Cara Delevingne Is a Good Actress, But I Still Hate Her First (Real) Movie Role | News Entertainment

Cara Delevingne Is a Good Actress, But I Still Hate Her First (Real) Movie Role

24 Jul 2015 | Author: | No comments yet »

Cara Delevingne: My acting career isn’t a fluke.

Paper Towns, based on the 2008 novel by John Green, is the story of Quentin Jacobsen (Nat Wolff) and his unrequited love for the mysterious Margo Roth Spiegelman ( Cara Delevingne).The filmmakers knew going in that it might be judged simply in comparison to last year’s “The Fault in Our Stars,” since both films are based on novels by YA author John Green.Cara Delevingne, 22, landed a number of high-profile roles including “Suicide Squad” in which she plays Enchantress and the leading part in the big screen adaptation of John Green’s “Paper Towns” and she believed she got the roles because of her talent. Ordinary guy Quentin (Nat Wolff) has ordinary ambitions as he and his two nerd besties wrap up the gauntlet of ceaseless discomfort that is high school.

Cara Delevingne, a confident tangle of lanky limbs and messy hair, tattoos and ripped black jeans, arched her eyebrows and popped her eyes wide as she excitedly described her habit of filming her meteoric, globe-trotting rise. “Watching Lars Ulrich play a Metallica show from behind the drum kit! It could have fallen victim to all the limitations of the multiple genres it attempts to blend: The movie is part coming-of-age story, part road-trip comedy, part love story. Quentin has forever pined for neighbour Margo (Cara Delevingne), but she is extraordinary: dangerous, weird, always having adventures, yet somehow in with the in crowd. Nine years after their childhood friendship drifted apart, Margo climbs through Quentin’s window and convinces him to join her on a night of revenge against her cheating boyfriend and her friends who knew about it. Instead, “Paper Towns” smoothly navigates what could have been treacherous waters, emerging as its own film, one that treats teenagers as people and their problems as simply human.

Days later, Quentin finds clues Margo left behind and heads on a road trip from Orlando to New York with his two friends Ben (Austin Abrams) and Radar (Justice Smith), Radar’s girlfriend Angela (Jaz Sinclair), and Margo’s best friend Lacey (Halston Sage). Quentin (Nat Wolff, who played the blind cancer survivor longing for robot eyes in “TFiOS”) has been neighbors with Margo (British model Cara Delevingne in her first major role) since childhood. In “Paper Towns,” the character is described by her neighbourhood admirer as “arguably the most gorgeous creature God had ever created,” a girl “whose life is a series of unbelievably epic adventures.” Delevingne has been a professionally gorgeous model for Burberry and other brands, an angel for Victoria’s Secret and, most recently, the windswept cover girl of the July issue of Vogue.

Weber and Scott Neustadter, the screenwriting team behind Fault, adapted Paper Towns and will also adapt the upcoming film version of Green’s first novel Looking For Alaska. One of their adventures brought them face to face with the corpse of a man who committed suicide, a formative experience which the careful Quentin pegs as the moment he and the risk-taking Margo achieved some deep, unbreakable bond. Green, who served as executive producer of the film, has long-since endorsed the changes, acknowledging them in a video on YouTube. “Yes, the Paper Towns movie is like the book but also, you know, it isn’t.” Green said in April. “What I really want from an adaptation is to feel the feelings I felt while reading the book, right? The two drifted apart, though, and now, on the brink of graduation, Margo is the It Girl of their high school, while Quentin and his friends (Justice Smith and Austin Abrams, in the film’s best performance) find their safe space in the band room. Much of its charm is owed to the supporting cast, including Austin Abrams and Justice Smith as the nerds and Halston Sage as the improbable dream girl.

Moreover, in Hollywood, where nearly every lead actor, male or female, is also a fashion model — often making far more money on commercial endorsements than cinema — models are regarded with unease, and often for good reason. That’s like showing up to a Cleveland Cavaliers game and watching Lebron James play in the first 3 minutes of the game, and the last 3 minutes of the game. One night, Margo shows up in Quentin’s bedroom and leads him on a revenge-fueled prank spree, targeting her cheating ex and those who knew what was up.

She recalls running into fellow supermodel Rosie Huntington-Whiteley at the Met Ball, shortly after she was cast in “Transformers: Dark of the Moon.” “She was like, ‘Well, I just kind of got offered it!'” Delevingne recalled on a May afternoon in the lobby of the Mercer Hotel in SoHo. “I love Rosie, but I was like, ‘I would bite someone’s head off to do that!'” In her tryout scene, Quentin (Q for short), the neighbour played by Nat Wolff, confesses that he has loved Margo for years, even though he has primarily observed her escapades from across the street. “You love me?” Margo answers. “You don’t even know me.” Schreier asked Delevingne to deliver that line, but then improvise the rest of the scenario as herself, and the actress’ knowing ad-libbed performance struck such a nerve that both she and Wolff left the audition crying. In the book: Margo’s Walt Whitman poster on the back of her curtains leads to a song called Walt Whitman’s Niece, which leads them to highlighted text in the poem “Songs of Myself” in Whitman’s Leaves of Grass, which Ben finds wedged between two yearbooks in Margo’s room. No one is particularly worried — she’s done this sort of thing before — but Quentin, deeply in love in that tormented-teenager way, is convinced she wants him to find her. It would be cliche to say that “Paper Towns” shows us how life is more about the journey, except the movie embraces this, with its funniest, most moving scenes arriving only once the rubber hits the road. I don’t know if it’s an attempt to add emotional weight to scenes like the one where Radar tells Angela “I’m not afraid of you, I’m afraid of losing you.” WHAT?

