Wednesday, August 25, 2010

'Twilight Saga' author Stephenie Meyer on Forbes top paid list

Forbes has revealed their top ten list of the highest paid authors. 'Twilight Saga' author Stephenie Meyers comes in second place with a massive $40 million while crime novelist Jame Patterson hit the top spot with a whopping $70 million.

By looking at these pay checks you would never know that the publishing industry has been seeing a decline in the purchasing of novels. It seems that the purchasing of e-books is enough to keep these authors very well paid.

The top ten money makers are :

1. James Patterson ($70M)
2. Stephenie Meyer ($40M)
3. Stephen King ($34M)
4. Danielle Steel ($32M)
5. Ken Follett ($20M)
6. Dean Koontz ($18M)
7. Janet Evanovich ($16M)
8. John Grisham ($15M)
9. Nicholas Sparks ($14M)
10. J. K. Rowling ($10M)


Breaking Dawn Crew Concerned Over Shooting in Rio?

Although part of The Twilight Saga: Breaking Dawn will be filmed in Rio de Janeiro, the Breaking Dawn plans in Rio may be shelved after a recent firefight and hostage taking incident gave cause for concern.

According to ABC News, the film crew for The Twilight Saga: Breaking Dawn is uneasy about shooting scenes for Breaking Dawn in Rio de Janeiro after a hostage situation at an upscale hotel over the weekend. Riofilme, the company promoting film production in the city, reveals that because of the hostage situation and ensuing firefight, Summit Entertainment is in emergency talks with city officials.

Although original plans called for scenes from Breaking Dawn to be played out in Rio, the incident with a drug gang and their act of taking thirty five people hostage over the weekend may prove scarier for the Breaking Dawn film crew than any vampires or werewolves ever could.


Robert Pattinson Receives Several Nominations at the Australian Nickelodeon Kids Choice Awards

We previously reported that Robert Pattinson was nominated for the Favourite Movie Star award at the Australian Kids Choice Awards. We now have the full list of nominations so make sure you check them out below and vote for Rob HERE. Voting closes September 26th and the show will be broadcast on Friday October 8th.


Favourite Movie Star – Robert Pattinson
Favourite Kiss – The Twilight Saga: Eclipse – Kristen Stewart and Robert Pattinson
Cutest Couple – Kristen Stewart and Robert Pattinson
Favourite Movie – The Twilight Saga: Eclipse


Robert Pattinson is one of Hollywood’s Best Kissers

According to Hollywood Life Robert Pattinson is one of the 15 best kissers in Hollywood. Check out the full list HERE.


Luckily for these super studs, the ladies they’ve smooched are kissing and telling – and their feedback is all positive! Find out which gorgeous guys are the greatest at playing tonsil hockey here at!

* ROBERT PATTINSON, 24. Rob’s Bel Ami co-star Christina Ricci says, “He’s a sweet guy and super funny…and a really good kisser.”


“Bel Ami” UK Official Update

We have received the following official update regading Bel Ami’s UK release via our partner project Bel Ami Movie UK. Don’t forget to visit the site for future official updates.

If you repost this update please source Bel Ami Movie UK.

Regarding officially released stills: there will be more but not for a few months as the film is way off being finished. The same is true of the promotional poster. Once these items become available they will certainly send them to us.

There is currently no fixed time scale for the release of this info.

Our official sources are very hopeful there will be a UK premiere, however a date has yet to be set for this. Once more info is clarified they will pass it on to us.

There is still no distributor for the 3 remaining areas.

They are very happy with the interest and will keep us updated.


Robert Pattinson in Remember Me - Part 2 Living Tyler

Jessegirl's wonderfully written second installment of Robert Pattinson in Remember Me takes a look at how Rob portrayed Tyler and how he brought Tyler to life in the film.

Robert Pattinson brought Tyler Hawkins to life in the most touching and genuine way. He showed us his complexities, both the flawed and the admirable, all of them, and we embraced that young man as if he were one of us, one of our inner circle. The core of was Tyler’s journey, and Pattinson took us all on it, allowing us to see the heart and soul of the character Will Fetters put on the page.

