LA - July 19th
We're At Comic-Con! - What To Expect
First fans to line up trying to stay cool
Thursday - 11:15-12:15
Obviously the big event is the Q&A with the stars of Breaking Dawn, and the exclusive footage from the film. Bill Condon shared a bit of a preview with Entertainment Weekly.
Not only that, but it seems at least MTV and EW are going all out with their Breaking Dawn coverage that same day.
MTV:
We're kicking off our coverage in a big way Thursday with an entire hour dedicated to "The Twilight Saga: Breaking Dawn." Mark your calendars and set your phone alerts to remind you to tune into MTV.com at 6 p.m. ET/ 3 p.m. PT for a smorgasbord of "Twilight" goodness that includes exclusive interviews with the film's superstar cast and filmmakers, news from the "Breaking Dawn" panel and other tidbits associated with the film's Comic-Con events.
If you have any Breaking Dawn questions for the cast, send them via Twitter @MTVNews with the hashtag #mtvsdcc.
EW:
LIVE! Streaming Video provided by our partners at NowLive. Get an insider view from our VIP LOUNGE, where we'll talk to the casts of 'Spider-Man,' 'Glee,' 'Breaking Dawn,' 'True Blood,' and many more. Wall-to-wall coverage of the hottest panels, sneak peeks & coolest stuff from the convention floor. Exclusive portraits from our photo booth! You don't want to miss this! Updates all day long at ew.com/comiccon.
Fans attending the convention also get a special treat if they drop by the Summit booth.
Hollywood Reporter:
Ashley Greene, Jackson Rathbone, Elizabeth Reaser and Charlie Bewley won’t be on hand for the actual festivities, but Summit Entertainment tells THR that fans will be given the opportunity to speak with them via telephone.
As icing on this Breaking Dawn Comic-Con cake, Summit has released an Edward promotional card.. swoon!
Look for the very latest from Comic-Con on our twitter page, we bid you goodbye for now from our temporary home!
Rob Turned Down Franco Project
At least that's what James Franco tells Playboy in its latest issue:
Playboy: Participating in the Venice Biennale is by invitation only and a big deal. What are the specifics of your project?
James FRANCO: It’s a huge project I’m incredibly honored and proud to be presenting. It’s based on Rebel Without a Cause, and some of the best contemporary artists alive—Paul McCarthy, Douglas Gordon, Ed Ruscha, Aaron Young, Damon McCarthy and Harmony Korine—worked on different sections. I wanted Robert Pattinson to be in the project, but when Harmony (Rebel's director) contacted him and told him the concept, Rob said, “I don’t get the point,” so that was that.
PLAYBOY: Is it true you wanted to do a Twilight movie?
FRANCO: I had my agent tell [director] Bill Condon that I’d be happy to do anything in Breaking Dawn, but that was because it was supposed to be part of a multimedia project at Yale. I was working with a Yale undergraduate who had written an autobiographical play about putting on a theatrical production of Twilight in which I was a character. So I was interested in Twilight because I was going to be part of that play. I thought what a great connection it would be if I were also involved with the real Twilight.
James.. such a fanboy ;)
Don’t Neglect Your Post-Shot Routine
Most golfers who are serious about improving their golf games have developed a pre-shot routine. A pre-shot routine helps you relax and prepares your mind and body to play a shot. However, many of those same golfers do not give much thought to what they do after the shot. They should.
It is relatively easy to maintain a consistent pre-shot routine. It is just as easy and important to build a good post-shot routine.
Golf is a difficult game. It is common for one bad shot to lead to another. Everybody knows how crucial it is to control your emotions. That is easy when you are playing well. Think about it. When you hit good shots, odds are you give yourself a mental pat on the back and head on off down the fairway like there is nothing to it. A bad shot causes fear, which leads to tension. You scold yourself, rack your brain trying to figure out “what you did wrong,” and generally hold on to the negative thoughts until the next shot. By then you have altered your state of mind to the point where it is difficult to approach the next shot with any sense of confidence.
There are many good post-shot routines. None of them start with the negative question “What did I do wrong?”
As you work on your post-shot routine, keep a clear view of your goals. The only real goal is to maintain a set of positive images in your mind so that you expect good things to happen on the course. By getting upset and uptight over the bad shots and replaying them over and over in your mind, you are really rehearsing for more troubles.
