearls in her soup), eventually coming to believe that Boleyn's ghost is haunting her in her capacity as a fellow abandoned royal wife. Diana tries to visit her childhood home, but she is stopped by royal guards, who initially mistake her for an intruder.

On Christmas Day, Diana attends the service at St Mary Magdalene Church, Sandringham, where she notices Camilla among the gathered crowd and is photographed by numerous intrusive journalists. She holds a difficult conversation with Charles, who rebuffs her concern over William and Harry's participation in a pheasant shoot the next day and advises her to develop a stronger sense of separation between her public and private lives. Charles privately arranges for Maggie to be sent to London and spreads rumours that she had planted the Boleyn book in Diana's room and made critical comments about her mental health; McGrady denies that she had done so when Diana questions him.

Major Gregory attempts to encourage Diana to conform to the pressures of royal life by reminding her that the soldiers of the British Army die attempting to protect the interests of the Crown (and by extension her interests). Diana responds by stating that she never asked anyone to die for her and accuses him of planting the Boleyn book in her room as a warning, which he denies.

After imagining wounding herself with a pair of wire cutters given to her by McGrady, Diana avoids the formal Christmas Day dinner, instead running to her childhood home and gaining access to it with the wire cutters. Memories of her happier girlhood overtake her, and she dances from room to room while imagining her younger self. She considers committing suicide by throwing herself down a flight of stairs, but the hallucination of Boleyn stops her. Instead, she rips apart her pearl necklace.

On Boxing Day, Diana wakes up in her room to find that Maggie has been called back from London. The two travel to a nearby beach, where Diana talks about her mental and marital problems. Maggie responds by confessing that she is in love with Diana. After bidding Maggie farewell, Diana goes to the pheasant shoot, walks out in front of the crowd of hunters, and announces that she is taking William and Harry to London, to which Charles reluctantly agrees. Diana bids farewell to McGrady and Major Gregory returns the Boleyn book to the library. As they drive away, Diana and her children sing along to the song " All I Need Is a Miracle" by Mike and the Mechanics, passing the scarecrow again, now dressed in one of Diana's outfits. They drive to London, where they order KFC and eat by the River Thames. Diana looks across the river, uncertain of her future but no longer feeling burdened by royal responsibility.

On 17 June 2020, it was announced that Pablo Larraín would direct Spencer, a film starring Kristen Stewart as Princess Diana. On 26 June 2020, it was reported that Neon had acquired the rights to distribute the film in the United States in a deal worth more than $4 million. In July 2020, STX Entertainment and DCM Film Distribution were set to distribute the film in the United Kingdom and Germany.

Filming began at the Schlosshotel Kronberg, Germany, in January 2021 with Timothy Spall, Sally Hawkins, and Sean Harris joining the cast. Other filming locations were the Schloss Marquardt in Marquardt, north of the city of Potsdam, and Nordkirchen Castle, the moated castle. On 25 March, production moved to the UK for the final stretch of filming, with Jack Farthing joining the cast as Prince Charles, and the film wrapped on 27 April 2021.

The film was shot on both Kodak Super 16mm and 35mm film stock by cinematographer Claire Mathon using the Arricam LT, and Arriflex 416 Plus. To achieve the film's specific look, she used a combination of Leitz Summilux and Zeiss Ultra 16 lenses.

In an interview with Kodak, Mathon said that shooting on film was their obvious choice, calling it a "necessity" and that "there was never a question about shooting digital or film". According to her, the only question was whether they would shoot the film in 16mm or 35mm film stock. She also revealed that she and Larraín reviewed sequences from various Stanley Kubrick films such as Barry Lyndon (1975) and A Clockwork Orange (1971) to learn about the style of camera movement, rhythm of the shots, and the use of short focal lenses.

Most of the film was shot on Super 16mm film format due to the lightness, and ergonomics of the equipment used while also revealing that economic advantages is also part of the reason. In some scenes where they want to minimize the grain, they opted for the 35mm film stock as it retains both softness and details on the darker part of the image.