Pattinson never veered from that. He gave us Tyler’s body language, Tyler’s facial expressions, Tyler’s voice. Pattinson used his being as a medium to gain access to Tyler. He was living Tyler.

Tyler’s journey has its arc [which I will cover in a future piece] but here I will jump around, the purpose being to demonstrate various aspects of Pattinson’s performance.

On the surface, this college student seems like a fairly normal young guy: he smokes, he drinks, and he’s a bit of a male-slut. He displays the self-righteousness and recklessness of his age, getting into verbal altercations with his Dad and into fist fights without much provocation.

The son of a rich man, there is evidence of a sense of entitlement about him too, when he smokes in the inner lobby of his Dad’s company office, enjoying the discomfort of the receptionist who has to put up with his behaviour because he’s the boss’s son. Pattinson hit just the right notes in this scene, with the levity and boyish charm making the defiance, if still irritating, more palatable because it is funny. His line delivery, the crack in his voice, supposedly indicating disbelief, his physical gestures and facial expressions together show an incipient comedic flair.

Oh, and Tyler does one other thing; he writes to his dead brother in a journal [see my piece,Remember MeTyler's Journal ]. He carries this around with him, constantly makes entries in it, and his voice-overs are quotes from this diary. Now we are getting to the essence of Remember Me. It is grief.

Pattinson apparently said to the Mexican magazine Reforma (and I’ll quote it as I read it): “It’s about loss, how we handle grief, how it affects us. For many people, loss becomes part of who they are, and sometimes, in order to overcome a loss, we have to leave part of ourselves behind as well.”

Suddenly, everything this character does takes on a new sheen because, under that surface, Tyler’s grief informs all his thoughts and actions. And so, when Tyler hears his brother’s name in the alley, it is a trigger, and he gets into a fight.

This screencap shows us how Pattinson subtly conveys that Tyler is now alert, not to his friends and the Miami girls, who are out of focus for him, but to his brother. It’s all on Pattinson’s face, the alert preoccupation, Tyler’s inner world coming to the surface with that mention of Michael’s name.

Later, bloodied and bruised, in jail with a pissed-off Aiden, Tyler’s attitude is so evident in Pattinson’s body language. Tyler’s response when Aiden berates him is to play with his bunched up shirt, shrug, laugh it off, and hang his head down. Pattinson plays this so well, using his lanky body to perfection as his loose-limbed movements signal Tyler’s almost fluid yielding to his predicament. Pattinson told TeenHollywood that Tyler’s Mom had wanted to sue—a deleted scene—but Tyler didn’t care, that Tyler had this blasé attitude. It’s fascinating because we see, under Tyler’s overt indifference, surrender, which is another thing entirely. There’s a lot going on in this—and every other—scene, but it illustrates Pattinson’s ability to show us many layers of his character almost through his body alone.

Let’s talk about Tyler and guilt. After Ally finds out about Tyler’s nefarious revenge scheme and leaves him, Tyler is devastated. While Aiden chomps on Chinese food and throws him worried looks, Tyler sits absorbing the shock of this new loss, and stares morosely at nothing. He gets off the couch in the most laboured way, weighted down by his misery, and shuffles down the hall, head down, fingers hooked loosely around the neck of his beer bottle, his slow plodding gait a mirror for his emotions. We know exactly how Tyler feels because Pattinson has shown us, with economy of expression and movement, and not a word has been said.

Then the guys go to the movies; American Pie 2 is showing—a 9/11 clue if anyone is interested—and the audience is laughing hysterically at the hilarious sex scene. Aiden laughs and checks for his friend’s reaction; Tyler smiles half-heartedly to appease him, then returns to his true emotional state, the dark theatre shielding it. Here, in this tiny scene, Pattinson uses his face and hand to reveal Tyler’s feeling of guilt, and his nausea was palpable. The sadness just wafts off him, his eyes show us his pain. Again, no dialogue, but everything said through his subtle facial expressions and minimal movements.

Tyler relates to every other character differently and this gives us a chance to see different aspects of him. He is a truly multi-dimensional person.