I tell my students to use their successes as building blocks, and that is what the post-shot routine is all about. You should congratulate yourself after a good shot. Replay the feel of the previous swing, including the contact with the ball and flight path of the shot. Give yourself a verbal or physical cue to end the visualization–say to yourself, “Good shot,” or make a warm-down practice swing. Then take time to repair your divot and move ahead. The idea is to reward your efforts so that your mind strives to reproduce that feeling on each subsequent shot.
Conversely, when you play a bad shot, give yourself a mental mulligan. Mentally rehearse the shot again as if you have not yet played it. Then make a practice swing, complete with a visual image of the result you desired. This will link your mind to a success and downplay the substandard effort. Do not walk away until you have created a positive mental image.
It sounds simple, and it is. It is these subtle aspects of golf that will help you drop a stroke or two off your handicap and make you a more competitive player. The goal of any good golfer is to get into “the zone.” Make sure your post-shot routine leads you toward that goal and not away from it.
It is relatively easy to maintain a consistent pre-shot routine. It is just as easy and important to build a good post-shot routine.
Golf is a difficult game. It is common for one bad shot to lead to another. Everybody knows how crucial it is to control your emotions. That is easy when you are playing well. Think about it. When you hit good shots, odds are you give yourself a mental pat on the back and head on off down the fairway like there is nothing to it. A bad shot causes fear, which leads to tension. You scold yourself, rack your brain trying to figure out “what you did wrong,” and generally hold on to the negative thoughts until the next shot. By then you have altered your state of mind to the point where it is difficult to approach the next shot with any sense of confidence.
There are many good post-shot routines. None of them start with the negative question “What did I do wrong?”
As you work on your post-shot routine, keep a clear view of your goals. The only real goal is to maintain a set of positive images in your mind so that you expect good things to happen on the course. By getting upset and uptight over the bad shots and replaying them over and over in your mind, you are really rehearsing for more troubles.
I tell my students to use their successes as building blocks, and that is what the post-shot routine is all about. You should congratulate yourself after a good shot. Replay the feel of the previous swing, including the contact with the ball and flight path of the shot. Give yourself a verbal or physical cue to end the visualization–say to yourself, “Good shot,” or make a warm-down practice swing. Then take time to repair your divot and move ahead. The idea is to reward your efforts so that your mind strives to reproduce that feeling on each subsequent shot.
Conversely, when you play a bad shot, give yourself a mental mulligan. Mentally rehearse the shot again as if you have not yet played it. Then make a practice swing, complete with a visual image of the result you desired. This will link your mind to a success and downplay the substandard effort. Do not walk away until you have created a positive mental image.
It sounds simple, and it is. It is these subtle aspects of golf that will help you drop a stroke or two off your handicap and make you a more competitive player. The goal of any good golfer is to get into “the zone.” Make sure your post-shot routine leads you toward that goal and not away from it.
Fan Picture Of Rob Leaving Toronto Friday
Click to enlarge
Read the fan's *freebie* story!
And because you looove hearing what he wears, there's this..
What kind of clothes you ask?.. well, check it out for yourself ;)
via source
How To Handle Uneven Lies
Whether Mother Nature provides hillsides and sharp slopes or not, golf course architects usually design courses to include lots of uneven lies. To master rolling terrain, you must make adjustments to accommodate the uneven lies you are likely to encounter. The slope of the land will definitely affect your impact position. You prepare for this at address, not during the swing.
Let’s look at the four types of uneven lies and how to handle them:
The Uphill Lie
The most important consideration when facing an uphill lie is to remember that the slope adds loft to your shot and results in a higher trajectory. Take at least one club more than you would normally hit, possibly two clubs more if the slope is severe. Set up with your spine perpendicular to the slope. This sets your shoulders parallel to the ground and allows you to swing down the slope going back and up the slope going through. Set your weight slightly to the right side at address, and play the ball toward the front of your stance. Flare your left foot out about a quarter turn to encourage weight transfer on the downswing.
The Downhill Lie
This shot is more troublesome for most golfers, but it’s not really any more difficult. A downhill lie decreases the amount of loft on the club and causes the ball to fly with a lower trajectory. Take one less club than you would normally hit. Again, set up with your spine perpendicular to the slope and your shoulders parallel to the ground so that the club swings up the slope going back and down the slope coming through. Position your weight toward the left side, and position the ball slightly back in your stance. Turning against the slope is difficult, so you may want to close your stance a bit to encourage a better turn.
