These Are the Biggest Differences Between The Paper Towns Movie and Book

24 Jul 2015 | Author: | No comments yet »

Cara Delevingne’s next epic adventure.

The latest John Green book to go from shelves to screens has fans in a frenzy, and with good reason. 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).

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!

Out Friday, the adaptation could potentially follow in the footsteps of 2014’s summer release of Green’s The Fault In Our Stars, which grossed more than $300 million. 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.

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). Despite its somewhat novel romantic-mystery structure, “Paper Towns” borrows from a number of sources, including dipping its ladle into the John Hughes wellspring (elements of “Ferris Bueller’s Day Off” and others) and mixing ingredients from various road-trip movies into its cauldron. 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. 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?

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. 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. 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?

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. 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.

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. I don’t even want to get into how improbable it would be for Quentin to find ALL those clues that point to Margo’s location or how he got back to Orlando in time for prom on a Greyhound bus. 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. And stop trying to look pretty.'” Delevingne was so thrilled to record an audition for a gritty role in an adaptation of Martin Amis’ novel “London Fields” that she cried when she got the call.

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.

I am who I am.” She said a major challenge of acting has been learning to block out her life’s many distractions. “Being in love helps, you know?” she said. “If you’re in love with someone, you can be with them like no one else is in the room. 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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