TVD, SPN, Joe Jonas, Music Rec...
“The Vampire Diaries” cast members Nina Dobrev and co-executive producer/director Marcos Siega spoke at the Screen Actors Guild as part of their SAG Foundation “Conversations with…” program.
Moderator: I want to talk about the casting process. What was it like for you?
Nina: It was a crazy long, grueling, scary process that’s for sure, at least for me. I’m from Canada so I came down, I had just gotten my own visa, that was a big deal. I auditioned and was sick so I didn’t do a good job. I flew back to Canada and decided I wanted to retape and nail the audition so I taped myself from Canada and mailed to Kevin (Williamson) Julie (Plec) and Marcoss. And from that tape, they put me down for a screen test for the network and the studio and I got the part. But it sounds simpler than it was, it was really a grueling, pins and needles process.
Marcos: In all honesty she was really bad.
Nina: Thanks.
Marcos: And she went back to Canada and put herself on tape while you were working on something else---
Nina: Yeah, I was working on a movie.
Marcos: We all independently looked at a bunch of DVDs and we couldn’t find the girl we wanted. The network wanted to hire Ashlee Simpson (there’s a collective “wow” in the room). She is an actress, be nice, but Kevin and I said we would quit.
Paul: She’s actually in the audience.
Marcos: Her dad called me and I told him…Papa Joe called me and I told him, “I’m not hiring Ashlee.” Nina sent this DVD back and we all were searching and searching and we came in the next day and were like, “You should look at Nina again.” And we showed it to Peter Roth and he only saw her on that tape and he said, “That’s her.” Peter Roth, the head of the studio, only saw the tape she did.
Paul: The good tape.
Mod: Did you have to convince them to let you send in another audition (tape) or was it pretty straightforward?
Nina: My agents…we were all kinda…I asked if I could do it again and they were like, “Sure, you have nothing to lose. Do it. If they see it, great. If they don’t, you really have nothing to lose. Just go for it.” I kept stalking them and calling, “Did they watch it? Did they watch it? Make sure they watch it.” And I guess they did.
Paul: My process was..again, you’ll get it from his (Marcos’s) perspective. You’d probably rip me apart. “Paul was awful! I don’t know how he got the part.’ Mine was really interesting because I read for Damon and I had like, three callbacks for Damon so I kept going in for Damon and I thought that was the only role I would be remotely considered for because I thought Stefan would be much younger. I didn’t even get a screen test or anything like that. I totally forgot about it. They didn’t call me. I think three or four weeks had gone by. I had auditioned for like 90 other pilots, had screen tested like four other times so I could have already had something and been under contract. They called and said, “They’re having a hard time finding Stefan, would you go in to read for him?” And I loved the role of Stefan so I was ‘Of course!’ They were making him older. I went in and read for Stefan and it all happened pretty quickly because it was shooting a week, a week and a half later. It was like an American Idol-esque test where the literally had like twelve guys: two from England, one from Australian and someone would come out with a clip board and be like, “You , you and you, go home!” (gives a frightened yelp). It was really kind of degrading and pathetic-we were all sitting on the floor in the hallway. She was already cast so everybody had to read with Nina and we were all trying to kiss up to her even though she had no say whatsoever.
Nina: You didn’t talk to me.
Paul: I didn’t talk to her at all. I got the job the next day. That’s my perspective.
Marcos: We had done screen tests with Nina and two other guys: another Damon and another Stefan that were...that were network choices that Kevin and I liked and could’ve worked with them. We actually got Nina and the two guys to my house and they worked on a scene at my house. Then I called my friend who was a producers for “Nip/Tuck” and borrowed their set and shot a screen test to see if these guys had a) chemistry with Nina and b) chemistry with each other because they were brothers.
Nina: But I didn’t know I was cast, they didn’t tell me.
Marcos: Right, they didn’t tell Nina that she was cast. If someone had come in and been great, but not been good with you (Nina), we wouldn’t have hired them because we knew Nina were our anchor. We even pushed pilot (back) a week, to weeks to cast the right guys. We kept going back to Paul…We loved him…
Paul: I didn’t think you guys liked me.
Marcos: That’s what we do when we sit across from you (in casting).