Film processing and 4K 16-bit scans were done at Hiventy in Paris, while the cameras was supported by Arri Rental in Berlin, Germany.

Jonny Greenwood composed the score. The score was released by Mercury KX on 12 November 2021. Writing for the You Discover Music website, Sharon Kelly described the soundtrack, stating: "Jonny Greenwood's genre bending music for the Spencer soundtrack combines free jazz and classical baroque."

The film was theatrically released in the United Kingdom and the United States on 5 November 2021. It was the last film to be distributed by STX Entertainment in the United Kingdom before the distributor's UK division was shut down on July 28, 2022.

Spencer grossed more than $7 million in the United States and Canada, and $18.1 million in other territories, for a worldwide total of $25.2 million.

In the United States and Canada, Spencer made $2.1 million from 996 theatres in its opening weekend. In its second weekend, the film played in 1,265 theatres and made $1.53 million.

Stewart's performance as Princess Diana gained widespread critical acclaim and earned her a nomination for the Academy Award for Best Actress.

Upon the teaser trailer's release, reported that the role "thrusts" Stewart "into the Oscar race" for the Academy Award for Best Actress. After the film's world premiere, also stated, "There's already been plenty of talk in Venice that the role will likely land Stewart her first Oscar nomination." The film received a three-minute standing ovation at its world premiere, with critics lauding Stewart's performance as Diana.

On review aggregator Rotten Tomatoes, 83% of 351 critics have given the film a positive review, with an average rating of 7.6/10. The website's critics consensus reads: " Spencer can frustrate with its idiosyncratic depiction of its subject's life, but Kristen Stewart's finely modulated performance anchors the film's flights of fancy." On Metacritic, the film has a weighted average score of 76 out of 100, based on 53 critics, indicating "generally favorable reviews".

David Rooney of The Hollywood Reporter stated that the film "rests on Stewart's shoulders and she commits to the film's slightly bonkers excesses as much as to its moments of delicate illumination" and wrote that "[not] everything lands in Spencer, and I often wondered if the film was so set on bucking convention that it would alienate its audience. But it tells a sorrowful story we all think we know in a new and genuinely disturbing light." Reviewing the film for The Daily Telegraph, Robbie Collin wrote: "The 31-year-old Stewart - who will be instantly and justifiably awards-tipped for this - navigates this perilous terrain with total mastery, getting the voice and mannerisms just right but vamping everything up just a notch, in order to better lean into the film's melodramatic, paranoiac and absurdist swerves." Drawing comparisons between the film and the Jacqueline Kennedy biopic (2016), also directed by Larraín, Pete Hammond of Deadline Hollywood stated that " Spencer is something else indeed, almost playing out in a conventional dramatic fashion, a more accessible approach in some ways, but also more ambitious as it is squarely from the point of view of its title character, purposely called Spencer to assure us that the person who once was, is well on the way to finding that very lost spirit again before it is too late."

Spencer was listed on many critics' top ten lists for 2021.

Response of the Princess' staff

Stewart's portrayal of Diana was hailed as one of the most accurate portrayals of the late Princess. Ken Wharfe, Diana's former bodyguard, commented, "Out of all the people who have played Diana over the past 10 years, she's the closest to her. She managed to perfect her mannerisms." Former Royal Chef Darren McGrady, who was portrayed by actor Sean Harris in the film, said, "Kristen Stewart is amazing as the princess, with her mannerisms and her voice ... the happy scenes of her with the boys, it was like her coming alive again. For real, Kristen Stewart played an amazing part." However, McGrady also pointed out that the film took considerable liberties, especially with its use of metaphors, but acknowledged that the film was a fictionalised take on what possibly could have happened.

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Spencer is a 2021 historical psychological drama film directed by Pablo Larraín from a screenplay by Steven Knight. The film is about Princess Diana's existential crisis during the Christmas of 1991, as she considers divorcing Prince Charles and leaving the British royal family.

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From late 2016, she was in a relationship with New Zealand model Stella Maxwell until their breakup in late 2018.