With his sister Caroline, Tyler is playful, supportive, but most of all, the protective older brother. In the sweets shop, where we first see the Hawkins’ family dynamic, he gazes at her with undiluted and uncomplicated love and she basks. He is playful with her, shares jokes, treats her with respect.

She confides in him, especially about her concerns about whether or not their Dad loves her.

He picks her up from school and when he realizes she is worried her classmates think she’s a freak, he puts on a French accent, and entertains her with garbled French gibberish, ‘sacre bleu’.

When she invites him to her art show he responds, “abso-freakin-lutely!” which makes her laugh. Pattinson brings a natural ease to these scenes. He and Ruby Jerins make this special relationship seem so real, so vibrant and pure, it is a pleasure watching these actors exchange dialogue.

Even the smallest scene makes us believe we are seeing, for example, a big brother on the bed with his little sister, his arm around her while she cuddles up to him, hurt from a bullying incident. He reads to her, his voice gentle and life-affirming. Not Jerins and Pattinson—and not a hint of Edward or Jimmy Dean—no, it is Caroline and Tyler.

Pattinson has said—DVD extra—that “Tyler is not really living at the beginning....but by the end he accepts whatever will be.” He has also said Ally “shows him how to live and how to mature...” Before Ally, there was ‘toothbrush’ girl and others. But, to revise, Tyler is not a man-slut but too lost and tortured to have a real relationship. Ally is the key to Tyler’s change, but there is no grand epiphany, no moment when everyone knows Tyler has changed. It is gradual, more realistic, and there is backtracking and conflict along the way. Ally is, arguably, the strongest character in Remember Me and Emilie de Ravin has also done an excellent job.

Ally’s ability to change Tyler begins, I think, when she throws him off. She doesn’t jump at a chance to go out with him, but tests his responses to her questions and doesn’t extend her hand until she gets a bit of truth. Tyler, who could have any girl he wanted on the basis of his looks alone, has to work for it. And it’s fun watching Pattinson’s face as his character tries tacks to hook her. You can smile through the repartée of this whole exchange.

Then, on their first date, which she almost forgets, she really throws him with her talk of dessert first. Boy does she have his attention. Again, beautiful acting off each other. Pattinson’s facial expressions here are priceless, as he tries to figure out Ally’s peculiarity, to reconcile it with the intelligent woman he knows she is. He looks at her askance.

He asks if it is a political statement or a medical condition—great line—then listens, all ears, as she explains. He’s too confused to laugh, so smiles, his mouth doing a great acting job all on its own. He clears his throat, opens his mouth as if to laugh, then just closes it. Pattinson’s eyebrows quirk, but it’s his mouth that wins the award here. It’s priceless how he shows us Tyler’s puzzlement. Then, later, she won’t even let him kiss her good night! What a woman!

There’s a lot to say, about this and all of Tyler’s other relationships and how Pattinson handles them. But I know, even with the pretty pictures used for illustration, generally short attention spans prevent me from covering much more. Suffice to say that Pattinson shows, as with the moments I’ve already mentioned, the other aspects of Tyler so well. The mischievousness when he sprays Ally, the vulnerabilities, the hurts, the guilt, the violence, and so much more. I am only touching the surface.

But I will cover the boardroom scene. While Pattinson has garnered good reviews for his acting in this film (Kevin McCarthy, Jackie Cooper, Dustin Putman, Pete Hammond, Kirk Honeycutt, Mary Ann Johanson and others), some critics disparaged Pattinson’s acting in the boardroom scene thus:
“He’s all elbow, stuttering and petulance...the big painfully bad..” [David Medsker] and “...confrontation scene in which Pattinson goes so overboard with his acting...” [Edward Douglas]. A dissenter is Rob Stammitti, who says that the ‘fiery moments’ between Pattinson and Brosnan ‘show off some of his potential’. Okkkay.

I think Pattinson’s performance in the boardroom scene is very good, but no better than in so many other scenes. But blow-up scenes are flamboyant chances for the actors to let loose and people seem to think this tests an actor’s chops more. I disagree, because subtleties are much more difficult to pull off.