Paul: I couldn’t tell..Unbelievable, you have no tell, like poker face.
Marcos: When you (actors) leave we’re like, “You smiled at him, why did you smile at him??!” But Paul came back…we didn’t think you wanted to come back for Stefan in the beginning.
Paul: Who am I? (In reference to coming for Damon and suddenly having to be Stefan)
Marcos: Don’t make me tell them who you think you are. But we knew we had found the right chemistry, it’s tough, but I think we nailed it with Ian and these two.
Paul: Long answers, huh? We’re really passionate.
Mod: Do you have tips for actors with regards to getting through the auditioning process.
Paul: I hate auditioning. It’s weird. The main thing for me is that it doesn’t feel safe and I think the key is to make it your own and feel safe inside of you. The process has to arrive in the interior whether through the actions of others. No matter what you have to love what you do and your choices and be at peace with what you do and I know that sounds so cheesy, cerebral and lame, but it’s true. I’ve thought about it a lot.
Nina: I agree with. But I also think that auditioning is crazy. Especially when you’re going on three or four auditions , ‘Am I Nancy or Nicole? Is this a comedy or a drama?’ It’s kinda crazy sometimes. But I agree with Paul, once you go in you just really need to focus and commit and be in that one place in that one moment and be this character you think you are. Not even who you think you are, you need to be this person and convince the director and the producer that’s who you are. That’s what I did, I think, with Elena (her “The Vampire Diaries” character). I walked in and thought, “This is who she is and I’m just going to be and if they agree with me that’s great, then it’ll work out. If not, I’m not going to take it to heart.’
Paul: The auditions that I felt good about are the ones I’ve gotten. Even the ones I hadn’t gotten, I don’t care because I was able to walk away and I felt so good about what I did that it didn’t really matter to me what happens in the end (sotto voice) -even though it does---but it really doesn’t. It’s like doing a really good performance in a play and you feel good that night-I’ve literally done one play, but you just feel good the whole night. Then the next day you feel like shit.
Mod: (To Marcos) What do you see what actors do right?
Marcos: I don’t think there’s a secret formula. Whether I’m casting TV or commercials when I’m sitting across from someone I know they’re nervous, whether if they’re big actors or unknowns. On my end of it, you look past it. I’m looking for if they’re right. Actors can have a process and I think all of you should have your own process and do what’s right for you but if I tell you you should do X, Y and Z I’ll be blowing smoke up your asses because it’s all about doing the best job that you can. Some people come in and totally screw up their audition and you think, “You know, they’re kinda right so let’s bring them back.” Or you don’t bring them back and you still end up casting them. It happens. It actually happened with Katerina (Graham, Bonnie) on our show. She went through a grueling process, but auditions weren’t great, we just kept thinking she’s the right one for the role.
Nina: Know what I noticed which helped a lot in our auditions? Is that when we did the studio test with everyone we had the actor/director/producer sessions beforehand, before the actual (studio) test we had twenty-minutes one on one and it made everyone feel more comfortable.
(Paul tells how when he went in for his work session for the studio test he asked Marcos if he couldn’t give him any notes and Marcos tells him at that point they knew they wanted Paul and didn’t want to give him any notes anyway so that they wouldn’t screw him up. )
Paul: There has been so many times when I felt so good and then I go into a work session and they give you 17,000 notes and you go into the studio and I’m trying to dissect these notes.
Marcos: I can’t speak for any other directors, but I personally think less is more. When we’re on set, I come to you with really specific things, but I try not to overly explain what I think you should be doing because I think you should be prepared and do your homework and then you come to me and then you make adjustments. I mean, it’s not an acting class.
Mod: Can you elaborate on your approach to working with actors? Is it different with each person or do you use a blanket theory?
Marcos: I helped cast the pilot and so I got to know everyone more intimately and then we moved to Atlanta together so I know what they’re personalities are like so I approach them differently. I coddled Paul a bit more than I did Nina. I talk to Paul’s hair. When directing episodic…I’ve only done one episode of “True Blood”, so I don’t know anyone there, I don’t have any experience with them. I know what I have to do: they do their homework, I do mine. Our communication is fairly simple; “This is what I need. They do it. Let’s try this. That’s great.” And then I walk away.
