The John Robinson Fanlisting

http://sunshine.in-a-dream.com/jrobinson

John Robinson

Fanmail Alerts - New Photo.

Actress Whitney Able, John Robinson and guest attend the opening reception for "Stories:" New Photographs by Shalon Goss at a private venue on July 26, 2007 in Hollywood, California.

Hoy Fanmail, me envio esta foto.

Espero que muy pronto tengamos mas novedades, mientras tanto esta foto nos indica que no todo anda mal o no.

"El rubio efebo de John Robinson"

Aunque el tiempo pase, siempre quedan detalles dificil de olvida, y mas aun dificil de no comentar.

Hoy en los 10 Momentos de Van Sant, catalogaro a john como el "rubio efebo"
y quizas tengan razon, porque si esta pelicula no tuviera ese efebo no tendria ningun sentido, porque sin el, simplemente no seria lo mismo.
"Pero nadie se a preguntado porque paso ese efebo" o simplemente nos dejamos engañar por las apariencias... Tenemos que ver el lado positivo de las cosa, porque si no fuera por la hermosura de este chico, no existira ese hermoso efebo.

En conclusion es simplemente el rubio efebo de John.

John Robinson

:http://www.hollywood.com/

"Ni imagina el exito que tendria"

Una de las primeras entrevistas que me mandaron de John Robinson es de FIND ARTICLES y entre sus 10,000,000 articulos, ellos tuvieron la amabilidad de mandarme esta gran entrevista del año 2003. Cuando apenas este adolescente de esprititud ni se imaginaba el exito que tendria tanto èl, como Gus Van Sant.

John Robinson: gunshots stilled the halls of Columbine High School four years ago. This month, Gus Van Sant's film Elephant makes us look again at our schools. Here's the actor who helps explain the madness - Interview.

As the many before-they-were-stars TV programs reveal, most young actors make their way up the Hollywood food chain by way of commercials or bit parts In shows and movies. Not John Robinson. In his film debut--and first acting job--the Portland, Oregon, high school junior plays a pivotal role in Gus Van Sant's Elephant. Inspired by the Columbine school shootings and rendered in a slightly improvisational style, the film has drawn wildly mixed responses: Some have called it irresponsible, while others effusively praise the director far tackling a difficult subject. The folks at this past spring's Cannes film festival fell into the latter camp, awarding Elephant the coveted Palme d'Or, and Van Sant the director's prize. Sure to incite debate as it hits theaters this month, the picture is a brilliant Introduction for Robinson, who just days after this interview landed his second role, in director Asia Argento's The Heart Is Deceitful Above All Things.
SARA SWITZER: Hi, John. How are you?

JOHN ROBINSON: Pretty good.

SS: Tell me about your background. You're completely new to all this, right?

JR: Yeah. Prior to Elephant I'd taken about six years of acting classes in Portland, but there's not a huge market there. The only thing we have is commercial stuff, and that didn't really appeal to me. So this is really a dream come true.

SS: How did this role come about?

JR: There was an open casting call in Portland, and about 3,000 kids showed up. I stood in line for, like, four hours, and I started talking to one of the production assistants and asked, "How do I get my face seen?" He pointed out this lady and said, "Go say hi to her." It was the casting director. So I went up to her and asked something random like "What are you guys looking for?" And she took my picture.

SS: And that was it?

JR: Well, then I went into the casting room and talked to her. I told her everything about my life schoolwise and about the pressures that go on in high school, not even knowing that the movie was going to be based on these emotions. About two months after that, Gus [Van Sant] called me and said, "I want to show you the script that I've written." He wrote the script after meeting all the kids. It was so cool. He'd ask, "How would you feel about this situation?" I'd tell him what I thought, and he'd say, "Okay, that's what I want you to do." He had so much trust in us.

SS: So he used the information he gathered from those conversations--

JR: --To feed his script. Right.

SS: And I understand the actors were asked to draw on and even use their own specific life experiences. How was that for you?

JR: As a kid who loves acting, to be able to have a part of you in a movie is just great, you know? And to have my parents see it and to have Gus say to them, "He's acting," and my mom say back, "No, he's not acting. That's just John," well, that was amazing. [laughs]

SS: Oftentimes I think it's hard for actors or writers when they draw on personal experiences. There can be a sense of betrayal when you are asked to put aspects of your own life on display. Did you feel that?

JR: Definitely. I felt like I was betraying my family. But I knew that trying to explain my emotions in a movie like this was more important than leaving them unspoken.

SS: What was the vibe like on the set of Elephant? Was there a lot of discussion among the kids about school violence?

JR: Yeah. On the set it was a big topic. We couldn't ignore the fact that we were making a movie that touched lives. And to show that in a movie is something that has to be done poetically, not horrifically. Being in this movie was risky because I was afraid that when it came out it might appear like we were mocking the situation or in some way trying to prove something. And that wasn't the case.

SS: So there was discussion about how audiences might react?

JR: Oh, absolutely. Scene by scene.

SS: What is high school like for you?