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Kristen has been in a relationship with screenwriter Dylan Meyer since August 2019 and stated in November 2021 that she and Meyer were engaged.

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(LRNYC / MEGA / GC Images)

"Spencer" star Kristen Stewart is engaged to "XOXO" screenwriter Dylan Meyer, the actor said Tuesday.

"We're marrying, we're totally gonna do it," the 31-year-old said on Howard Stern's SiriusXM show. "I wanted to be proposed to, so I think I very distinctly carved out what I wanted and she nailed it. We're marrying, it's happening."

Stewart and Meyer reportedly met on a movie set about eight years ago. The two started dating in summer 2019 after the actor ended things with model Stella Maxwell. The couple had reconnected at a mutual friend's party and bonded over having grown up in Los Angeles.

They sparked rumors back in July when they were photographed both wearing rings on their left hands.

A week ago on Instagram, writer-director Meyer posted a photo of the two lying on the floor in each other's arms with the caption, "Awful proud of this hard-working princess." In April, Meyer wrote on Instagram, "Life sure is sweeter with this cute little family. Happy birthday, kiddo. You knock my socks off," captioning a photo of Stewart and a pooch near an ocean.

A representative for Stewart did not respond Tuesday to a request for comment.

"Spencer," the "Twilight" star's Princess Diana movie, opens in theaters Friday.
The Associated Press contributed to this report.

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'Spencer' star Kristen Stewart reveals she's engaged to Dylan Meyer

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Will it be a royal wedding? Kristen Stewart, whose Princess Di movie opens Friday, says she and girlfriend Dylan Meyer are getting hitched.

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The shift in her outward appearance was just the first step in Kristen's transformation from long hair to short hair, and the visual impact she made on the public did a good job of making them gradually forget about the Twilight tag. Kristen has shed some of her commercial film appearances in her film work and continues to star in literary films. And she has also tried her hand at directing and shooting her films. She seems to retain her original quietness in literary films, but that doesn't take away from the fact that her persona shines through. With this stark contrast, Kristen's transformation is undoubtedly a success. The actress has managed to make a comeback after so many scandals, and Kristen has broken the prejudices of a film market dominated by white male stars.

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Kristen's screen presence is now more varied than before, and she is no longer restricted to her original innocent image. Her personal image is also very individualistic, with short hair and smoky make-up becoming her trademark.

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The harshness of society's opinion on actresses also put a tremendous amount of pressure on Kristen at the time.

Although Kristen started as a child actress, she has always been in the relatively clean independent film scene in Hollywood. Unlike child stars like Lindsay Lohan and Shia LaBeouf, who were born in Disney, Kristen has always been well-protected by her parents, who were always there on set when she made films before she became an adult.

And she turned eighteen when Twilight burst onto the scene. When she said goodbye to the previously familiar independent film scene and began to officially enter mainstream Hollywood, the adult world of Hollywood, the hierarchical, capitalist, male-dominated society, all of which was actually unfamiliar to her, she was uncomfortable, and as she later said herself, she often felt that she wasn't respected and that she was often offended.

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Donald Trump blamed Kristen on Twitter (2012).

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Donald Trump blamed Kristen on Twitter (2012).

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Both in front of and behind the screen, Kristen is known for this innocent image.

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The idea of star branding is brought up by the dual nature of the celebrity, i.e., the celebrity as an asset and an actor. Popular cinema's economic model is to sell films via stars, not stars themselves. Star branding serves as a marker of similarity and distinction, which facilitates the process of communicating a position in the market by creating a balance between familiarity and originality, one of the fundamental qualities of the film product. The importance and meaning of celebrity branding stem from how the star's name and body are circulated, evoking meaning and producing parallels and divergences that establish the movie's place in the market along the axis of vertical and horizontal product differentiation (McDonald, 2012). But with the Twilight Saga, it can be said that Kristen and the Twilight Saga made each other. The Twilight Saga has managed to make Kristen the hottest actress of all time, and Kristen has managed to make the Twilight Saga grow steadily at the box office.

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Innocent and silent.