Mod: What do you look for in a director?
Nina: Marcos Siega. Something about I think it lends itself is that we all moved together, all our lives to Georgia and he has a way of explaining things and knowing each and every one of us and what pushes our buttons in a certain way, but at the same time he’s so completely blunt and sometimes too blunt, too honest (laughs) that…but we appreciate it because there’s no point in tiptoeing around things and not getting the point across. He’s able to get his point across, “I don’t like this, I need you to do this. You may think you’re relaying an expression, but you’re not-I need you to do it bigger or smaller.’ All these different things, so I think honesty and being straight-forward is what I like in a director.
Marcos: I think they responded to…part of my job is hiring other directors and I asked the cast did they like any of the directors (from S1) …because I wanted to know who to bring back for season two. The directors they unanimously responded to were the ones that talked to them.
Paul: We’re insecure.
Marcos: They are though (actors). They are insecure though. I was surprised how many directors don’t (talk to their actors). You do something and people are all watching and you want to know, “What do you think?” But when the director doesn’t talk to you… (He mentions the name of a show director) I think the cast unanimously really responded to, but in the beginning Paul was like---she (guest director) was over directing him a little bit.
Paul: We communicated. We figured it out (a level of communication) and she came back. One of my favorite episodes was one she directed. I had a really good time on that one. I really believe that really good directors will let you….will let an actor rely on their instincts and find things. I don’t know…that’s from my perspective. That’s what good directors do.
Marcos: A really good director lets you believe that.
Paul: “Yoooou son of a bitch.
Marcos: You’re absolutely right, Paul.
Mod: How do you get work through working with a director who doesn’t share the same vision as you (paraphrasing there).
Nina: That’s happened a couple of times. It happens so quick especially in television. Every episode, the script a couple of days before and you have eight days to do it and you don’t know how to figure it out and usually by the last day you’re, “I get it now I know what you want!” and you’re done. We’re so comfortable and aware of our own characters, we’ve created these people and we’re discovering them as we go along, but we need some engagement. If they’re not talking to me (the director) then I go up to them and make them talk to me. But it is tough, you have to learn how they work.
Paul: TV is really an interesting thing. We really shoot a episode in eight day; eight working days and we receive the script two days before and meet the director a day before. It really becomes--you really have to trust yourself. You have directors who give you characters notes and you’re like ‘Wait, I’ve been living with this character for a year now, you were doing “Cold Case” last week, what are you talking about?”
Mod: How do you create the dual worlds (the flashbacks personas who are same, but different)?
Nina: It’s the coolest thing we get to do on the show. I think I speak for everyone on the show when I saw we love it.
Paul: (to Nina) That’s your favorite. You shine when you do that-Katherine, in the flashbacks. You love it.
Nina: I do love it. I love period stuff in general; the corset... I truly feel that when I put on the corset, the hair, makeup and everything---and superficial as it sounds it makes me feel like another person. I look different, I don’t feel like the same person. And also gives me the liberty to change and kind of---I walk differently, I talk differently, I think things-I get away with a lot more when I’m Katherine, I’ll tell you that.
Paul: It’s truly fun. Acting’s hard work, but it’s really cool I’m being paid for this. It’s fun, it’s like playtime, you’re a kid again (doing flashbacks).
Marcos: I like watching them (doing flashbacks). Paul and Ian are playing the same characters, they’re just playing the less experienced versions. The vampires (version of themselves) have 150 years of life and experience and worldly leisure-tude then these teenaged guys back in the Civil War. Nina is playing a different person. Even in the season finale when we were shooting the scene in the kitchen-- we talked about this extensively. I said, “I want you to be Elena, do not be Katherine.”And she tried to convince me that she had to be Katherine and as we got closer to it, I said, ‘Okay, let’s do a take as Katherine and a take as Elena.” (to see if he could pick up which was which) I said, “You were doing Katherine.” And she was like, “How did you know?” I said, “You were doing that stupid thing where you can hear where your brother is upstairs. Don’t think I didn’t notice.”
Nina: That got cut out.
Marcos: But ultimately in the end, she was right. I watched the dailies as we were cutting the episode and I knew that people wouldn’t know that was Katherine.