Sidehill – Ball Above Feet
To play this shot, stand taller at address with less knee flex than you would normally use. Choke down about an inch on the club since the distance between your hands and the ball is less than from a flat lie. The club will swing more around your body on a flatter plane when the ball is above your feet. This decreases the loft on the club and results in a low, right-to-left shot, so choose one club less than you would normally hit, and align your body and club face slightly to the right of the target. Keep your weight set toward the balls of your feet throughout the swing.
Sidehill – Ball Below Feet
Even the pros have trouble with this shot (left), but that doesn’t mean you have to. To get down to the ball, flex your knees more at address, and bend more from the hips. Hold the club at the end of the grip. Widen your stance a bit to lower your center of gravity. This creates stability during the swing. The slope of the ground causes your swing plane to become more upright and vertical and also adds loft by opening the face of the club. These factors generally add up to a high, left-to-right shot. Use one more club than you normally do from the same distance, and align your body and club face to the left of the target line. A good swing key for this shot is to maintain your knee flex throughout the swing.
Remember, the flight of the ball tends to reflect the direction of the slope. Practice uneven lies whenever you can to get a feel for the shots you hit from the various situations. It’s always an advantage to know what to expect. With all specialty shots, you should make a couple of extra practice swings before attempting to strike the ball. Program the shape and feel of the swing into your mind’s eye, and visualize the flight of the ball. And relax! Shots from uneven lies are usually not as difficult as they seem. Don’t let tension ruin your efforts.
Let’s look at the four types of uneven lies and how to handle them:
The Uphill Lie
The most important consideration when facing an uphill lie is to remember that the slope adds loft to your shot and results in a higher trajectory. Take at least one club more than you would normally hit, possibly two clubs more if the slope is severe. Set up with your spine perpendicular to the slope. This sets your shoulders parallel to the ground and allows you to swing down the slope going back and up the slope going through. Set your weight slightly to the right side at address, and play the ball toward the front of your stance. Flare your left foot out about a quarter turn to encourage weight transfer on the downswing.
The Downhill Lie
This shot is more troublesome for most golfers, but it’s not really any more difficult. A downhill lie decreases the amount of loft on the club and causes the ball to fly with a lower trajectory. Take one less club than you would normally hit. Again, set up with your spine perpendicular to the slope and your shoulders parallel to the ground so that the club swings up the slope going back and down the slope coming through. Position your weight toward the left side, and position the ball slightly back in your stance. Turning against the slope is difficult, so you may want to close your stance a bit to encourage a better turn.
Sidehill – Ball Above Feet
To play this shot, stand taller at address with less knee flex than you would normally use. Choke down about an inch on the club since the distance between your hands and the ball is less than from a flat lie. The club will swing more around your body on a flatter plane when the ball is above your feet. This decreases the loft on the club and results in a low, right-to-left shot, so choose one club less than you would normally hit, and align your body and club face slightly to the right of the target. Keep your weight set toward the balls of your feet throughout the swing.
Sidehill – Ball Below Feet
Even the pros have trouble with this shot (left), but that doesn’t mean you have to. To get down to the ball, flex your knees more at address, and bend more from the hips. Hold the club at the end of the grip. Widen your stance a bit to lower your center of gravity. This creates stability during the swing. The slope of the ground causes your swing plane to become more upright and vertical and also adds loft by opening the face of the club. These factors generally add up to a high, left-to-right shot. Use one more club than you normally do from the same distance, and align your body and club face to the left of the target line. A good swing key for this shot is to maintain your knee flex throughout the swing.
Remember, the flight of the ball tends to reflect the direction of the slope. Practice uneven lies whenever you can to get a feel for the shots you hit from the various situations. It’s always an advantage to know what to expect. With all specialty shots, you should make a couple of extra practice swings before attempting to strike the ball. Program the shape and feel of the swing into your mind’s eye, and visualize the flight of the ball. And relax! Shots from uneven lies are usually not as difficult as they seem. Don’t let tension ruin your efforts.
Judging Putting Distance: Short Putts
“A good many short putts are missed through nothing less than rank carelessness,” wrote Bobby Jones back in the 1920s. “The thing looks so simple that it is hard to view it seriously.”