The easy chemistry between the three boys — plus the two girls (Halston Sage and Jaz Sinclair) who join them along the way — carries the film when everything else starts to drag. Director Jake Schreier (“Robot & Frank”) and Delevingne neither idealize nor demonize Margo, allowing “Paper Towns” to explore the universal question of why we fall in love with people who are, at times, incredibly selfish. They also get some laugh lines in, as when nerd Radar (Smith) disputes Quentin’s assertion they have been to parties before (“If there’s a tuba there, it’s not a party.”). “Towns” treads a fine line between inspiration and contrivance, shakily at times, along similar “Fault” lines to Green’s previous adaptation. Ultimately, all journeys end. “Paper Towns” is about coming to terms with things that are over — youthful crushes and pop quizzes in English and childhood itself.

Her mother, Pandora, is working on a memoir about her long-term heroin addiction. “I went through so much therapy as a kid, and I hated it, and because you get so used to saying the same thing over and over again, it just becomes a story,” she said, adding later: “I always wanted to act, from when I was 4 years old. It’s about finding that balance between fear and freedom, and its spot-on depiction of that process is what ultimately makes “Paper Towns” a trip worth taking.

Her rise couldn’t have been more swift or seemingly exuberant, with Karl Lagerfeld calling Delevingne — known for making faces and sticking her tongue out — the “Charlie Chaplin of the fashion world.” Delevingne said the work “was killing my soul.” She developed acute psoriasis, which she attributed to stress and exhaustion. “It’s the lemon effect,” she said, shrugging. “I’ll pick you up, squeeze everything I can out of you and throw you away for the next one.” While modelling, she took an acting course in London with “this Russian man who was a student of a student of Stanislavsky, and it was basically therapy,” she said. Her first screen role, as a princess in “Anna Karenina” (2012), was the equivalent of playing the tree in the school play. “I didn’t speak and spent hours getting into hair and makeup for this big wide shot,” she said. “I got so nervous. In the movie: We see Radar and other characters using Omnictionary, but there’s no mention of Radar’s involvement, and the shot is so quick that it just looks like Wikipedia. As someone who just watched robots time travel in Terminator Genysis, the most improbable thing I’ve seen in film all year is Margo’s friend Lacey asking Ben to prom. Wolff (blind friend Isaac in “Fault”), who reads like a young Jonathan Silverman, and Delevingne play well enough off each other but don’t exactly set off fireworks.

Radar goes by OMNICTIONARIAN96 and Ben’s reads ITWASAKIDNEYINFECTION, in reference to the “Bloody Ben” nickname he earned from a disturbing kidney infection that left him peeing blood. Delevingne has booked her next lead in Luc Besson’s big-budget science fiction “Valerian” and has recently been playing the supervillain Enchantress in David Ayer’s DC Comics 2016 tent pole “Suicide Squad,” for which she has prepared by silently imagining ways to kill her friends. “I’ll be in a group of people, thinking as this evil, twisted woman, of people exploding, or cutting them up,” she said, curling her lip into a comical snarl, before breaking back into a grin. “It works.” With “Paper Towns,” her romantic life has become a matter of even more intense public scrutiny.

Although the central relationship never ignites, the film’s greatest love seems to be for the very romance of teenage nights: staying out too late, making unwise decisions and doing things for both the last and first time. She has openly discussed her bisexuality, defended same-sex marriage and spoken about her relationship with musician Annie Clark, who goes by the stage name St.

Delevingne, who said she found the protest flattering, although she saw “nothing malicious” in the article itself, said: “My sexuality is not a phase. There’s a scene where the kids make a stop at a gas station and run around like a bad episode of Supermarket Sweep, grabbing snacks while a Radar voice-over goes on and on about how much time they have.

It’s like taking that feeling and turning it on so nothing else matters when you’re looking in another actor’s face.” Delevingne said she hoped to follow in the footsteps of Charlize Theron, who also began her career as a model. “People can put you in whatever box: model, whatever,” she said. “But if I just keep going and actually do it well, which I hope I can, then I hope people will give me more movies — and I’ll win an Oscar!” Having Angela on the trip gave everyone involved a fun opportunity: For Radar to lose his virginity, for the world to meet Jazz Sinclair and for Green to admit he wishes he’d included her on the road trip in the book. They confront her about disappearing; Margo disses Lacey’s choice to date Ben; Margo gets mad at Quentin and the two duke it out over everything, including his idealization of her.

Then Margo admits that she’s kept a journal of stories about a fictional version of her 10-year-old self who had a crush on a fictional version of 10-year-old Quentin and she explains her desperation to get away from where she grew up. She’s surprised he found him and calls him out for idealizing her. “You love me?” Margo tells Quentin. “You don’t even know me.” Quentin is disappointed in the reality: Margo tells him she didn’t leave the clues as bread crumbs, but so he would know she was okay.

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