Paul: I could tell only because I knew it was going to happen. But I appreciated it…for me I enjoyed it because I thought maybe…(Paul tried to explain why he liked it, but Marcos talked over him and said talked about how Nina transforms as Katherine and always asks when they can dress up again.)
Moderator: Biggest challenge about doing period scenes?
Marcos: Avoiding telephone poles, cars. I had a very specific idea what I wanted this show to look like and trying to separate it from other CW shows. I ended up proud with how it looked. I shoot with wider lenses in flashbacks than I do in present days just to give it a little bit of a different look.
Nina: Isn’t the lighting a little bit different?
Marcos: A little. We make the present day look cooler than the past, but we kinda gave up on that because we would have to over correct to neutralize it (the tones). In (flashback episode) “Blood Brothers” we glowed the shirts a bit more to give it more of an ethereal look. Everything is so dark (when they shoot) in present day that you can’t see a thing. That was my stupid idea. Half the time “Is she acting?”
Nina: “Is she in the frame? Is she in the bathroom?”
Marcos: Especially Paul, his eyes suck in all the light. “What is he thinking?”
Paul: That’s why I’m so brilliant, you can’t tell what I’m thinking.
Marcos: You’re thinking about your hair.
Mod: What made your pursue acting?
Nina: I was always the little annoying kid that had too much energy and couldn’t sit down. When I went to high school I went to a performing arts school in Canada and that’s when I really, really realized and decided that I wanted that I wanted to do this with my life….I was onstage and felt really comfortable. I did some plays and musicals and dancing that led to auditions and getting an agent. I had to really work hard and do tapes-I’m a tape pro, I tape everything. Almost everything I’ve gotten from Canada here is from tapes. It’s persistence and drive--like the secret, if you will. I knew this is what I wanted to go, how long is it going to take for me to get there-.
Paul: Are you quoting “The Secret?!!
Nina: Yeah. It’s true. I knew what I wanted to do and I made it happen.
Marcos: You made it manifest.
Paul: I honestly think for me it was an escape because I felt like I always wanted to fit in so I was always acting trying to fit in with the kids at school. My parents are from another country, I didn’t quite feel like I fit in so when I found theatre, it came to me naturally because, ‘hey, I’ve been acting my whole life!”. I didn’t consider it as a profession until I was already working through fortuitous circumstances where I was in a play for fun, I got an agent, “Sure, I’ll sign up.’, got a soap opera audition, got the part; still going to school, of course I’m going to go to college and then it was like, “I can’t do both, I’ll take time off from college.” Kept working, “I get this my career.” I never went back to school. It sounds pretentious, but I guess I’ve always been acting., you know what I mean?
Mod: I know you can’t answer any questions about season two. What can we expect…?
Nina: We don’t even know.
Paul: We have no idea. He (Marcos) knows a little bit.
Marcos: I can’t say anything. Elena dies…
Paul: You heard it here, folks. Elena dies.
Nina: What we know and we I think we can say is that it picks up from where we left off.
Paul: Wow! You heard it here.
Mod: TVD has huge plot points spread throughout the season, how far in advance do you receive the scripts?
Paul: Marcos, please.
Marcos: We’re the Atlanta team, Kevin Williamson in the L.A team personally has never seen the set of “The Vampire Diaries”, he’s never been to Atlanta. We would get scripts literally the day before we shoot them. My job in Atlanta and running the show there was to communicate with them (the actors) as they are writing so they could prepare. I’d go to Nina and say, “I think in the next episode you’re going to play Katherine and you might have to say this and you may have to do that. As soon as I know more I’ll tell you.” And she’d be like, “What?!!”
Paul: Sometimes they’d be like, okay, we decided to shoot a scene from the next episode tomorrow and I’m like Okay, great. It’s you and Graham (?) and I’m like “Who the fuck is Graham?” Pardon my Irish. “What is it about?” I don’t know. So we ended up shooting this scene and I was in this intense dramatic scene with this guy and I had no idea what the context was.
Marcos: We shot an entire storyline about a succubus. Matt’s mom…
Nina: Julie Cooper. I just called her Julie Cooper, Melinda Clarke, sorry.