I mentioned—part one—that I perceive this scene differently than Pattinson does. In video interviews he has said that Tyler is bringing old ‘grudges and grievances’ to the table, that ‘they’re just old’ and that Tyler and his Dad ‘have had the same fights before’, that after them, Tyler doesn’t even remember what he’d been arguing about and ‘feels impotent because it didn’t mean anything at all’. He says that the reason Tyler fights is that he’s trying to ‘break his Dad’s confidence’, that he won’t ever ‘shatter’ Charles, ‘which is the only reason he’s fighting him'. And that he doesn’t fight his mother because ‘she’s already completely broken’.

Pattinson told TeenHollywood Tyler is ‘rebelling against nothing’. But Tyler does have a cause. He must break down the wall Charles built to keep his family out (probably after Michael died). For me, ‘shatter his confidence’ only makes sense if it means getting Charles to engage his family. This is of utmost importance and it is one of the things Tyler must do, because only he can do it.

There is so much going on in this scene—which I’ll analyze in my piece on Tyler—but the bottom line is that Tyler is determined to call his father out for ignoring his children, to provoke him if necessary, anything to get through to him, because their lives are on the line. Yes, it is histrionic, yes, ‘hysterical gibberish’ (Pattinson), but it is to a purpose. Charles must re-engage and Tyler must break down the wall because Charles is terrified to do so. It is pivotal.

A fellow commenter [‘Rum’, quote #48] pointed out that when Tyler gets to Charles’ office, sweat-stained from the angry ride over on his bike, he deflates and becomes a pleading child. Yes, Pattinson shows us this vulnerable, scared kid who wants his Dad to show them he loves them. “She drew you a picture...” . All of Pattinson’s body language, the hand on hip self-righteousness, the guilt-inducing lines—‘why aren’t you riveted’—reveal a man-child using any weapon at his disposal to get his Dad to wake up.

His face becomes ugly as it contorts in anguish. Yes, Tyler is absolutely anguished.

He continues by saying that Charles can’t just ‘shatter’ their world.

After Charles dismisses him as irresponsible, as a child—‘You pedalled down here on your bike’, ‘You’re responsible for no one’—Pattinson’s face mutates frame by frame from disbelief, to impotence, to pleading, to anger and cynicism. Pattinson shows this so well. Next comes Charles trump line—‘You think, whatever you feel in your heart, I don’t also feel it in mine?’—which, with his employees present, is pure grandstanding.

Tyler feels defeated; he is near tears here.

Then he counters with what the audience doesn’t know—‘You didn’t find him’—a line which Pattinson delivers with just the right mix of pleading, accusation and misery. The fact that an adolescent Tyler found his brother’s hung body is a class-A trauma, one that should be handled carefully. Charles only hardens at that point when he should be comforting. But, wait, he’s got a room full of witnesses that he insisted remain there.

Let’s address the ‘stuttering and petulance’. Er, yes, the stuttering was the gibberish. In reality huge rage produces stammering if it stays verbal, and actually, most such confrontation scenes in movies are unrealistic because they don’t show this. I don’t know whether Medsker criticized Pattinson or Tyler for the petulance, but this confrontation was necessary and Tyler used any means necessary to join battle. Because he had to. Anyone who doesn’t understand that, doesn’t understand Tyler or his purpose.


It was said that “ watching to see if Robert Pattinson can pull in a wider audience sprinkled with all ages and sexes” [Hollywood is Watching: Can Robert Pattinson Open a Film?]. Actually, those are two different questions. It turns out, the teens who love Edward, don’t like to see him with a different love interest, so they pretty much boycotted the film. On the other hand, those people who did go reported on the diverse audience demographic, and on the fact that non-Twilight fans received it very well.

-‘my date... was blown away. He loved it. He was so moved he couldn’t stop talking about it the rest of the night without choking up.’ [CAEdge. Brevet]
-‘I got dragged to this movie by my wife...It’s how this film touches my heart that sets it apart.’ [Steven. Brevet]

-‘We—on a French RM forum—all respond to RM on different levels according to our age—we’re 13-52—and our experience, but everyone agrees: the film is simply breathtaking. [Kim. Brevet]

-‘Took her 16 yr. old son, who said to her: “Mom, seriously, that was the best movie I have ever seen...Mom, this movie changed me.” [Kelly. Brevet]
I could go on but I think I’ve made my point.