What was true in the Roaring ’20s, when golf was played in ties and knickers and with hickory-shafted clubs, remains true today. The short putt can be a killer. Never take a short putt for granted or change your technique:
For most short putts, anything inside about five feet, the best advice is to hit the ball firmly. Stroke the ball a little harder than you think necessary, playing for the back of the cup. This way you can eliminate some or all of the break, and, as noted above, it’s always easier to deal with a straight putt than one that curves. (However, if the sideslope is severe, you might want to play it more delicately, like a “downhill putt.”)
What was true in the Roaring ’20s, when golf was played in ties and knickers and with hickory-shafted clubs, remains true today. The short putt can be a killer. Never take a short putt for granted or change your technique:
- Go through your routine.
- Get comfortable.
- Make a good stroke.
For most short putts, anything inside about five feet, the best advice is to hit the ball firmly. Stroke the ball a little harder than you think necessary, playing for the back of the cup. This way you can eliminate some or all of the break, and, as noted above, it’s always easier to deal with a straight putt than one that curves. (However, if the sideslope is severe, you might want to play it more delicately, like a “downhill putt.”)
- To ensure a firm stroke, concentrate on the follow-through.
- Strive for a slightly longer than normal finish, holding it, and keeping your head still, until you hear the ball plop into the hole.
- Finally, develop short-putt confidence by holing them all. In weekend play, many golfers concede the little ones to their partners and opponents. While a gentlemanly gesture, it actually weakens your nerve, which will be tested if you ever play competitively, when every ball must be putted out. So even when the short ones are conceded, play them.
Giant Marilyn Monroe
Her pose is taken from the iconic white dress scene in The Seven Year Itch. Now, tourists from all over the world can look up her dress forever. I’m sure she’s up in heaven feeling very happy about that. But not everyone likes it!Killjoy art critic Abraham Ritchie writes in Chicago Art Blog that the sculpture is “downright creepy and sexist.” “This is not art that could be described as ‘making people think,’” he continues. “Not by a long shot. It’s creepy schlock from a fifth-rate sculptor that blights a first-rate public art collection.” I bet he’d rather they’d bought some piles of uniform cubes by Sol LeWitt. So thoughtful, those piles of cubes.
But wait, there’s more.
This sculpture caters to cheap titillation, titillation that is in itself pathetic. By making Monroe’s panties visible, Johnson encourages voyeurism. When I visited it recently there were no less than three men taking pictures of Monroe’s rear. If a clumsily rendered giantess puts wind in your sails, you have issues.
Monroe is presented as an object for male consumption (though females may certainly participate), as a transitory moment is creepily frozen in time. The eroticism of the actual scene in the movie is drained out as the moment lasts eternally.
First he’s mad that the sculpture is titillating, and then he’s mad that it’s not titillating enough? Also, copy editing, dude. Using the word “creepy” as both an adjective and an adverb in the same short post is not good.
I don’t think anyone is getting their jollies from looking at the sculpture’s panty-clad ass. Whatever you think of it, that image of Marilyn Monroe is a beloved, kitschy part of American culture that’s worthy of artistic preservation. Despite her sad end, Marilyn continues to make people smile from beyond the grave; it’s how she gets to live forever. It might not be the most profound artistic statement in the world, but public art rarely is. It is for goofy tourists to pose in front of, and sometimes, for crusties to crouch and smoke cigarettes under.
And as for Marilyn’s utter inappropriateness as a topic of good art: try telling that to Andy Warhol. Oh wait, Andy Warhol would never talk to you because he has no patience for whiny adjective repeaters. Also, he is dead.
Fan Account: It's Showtime - 'WFE' Premiere - NYC
Blog contributor Chilbunch, has been sharing her Water for Elephants New York experience with us. Check out her latest installment :)
For the premiere of Water for Elephants fans with armbands were to arrive at 3pm, to enter the barricades across from the Ziegfeld theater to watch the red carpet. When we entered we decided to stand across the entrance to the carpet, not knowing when or where Rob would pop up.
For the premiere of Water for Elephants fans with armbands were to arrive at 3pm, to enter the barricades across from the Ziegfeld theater to watch the red carpet. When we entered we decided to stand across the entrance to the carpet, not knowing when or where Rob would pop up.
Across from the Red Carpet Entrance
Photo Credit - www.color.com/waterforelephants
The Pattinson Family arriving for WFE Premiere
Around 4pm we knew Rob had arrived, based on the screams at the beginning of the barricades. Rob actually signed and posed for pictures with the fans for over an hour. He spent more time with the fans than on the red carpet for media interviews.