Marcos: Melinda Clarke comes home and we discover she’s a succubus. She’s been bringing these men home, sleeping with them and killing them, leaving their bodies everywhere. We shot these things, we shot these entire storylines and Kevin and I decided there’s too much supernatural shit going on. We have to go back and say, “That thing you thought you did…No.” Now we have to shoot other things to plug that hole. So to answer your question there is no prep. These guys are flying by the seat of their pants and so are we and I’m shocked sometimes that I worked.
Nina: I think it’s because we’re so in tune with the characters that we can basically go on and get the scene and do it.
Paul: Let’s not kid ourselves we’re throwing paint against the wall.
Nina: I do remember Marcos was walking around and I asked him what we were doing tomorrow (for the shoot) and he turned around and pulled out these post-it notes, “Okay, so, this is what we’re doing.” He basically have notes on a post-its and that’s what the script was based on.
Mod: What led to the show being shot in Atlanta?
Paul: Yeah, Marcos.
Nina: Why did we go all the way to Atlanta?
Paul: Why do I live in Atlanta?!
Marcos: There’s this one strip club there…It’s called tax incentive. The CW gives back 27 cents for every dollar they spend in Georgia or New York or New Mexico or Detroit. That’s why so many productions run away, trust me. (dawnybee: At least CW does have shows that are shot in the States. I think because SPN and SV are so expensive they have to shoot in Vancouver to save money, whereas OTH, TVD and GG saves CW just enough to shoot in the States. I consider true runaway productions as projects that are shot outside of the States but because the studios, acting and technical unions are based in L.A they tend to consider everything not shot in L.A as runaway productions.)
Nina and Paul: What was wrong with New York?
Marcos: I’m not going back to “The Vampire Diaries”---I’m not going back because…
Paul: We know, we’ve cried about it.
Marcos: I don’t want to work in Georgia, I want to work in L.A. I’m going to stay here and work on shows that are L.A based, but that’s why we’re there. Studios are corporations and they have to make money and they make more money by saving on productions.
Paul: We’re ripping on Atlanta, we’re only kidding because we miss home and stuff, but the fact is being in Atlanta has provided so much for us. It has made us much more focused in Atlanta.
Nina: Oh, yeah.
Paul: We just really have each other, we spend so much time working on the material, we really care and…
Marcos: There’s no distractions.
Paul: I’ve been in L.A for a month now, I love L.A, but at the end of the day in the back of my mind..I shouldn’t vocalize this, but I’m kinda glad we’re not shooting in L.A because I’d feel like we’d get in trouble, it wouldn’t be as good.
Nina: It’s nice to go to work and then come back home and go to a restaurant in a smaller city where there’s not as much going on. It’s not as intense. It’s nice. It’s good that we can have our own lives and hang out.
Paul: I do miss the water and the weather, I must say. (wisfully) Oh, man.
Nina: (When hiatus began) I remember when we were leaving and packing up all our things and we were all like, “It’s great to be in a big city again”. Three days went by and it’s like, “When are we going back?” It’s a blessing in disguise.
Mod: Marcos. Is nobody safe in Mystic Falls?
Marcos: Definitely not. Nina, will you tell everyone my speech?
Nina: Yes.
Marcos: On day one?
Nina: Yes, because I memorized it. On the first day in Atlanta we had a big meeting: the whole cast, actors, producers, everybody. Marcos stood up and said, “Hey guys, welcome. Just to let you know I need you all to be on your best behavior. I need all your lines memorized, no coming to set hung over. I need you to be 100% all the time because it’s not the Elena Diaries, not the Stefan Diaries, the Damon Diaries or the Matt Diaries, but the Vampire Diaries so all of you are subject to being killed-
Paul: To termination.
Nina: Yeah. One to two people will die in every single episode don’t give me a good reason to make you one of those people. Welcome and have a great season!
Marcos: I did it a little more eloquent than that. Rob Thomas who made “Veronica Mars” said to me one day, “I will never ever, ever write a show where the lead character is in the title again. Ever!” I was like, “Why?” “Because I want to fucking kill her!” So I thought, “Great, there’s nobody in the title. We can get rid of everybody.” (dawnybee: It seems to me that Marcos is one of those directors who don’t really care for actors. I wonder if he’s a failed actor himself. He seems to be less than collaborative.)