Tyler is the hub of the wheel and everything revolves around him. Only a really great performance has the power to pull in a broad demographic and have the audiences utterly invested in the fate of the lead character. Pattinson has done that. Tyler gave him a broad scope of emotion and the actor conveyed it, showing his wide range.

Pattinson was living Tyler for us. He made Tyler his. And because he did it so well, we made Tyler ours. Many of us made Tyler ours forever.


Cast Spotlight - Robert Pattinson and "Remember Me" Part One

Our frequent contributor Jessegirl has written another wonderful article for us. This article, part one of two, looks at Robert Pattinson and his Remember Me experience.

-by jessegirl August 1, 2010

“As an actor, you can elevate the human condition or cheapen it.
I would assume it’s the same with anything you do-
you try to elevate and maybe someday you will.”

-Robert Pattinson, speaking to Jenny Lumet for Details, March 2010.

Working Conditions:
The summer of 2009 Remember Me was shot on location in NYC. Thanks to modern technology like Twitter, paparazzi and fans swarmed every outdoor locale, from the University to Central Park. Video and still cameras shot every move Pattinson made in public and these hounds were as intrusive as NYC ordinances allowed, to the dismay not only of the star but also of the beleaguered director and bewildered crew. Pattinson’s fans lined the streets, cell phones poised, and eagerly awaited his exits from his trailer; Brosnan and Ellington both reported that everyone knew from the screams when Robert was coming to work. There are countless photos of him walking to and from the set escorted by half a dozen burly guards. Others of him with his head down, trying to salvage the tiniest bit of privacy, which amounted to that square foot of cement directly under his feet.

(Right about here is the place to show you what I mean. Ironically, the best way to illustrate the effect this had on the actor is to show you shots taken by the paps. I will not do that. I have full confidence in your imaginations. So, imagine it.)

For an actor, the ability to concentrate, to focus on your character and your lines, is paramount. Pattinson knew too that he was learning his craft. This twin intrusion from paps and fans, he admitted, drove him insane until he learned to mentally blank it out. It was a crazy and pathetic situation, but Pattinson handled it with grace. He was, as Brosnan said, the embodiment of grace under pressure (take note, Christian Bale).

But ask yourself, as you read this, how would you handle it if you were so intensely scrutinized at your place of employment, if you had no way to escape except into yourself? If you can imagine what it was like for him to be so besieged, are you sympathetic for his plight?

Signing On:
By 2009, after Twilight’s success, it was assumed that Pattinson’s turn as Tyler Hawkins had been orchestrated as a star vehicle for him. It was not. If critics had done their homework they would have known that Pattinson signed on to the project long before Twilight’s release, before his fame. He’d been reading countless scripts and read “Memoirs” (Remember Me) in a car park. In video interviews on the Remember Me junket he said he’d read about 50 scripts, and this one stood out. The young male protagonist seemed complex and would give Pattinson lots of rich emotion to work with. The script flowed naturally, the dialogue rang true and the relationships seemed real to him. “There was something so powerful about it, when I first read the script,” he told On The Red Carpet’s George Pennacchio.

Nick Osborne, the producer, and Allen Coulter, the director, heard Pattinson was interested and they met with him. The men were ‘all on the same page’ on the project. So Pattinson signed on. And then Twilight came out.

But after Edward Cullen made his screen debut, everyone was watching and wanting and expecting the moon from Robert Pattinson. An interesting article: “Hollywood is Watching: Can Robert Pattinson Open a Film?” came out which laid out Hollywood’s modus operandi—set them up and pull them down—and its target was Pattinson.(Remember Me Saturday:Can Robert PAttinson Open A Film?)

Pattinson admitted what anyone would in his situation. In another video interview he said it is “difficult to learn when everyone is expecting you to be number is quite worrying”. It’s actually cruel. Unfortunately, Hollywood, the media, and the paps, don’t care.

Where did that tiny square of cement go?