Rob Signing -You can see him in my camera view as I was videotaping
Photo Credit - Jeri
The fans were pleasantly surprised to see Reese coming down the line behind Rob. She was very gracious and sweet to all the fans.
Rob entering Red Carpet
Rob and Reese at the beginning of the Red Carpet
Rob walking the carpet
Rob and Reese on the red carpet - a bit blurry until :25 in
Rob and Reese being interviewed
More Rob and Reese
We stayed in our place watching Rob and Reese on the Red Carpet until they went into the theater.
So I guess you’re wondering….was it worth staying up all night on a sidewalk in NYC for 30 second encounter with Mr. Pattinson? Without a DOUBT, hands down Hell YES! Would I do it again....hmmm I don't think so,,, but if you recall I said that after the Remember Me premiere too.
So I guess you’re wondering….was it worth staying up all night on a sidewalk in NYC for 30 second encounter with Mr. Pattinson? Without a DOUBT, hands down Hell YES! Would I do it again....hmmm I don't think so,,, but if you recall I said that after the Remember Me premiere too.
Coming up next ….our Today Show Experience which includes video’s and pictures.
In The Sand? Stay Open Minded
To hit a bunker shot, use an out-to-in swing with an open clubface. For anyone who plays tennis, it is very similar to a cut shot. To achieve this cutting action, your body and clubface are open in the set-up.
First, open your clubface before taking hold of the club. As you hold the club in front of you, imagine that a square clubface position is equal to 12 o’clock. Turn the leading edge clockwise so that it points between 1 and 2 o’clock. As you take your grip, you will notice the blade is open or aiming to the right of target.
Second, set your body square to the target line. Then pull back your left foot so your body lines aim left of the target.
Take a wide stance for a firm foundation in the sand. Position the ball just forward of center.
Swing the club along your new body lines. Do not be alarmed by the feeling that you are going to hit the ball left due to the out-to-in swing path.
The opening of the clubface and cutting-across motion will make the ball pop out and to the right—straight toward the hole.
Hit a few inches behind the ball to allow the club to bounce. The length of the follow-through controls the length of the shot: a short through-swing produces a short shot, a fuller swing produces a longer shot.
Do not be afraid to hit down hard on the sand. The more sand you take, the less distance the ball will travel.
Even for a short shot, you need to swing hard to have the ball travel only a small distance. If you have a short shot with a high wall on the bunker, open your clubface and stance even more. This will cause the ball to pop out higher and land softly.
First, open your clubface before taking hold of the club. As you hold the club in front of you, imagine that a square clubface position is equal to 12 o’clock. Turn the leading edge clockwise so that it points between 1 and 2 o’clock. As you take your grip, you will notice the blade is open or aiming to the right of target.
Second, set your body square to the target line. Then pull back your left foot so your body lines aim left of the target.
Take a wide stance for a firm foundation in the sand. Position the ball just forward of center.
Swing the club along your new body lines. Do not be alarmed by the feeling that you are going to hit the ball left due to the out-to-in swing path.
The opening of the clubface and cutting-across motion will make the ball pop out and to the right—straight toward the hole.
Hit a few inches behind the ball to allow the club to bounce. The length of the follow-through controls the length of the shot: a short through-swing produces a short shot, a fuller swing produces a longer shot.
Do not be afraid to hit down hard on the sand. The more sand you take, the less distance the ball will travel.
Even for a short shot, you need to swing hard to have the ball travel only a small distance. If you have a short shot with a high wall on the bunker, open your clubface and stance even more. This will cause the ball to pop out higher and land softly.
'Cosmopolis' Wrap Party: Say Goodbye To Eric Packer! (For Now)
While no official word has come in about Cosmopolis ending production, according to The Hollywood Minute the film held its wrap party in Toronto last night. We'll keep you posted, but with Rob expected to be at Comic-Con in just a few days, we'd say that's a wrap!
As a goodbye treat, lightboxgallery has released the entire clip of a gun-carrying Rob in a key scene from the film. DO NOT CLICK PLAY if you don't want to be spoiled. Check out the rest from that night.
As a goodbye treat, lightboxgallery has released the entire clip of a gun-carrying Rob in a key scene from the film. DO NOT CLICK PLAY if you don't want to be spoiled. Check out the rest from that night.
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