Paul: That’s very beautiful.
Mod: Nina, tell us about your process of auditioning with tapes?
Nina: I love doing tapes because it does take away that element like Marcos says of going in a room and being nervous. You’re in control. I usually bring a friend as a reader and we work it out ahead of time before we go to the recording studio and I just do it over and over again until I feel 100% , that’s it’s exactly how I want it.
Paul: Do you do it in a studio or at home with a camera?
Nina: When I was in Canada, always in a studio.
Paul: That’s why it never worked for me, I’m terrible with cameras. (mimics shakily holding a camera)
Nina: It’s okay, I’ll help you.
Paul: Thank you.
Nina: If you want it to be the best it can be-you’re already at a disadvantage because you’re not in the room right in front of the casting directors and the producers---but if it looks good and you get the lighting right and if you nail the audition and they consider you…and what I always do is play, let them get a sense of who you are and your personality, and then…(she begins trailing off)
Paul: (to the audience) Don’t do that (mimics Nina trailing off and mumbling)
Nina: I ask if they have any notes and I’ll happily send another tape.
Mod: Marcos, what do you feel about watching actors on tape versus live audition?
Marcos: I prefer live auditions because you get to talk to an actor. Nina had a really good point, when you get taped auditions if you’re bi-coastal, I’m always surprised when I get a tape and it’s really bad quality. If you’re doing it you have quality control. You have an opportunity to say it’s a good take. Listen to it and watch it if you’re able to say it’s good then we won’t be distracted by bad sound or bad lighting. If you’re not right for the part, you won’t get it, if you’re right for the part because you’re on tape, we’re still gonna call and say get that person in there. I think Nina’s philosophy “Try to make it right” is the best advice.
Nina: While we were shooting we were also auditioning for feature films for our hiatus and you don’t have the opportunity to go to the studios (to record your audition), but nowadays you can go to Best Buy, they have nice HP book cams, flipcams now, tripods-get you a plain backdrop, you can do a lot with that if you educate yourself on how to do it.
Marcos: There are tools you should have, if you’re going to do this (acting). We did that for all our actors who needed to audition (for their hiatus projects). We’d be in our acting coaches office with a flip cam and it always looked good.
Mod: What are your plans for hiatus besides vacation?
Nina: I literally just landed off a plane, I was on vacation, came from the airport (to) here. I think we all wanted do a lead role in a movie…
Paul: A good movie. I don’t care if it’s the lead.
Nina: I wanted a lead.
Paul: I was looking for character roles, like in an amazing movie, like three scenes. I don’t care about being a lead in a freaking shitty movie…I wanted a good--
Nina: Who said shitty movie??
Paul: I’m just saying---No, no
Nina: Okay, get to the point.
Paul: I’ll speak for myself. I tried to get a great movie and I didn’t get a great movie so I’m not doing anything ::raises arms triumphantly::
Marcos: You want me to answer that? None of our cast got cast in anything and they were all upset, walking around moping
Paul: I could’ve done something crappy.
Nina: Just for your information I am doing a movie and it’s shooting this Friday, I’m just telling you guys, so yes…
Marcos: I know, the director called me and asked if you were a pain in the ass and I said you’re not.
Nina: Okay, cool.
Moderator ends it on that note./end
~It was bad enough that L’il Ian had to be upstaged by Tom Welling at the upfronts, but then Ed Westwick had to show up at the party wearing the same hat.
You know he’s heated.
Nina and Ian take in the Lakers
Zac Efron and Ian Somerhalder are eerie eyed bookends
~No one’s reading this because they are all undoubtedly enjoying their weekend and preparing for Memorial Day which will hopefully be a day of relaxing for them. So I’m going to go ahead and indulge myself in some Joe Jonas spamming and my flist will be none the wiser, thus keeping myself safe from ribbing for you know, spamming about Joe Jonas ::insert fiendish chuckle here::
This entire Jemi (Joe/Demi) business is like a hot fudge sundae teeming with nuts (literal nuts and the batty Jonas/Lovato fans variety). So Joe or his father for him, broke up with Demi Lovato after Demi took to the airwaves to declare their LOVE (this despite the fact that when Joe broke up with Taylor Swift, Demi was all, “Stupid, we’re teens. Stop acting like this is real love. Woman up.”). The camp (and not Camp Rock) is split between Joe supporters (I,e those who want to dry hump him) and the Demi supporters (people who want to dry hump Joe, but are trying to act like they don’t).