Why make films?
Apart from the much told story about acting being a way to meet girls, Pattinson’s reasons for acting are, according to him, very personal. He said—in a number of Remember Me junket video interviews—that he picks roles which help him develop as a human being, which are cathartic and a sort of therapy. Whether one believes this idealistic view or not, this man can think up a storm. And his commitment to Remember Me reveals a man with integrity.

He is committed to making quality films, so that his name ‘will stand for something’, to eschewing money and fame. Now this sounds odd considering the Twilight franchise, but it must be remembered that he signed on to that when that was a little indie film. Frankly, any astute actor knows the money from the blockbusters gives him freedom to pursue films which really matter. And smart actors are applauded for doing that.

In a recent interview ( )he said something interesting about career choices: “You try to make every little thing, you try to add something to it...I try to choose things which I think I can give something more to or help to elevate it to something.” There’s that word ‘elevate’ again.

Sticking with “Remember Me”:
Remember Me had difficulty getting financing because it was not an easy story to pigeon-hole. The great ones never are. Pattinson said it “seemed like there was a reason it had been written and a reason it should be made”. Uh-huh. To put it mildly. He, Osborne and Coulter knew they had something special in Fetter’s story and they did everything possible to get it made properly. Their personal investment never flagged.

When Manny the Movie Guy interviewed them [March 10, 2010] asking about Pattinson staying with the role even after the Twilight fame, Fetters and Coulter confirmed Pattinson’s unwavering commitment to the project. Coulter said that there was never a question of Pattinson’s loyalty, and that he always watched the dailies. Fetters: “It speaks to his integrity as an artist that he connected to the character and to the material and wanted to see it through...his commitment and the passion he brought...he was deeply serious about portraying this character.”

In fact, Pattinson’s commitment went beyond acting in the film. He is credited with the executive producership. Whoa! How often does that happen with actors this young? The thing we all have to realize is that Pattinson is no ordinary man, and that the others responsible for this film had much invested emotionally in it. They weren’t shy to use any and every way to make sure the story got told properly.

What Pattinson’s specific involvement was I’m not sure. He was in on script changes, even helped with the casting process (Emilie de Ravin), and tried to get it marketed as something other than a teen romance, to change a trailer which misrepresented it. As he told George Pennacchio (On the Red Carpet), “I didn’t want it to be compromised in any I said anything I can do...I want to do my bit to protect it.”Perhaps his role here was minimal but that he had one at all is salient. And, in his usual self-deprecating manner, Pattinson said he wanted them to put the credit “in really small font”.

Clearly these men—Osborne, Coulter, Fetters and Pattinson—had a vision, undertook this project with passion, and would collaborate in unusual ways so that the result would be true to the story. This is something to admire in all of them, and this beautiful, profound film, is the result. (It has come to my attention that Meredith Milton and Eric Feig need to be mentioned as they got the Summit to put up the $16M production cost.)

Colleagues’ Experience of Pattinson on Remember Me
In print and video interviews the rest of the cast had nothing but good things to say about Pattinson. They all have a great deal of respect for him. And they should know, shouldn’t they?

Ellington tells Nicola McCafferty ( that Pattinson was ‘as nice as can be’ and ‘utterly always so humble’. De Ravin talks about him bringing ‘intricate details to the character’, and that they both ‘shared the same amount of passion and need to do whatever we could to make this movie work’. Cooper stated that ‘Robert can deliver that sensitivity’. Brosnan felt like a father to him. He mentioned Pattinson’s executive producer gig in many interviews, obviously impressed with that he is ‘using this power, fame and fortune to good find good material...and have a career that will be long-lasting’. They’ve all said a lot more but this will suffice for now.

We’ve already heard from Coulter and Fetters but to add to that, Coulter told Manny the Movie Guy that ‘we didn’t know that he’d be as good as he was. I thought, you know, I can get a good performance out of this young man...but he was extraordinary’. You may choose to believe that this is all part of the official view, designed to create a positive bubble around the film. Perhaps. You must decide. I choose to believe them.

Pattinson’s long-time friends and family support him and protect his privacy as much as they can. They don’t tell tales out of school. This regard and respect is significant.

