Revisit the full shoot in our gallery HERE

source via RPLife

These scans are courtesy of Pattinson Moms

via Spunk-ransom

These scans are courtesy of RobertPattinsonMoms

via Spunk-ransom

Source via Source

What’s the secret of sexsym­bol Robert Pattinson?

Those who never heard of Robert Pat­tin­son must have been liv­ing on a deserted island the past two years. Ever since the 24 year old British actor played Edward Cullen in the Twi­light Saga, there have been lots of women swoon­ing over him. Glossy wanted to know: what makes this it-boy so sexy?

Tossled hair, sul­try eyes and a hot body are THE ingre­di­ents for a teen-idol and Robert Pat­tin­son has it all. But he almost didn’t become the star he is today. For the audi­tion of Twi­light, the first of the 4 Twi­light Saga movies (based on the pop­u­lar book by Stephe­nie Meyer) he made a video which never reached the cast­ing direc­tor. Robert thought he was so bad at act­ing that he didn’t dare send it in. The fact that he even­tu­ally did get invited to audi­tion was due to his part of Cedric Dig­gory in Harry Pot­ter and the Gob­let of Fire. Cedric doesn’t make it to the end of the movie, but Roberts car­reer started here.

The Brit wasn’t con­vinced though. Shortly after the audi­tion he called his par­ents: “I told them ‘This is it, I’m quit­ting!’ and the only thing they said was ‘Okay’. That wasn’t the answer I was expect­ing.” Robert needed all the sup­port he could get. The hard­core Twilight-fans, called Twi-hards, weren’t that enthau­si­as­tic about Robert play­ing their favourite vampire.

Stephe­nie Meyer, the ‘spir­i­tual mother’ of Edward Cullen, was con­vinced mis­ter Pat­tin­son could do it and made sure he got the part in the Twi­light Saga. (more…)

View the Rest in Gallery HERE

Source via Source

Hollywood has repeatedly peddled the apocalyptic threat from aliens, machines, comets, viruses and zombies, but who was watching the vampires?

Never exactly absent from the entertainment scene, those eternal bloodsuckers lately have infiltrated everything from big screens and little screens to bookstore shelves, clothing racks, download services, video games and video, record and jewelry stores.

By the numbers

Film: $3 billion

Publishing: $1.6 billion

Merchandising: $600 million

TV, DVDs: $1.2 billion

Other: $600 million

Just this week, the Fox/New Regency “Twilight” parody “Vampires Suck” grossed $20 million, and 5 million regular viewers are rabidly following HBO’s newest hit, “True Blood,” as it swoops toward its season 3 finale Sept. 12. Meanwhile, Justin Cronin’s “The Passage,” Stephenie Meyer’s “Breaking Dawn” and Charlaine Harris’ “Dead and Gone” hover on best-seller lists.

These charming, deadly immortals are everywhere. And as a result, they’re spilling as much green as red — about $7 billion since the “Twilight” film franchise bowed less than two years ago, according to THR estimates.

What started with some ancient, hysterical myths and a pair of spooky 19th century tales — John Polidori’s “The Vampyre” (1819) and Bram Stoker’s “Dracula” (1897) — has bloomed into an entire inexhaustible industry. (Find out which vampire movies we’d like to see remade — and who should star — at the end of this article.)

“By starting with one simple mythological creature that’s been part of our literary universe for centuries, you can create a story that has it all: romance, horror, action, special effects, sex, epic love, wish fulfillment, romantic leading men, delicious bad-boy villains, female badasses, damsels in distress, death, monsters and, ultimately, the perfectly flawed hero who would give it all up if it meant they wouldn’t have to spend eternity alone,” says Julie Plec, writer and exec producer of the CW series “The Vampire Diaries.” It doesn’t get more universal than that.”

That gets to the bloody heart of it. Because they’re not specific to genre, vampires have the freedom to roam not just across mediums but from romance to horror to political commentary to humor. Their versatility is endless, swinging from chaste innocence to sexy violence, so the potential audience is everyone.

No other subject has sunk its teeth into pop culture quite so pervasively.

Let’s start with the current king. Globally, the three “Twilight” films, released in 2008, 2009 and 2010, have a $1.76 billion cume at the global boxoffice. The first two each has grossed another $160 million or so in home video sales (the third hits Blu-ray/DVD in September). That’s more than $2 billion right there.

If the coming two installments of “Breaking Dawn” — which Summit will release in November 2011 and November 2012 — do similar business in theaters and the home-entertainment market, that would add another $1.7 billion to the coffers.

And that’s just from the movie versions of Meyer’s colossally successful book series.

With “Twilight” riding herd, vampire movies have accounted for an average of 3% of total boxoffice the past three years. So, for example, with “New Moon,” “Underworld: Rise of the Lycans” and “Cirque du Freak: The Vampire’s Assistant” totaling $356.7 million domestic in 2009, that amounted to 3.4% of the industry’s $10.6 billion U.S. haul that year.

The other major flank of the current undead siege consists of “Vampire Diaries” and “True Blood,” HBO’s most successful property since “The Sopranos.” Pinpointing the value of a monster television property is harder than driving a stake through the heart of a nasty beastie, but the longer a show is on the air (at least up to seven seasons), the more money it is going to throw off in ancillaries.

Few TV shows make money upfront; almost all are in deficit until the aftermarket kicks in. Both shows have lots of life left in them and huge fan bases, so sources see buckets of cash eventually pouring into the coffers of the “Diaries” producers, Warner Bros. and CBS, which also happen to co-own the CW.

“True Blood” is harder to quantify because some of its value is in brand-building and bringing more subscribers to the premium cable service. Even so, estimates from two outside sources suggest that if the shows last five years on their respective outlets, domestic and foreign licensing arrangements could generate $100 million-$125 million from “Vampire Diaries” and $50 million-$75 million from “Blood

Source via Source