Where did publicity stunt love go wrong? (I still say publicity stunt because maybe she was waning in awareness and what’s better to get chicks interested in her than a story about her being dumped by Joe Jonas? Now if only we can get Kanye to stagecrash her, she’d be just like Taylor Swift)
I mean, Joe was all into her. Witness as he…
tries not to push her away.
Or extract his hand from hers.
Did she think just because he can strike the same diva pose as her that they were meant to be?
I was really hoping for Joe and Jordin Sparks
All the while Joe is hanging out with his “friend” Martin Barlan who is visiting Joe. Martin has a show on the Disney Channel in France and I guess they became “friends” during the Disney games at least two years ago.
Some Jonas fans of course are thinking two+two=boysex because of their tweets
What I’m laughing off of isn’t the smiley face at the end of his tweet, but the ellipse between brunch and game. What was going on between the dot, dot, dot?
All I have to say is Joe, he’s French! Watch out. He’ll take that purity ring off with his mouth, recreate the champagne scene in “My Beautiful Launderette”, get what he wants from you and will leave you crying onstage.
Again
I bet Joe is paying for everything. Martin didn’t pay for that coffee, let me tell you that.
Or lunch
Or the game
Don’t hurt him, Martin. I’ve grown fond of the hairy, atonal, goofball.
Joe through the years
I love how Nick could even look dickish as a child. “WTF? Blues Clues? I should be Batman.”
Nope, never changed
Did Demi really think she had a chance?
I guess Martin is better than his brother.
He’s Nick’s biggest fan
But if Martin does Joe wrong, John Mayer is waiting in the wings.
And he’s shameless in his intent
Work harder, John
~Other stuff-
~This is my absolute favorite cast picture of all time. I think all shows should do one official lighthearted picture for press material. This is just the best.
Family Feud SPN style: Yellow-Eyed Demon, Hendrickson, Sam, Dean, Trickster, Foine Young John, IDEK, IDEK, Adam, Ellen (?) and Castiel
~The terrible marriage slide is happening. First Jensen has a terrible ‘do for his wedding.
Blech!
Then this shirt. The horrors.
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Funny to Me
~
*I hate him so hard, just smug little successor to Chad Michael Murray, but I will admit that although Nick Jonas made me laugh out loud when he talks about how his influence is Elvis Costello, I appreciate that musically (not vocally, because he’s still too much of a weakling), he has strove higher than his peers. The music he’s made with his side group “Nick Jonas and the Administration” is like Dave Matthews or John Mayer for tweens. If this could usher into a new musical maturity for his fans, than he’s done a good job. And has an outstanding backing band. But he’s still seems outrageously dickish. Like John Mayer.
Damn you, Nick
Olive and an Arrow-Nick Jonas & The Administration
*I’ve been on a Cars kick after thinking about how they never sold out and did a reunion concert (although Benjamin Orr being dead may be a factor). I don’t know what it is about their music, but it, especially this song never fails to make me feel like PJ Soles Riff Randall in “Rock and Roll High School”, all fluttery and bopping over Ric Ocasek. It’s no surprise he pulled Paulina Porizkova, I’d fall in love to that voice and music any day.
You Are the Girl: The Cars
*I still can’t take Drake seriously (Degrassi Jr. High, folks), but with help from Alicia Keys, this song is really good.
Fireworks: Drake ft. Alicia Keys
*They play Florence and the Machine’s “Kiss with a Fist” all over the place and I’m not a huge fan of it, but if all of her music was like this song, I’d change my tune. Just raucous fun and she has a sensational soul-ful voice (which she never quite uses to her full potential in most songs).
Dog Days are Over: Florence and the Machine
*~The truly catchy tasteless and crass song from “Get Him to the Greek” peformed by Rose Byrne and Russell Brand as the film’s Jackie Q and Aldous Snow (the same character Brand played in “Forgetting Sarah Marshall”).
“Supertight”
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