Tyler was going through the same transitional phase Robert was, from late adolescence to manhood (he says he chooses roles which cover the same things he’s going through at that point in his life). Yet Tyler was also a conflicted, complex guy, not at all the stereotypical character most scripts present. Therefore, Tyler was interesting. Pattinson knew right away how Tyler spoke. “I had a voice immediately”, he said, and he thought he could add something to it.

Pattinson saw Tyler ‘not really living at the beginning’ but ‘by the end he accepts whatever will be’. On the DVD added feature, he says that Tyler ‘is a guy who is a little bit lost’ and that Ally ‘shows him how to live and how to mature’. He also talks at length about Tyler’s confrontation with his father in the boardroom. It’s funny how he sees his character. To Pattinson the boardroom scene illustrates ‘grudges and grievances which he’s held for years...and they are just old’, and ‘he’s sick of the same rages’. Perhaps because we, the audience, witness only one such confrontation, it had a different meaning for me. I thought it was pivotal and actually affected Charles greatly.

In any case, Pattinson presented a character with subtle dimensions and great humanity, and he did it so well that audiences came to love the Tyler he showed us. Pattinson talks about it being an ensemble cast; well, maybe all the other actors, yes. But it is Tyler’s story; he is the linchpin, the centre, and must convince and win us over. This is a big role for the actor; really, he shoulders the thrust of the story. If we do not care about Tyler by that climactic ending, then what’s the point? But Pattinson does such a good job that we have the phenomenon of grown men, teenage boys, as well as women of all ages, crying for Tyler. Oh, he didn’t do it alone, for the entire cast was superb; all brought a believability and humanity to their characters as well. But his achievement should not be underestimated.

The Performance
From his explosive outbursts in the boardroom and in the street fight, to the tender moments he shares with his little sister, Tyler is a multi-dimensional, complicated and sympathetic character. But whatever else he is doing, he is mourning his brother and using his journal to work through this grief. All of his actions are predicated on this overriding fact. Despite his vacant demeanour, he does not really brood. He is in pain and we see it. His vulnerabilities are so evident it is almost painful to watch—as in the scene where he shows Ally his tattoo—but then we see his emotional bravery too. It is not long before most of us are rooting for him. By the time he stands at the tower, we begin grieving too.

I could go over almost any scene to describe the excellent job Pattinson did to bring this character to the screen. Break it down. Point out the body language here, the facial expressions there, the reactions to the other characters. But I felt it necessary to address peripheral issues like the fans, paps, misapprehensions first, so I’ll save his performance for ‘Part Two’.

Critics were uneven in their judgement of Pattinson’s performance and too many brought up Jimmy Dean and brooding. First, all artists learn from their predecessors. Second, if Dean is to be referenced at all it would be to show that in this instance Pattinson has gone him one better.

Most critics who were positive seemed relieved to report that Pattinson can act at all, clearly of the opinion that his previous roles, and especially Edward, don’t count. That’s debatable too, given that so many critics have no idea what the character of Edward Cullen entails.

Kevin McCarthy, whose review of the whole film is excellent, thinks Pattinson "delivers a very strong performance"[]. And Jackie Cooper: “The most important and fascinating part of the film is that you believe these characters...There is not one false not struck among them...Pattinson is totally impressive as Tyler.” []. Dustin Putman: “...Pattinson, he is in full command of his leading role and never falters.” Uh huh.

Final Words...
That Pattinson pulled out such a brilliant performance under the working conditions I described before is amazing. That he did it with so much grace is impressive. Given everything Robert Pattinson had shown us of himself, he is a decent man.

I know paps and fans camped out on his Water For Elephants shoot but because of distances neither can violate his privacy and the work on set as happened in the summer of 2009 on the Remember Me set. And recently, again, paps are making his private life hell so he cannot even walk down a street without their in-your-face gleeful violation. Is it too much to ask to treat him with decency? These men just ‘cheapen the human condition’.

Oh man, it sounds so old-fashioned, but if everyone would just treat him as they themselves would wish to be treated, maybe he could breathe. And not have to hang his head down, always searching for that elusive square of privacy. If Tyler Hawkins were the only character Pattinson brought to life, if his screen credits stopped right now, he would have achieved this goal of elevating the human condition. Such was the power of his portrayal, of the role, of the film.