JR: There are so many pressures on a teen to be the perfect kid, and I definitely feel that. I think everybody in high school goes through a period of "I can't be what everybody wants me to be." Being a teenager is a growing process. Our minds are expanding, and we're getting a grasp of the world in front of us. To be in a society where you're supposed to perform a certain way and where there's a specific path to our lives ... sometimes you lose track of where it's going.

SS: How did Columbine affect you?

JR: It was so frightening. And the media took off with it, like everything else, so it instilled more fear in people. You're looking around at school for kids [like the ones who committed the shootings], and you feel wrong for doing that, you know?.

SS: Do you feel that you're making a statement by being a part of this film?

JR: if there is a statement, it's that we should learn something from all this, and the lesson shouldn't go unspoken. Everyone wants to pinpoint what went on [at Columbine] and why, but that's not what we're doing. We aren't explaining anything. We are showing a detached view of the situation that lets the viewer decide, because who are we to say what happened and why?

SS: At the press conference in Cannes, after winning the Palme d'Or and the director's prize, Gus was asked whether the film might be interpreted as anti-American. What are your feelings about that?

JR: I didn't feel that we were making an anti-American film. That was not what Gus was trying to do. And remember, that was at an international film festival.

SS: Are you nervous about how the film will be received here in the U.S.?

JR: I'm nervous because I hope it doesn't instill fear--I mean, it's a hard movie to watch. But as far as taking a stand, I'm not nervous.

SS: So, ultimately, how do you think the film will affect people?

JR: I think it will bring back discussion about Columbine. When Columbine happened it was the topic of the week, and we shouldn't have just moved on to something else. Whether people like the film or not, it's going to make them think about what happened.

SS: What's next for you?

JR: I've been reading a lot of scripts. I've been in touch with an associate producer of Elephant, JT LeRoy [the novelist and an occasional Interview contributor], and Asia Argento, who's directing [the film adaptation of LeRoy's book] The Heart Is Deceitful Above Aft Things. It's such an amazing project, and I feel like it's along the lines of Elephant, the way it tells a sad, horrific story. Nothing's final, but I met with her a couple of days ago. She has a view just like Gus does. So, that movie will be shot shortly--with or without me. [both laugh] But hopefully with me.

Emo guitarist("Elephant's" John Robinson)

In high school, every night can feel like the most important night of your life. The luster still remains eight years later in NYU grad Jess Manafort's debut feature, which follows nearly 20 teens on the last day of senior year, 1999. As high school zeitgeist stories go, "The Beautiful Ordinary" holds no great secrets or revelations, no iconic characters or "American Pie"-style set pieces, but it demonstrates considerable promise on the part of its director and her up-and-coming cast. These are talents to watch; as soon as one breaks out, pic could become a hot commodity.
From "American Graffiti" to "Dazed and Confused," every generation has its signature "school's out for summer" movie, and pic would probably do the trick for the Y2K crowd if 1998's "Can't Hardly Wait" hadn't already staked out the territory a decade earlier. Manafort herself graduated from high school in 2000 and conveys from personal experience how it felt to party like it's 1999, but times haven't changed enough to qualify her semi-personal entry as a period piece. Whereas most debut features tend to be too earnest, "The Beautiful Ordinary" suffers from the opposite problem: It's not really about anything -- except perhaps how a bunch of beautiful, popular New Jersey teens resort to breaking the rules to stave off boredom.
Rather than providing a central character or romance to root for, Manafort aims to be as all-inclusive as possible, implying that sexual desire and drugs go a long way toward melting the boundaries between separatist cliques seen in pics like "Mean Girls." Here, the head cheerleader (Marnette Patterson) isn't above dating a total geek, and a giddy freshman-to-be (Alexa Vega) stands a real chance at hooking up with an older emo guitarist ("Elephant's" John Robinson).
Some of the teens are college-bound, while others are too busy living the dream to think that far ahead, but they all get along just fine. (Only the jocks, who crash a keg party late in the game, are unwelcome.) While their kids are busy getting into trouble, the adults aren't so much absentee as oblivious (typified by concerned parents David Temple and Moira Kelly). When one mother frets that NYU will introduce her innocent little girl to sex and drugs, the daughter is tempted to reply, "I'm not a virgin, I already have a tattoo and I do a ton of drugs here."
But Manafort is no moralist; nor is she interested in Larry Clark-style sensationalism (though she does employ his gifted cinematographer, Steve Gainer, to impressive effect). Parents may be alarmed by the underage characters' constant, always-casual use of pot, alcohol and shrooms, but younger auds will surely recognize a certain truthfulness in the depiction -- particularly if they happen to be from affluent, all-white Jersey neighborhoods.
A lone Asian guy (Charles Chen) floats through the movie taking snapshots of all the revelry, which pays off in pic's most elaborate camera move: a crane shot that drifts up to a second-story window, then pans across the photos drying on a clothesline inside. HD cinematography is exceptional throughout, made all the more mesmerizing by Manafort's choice in music, a blend of late-'90s alt rock and original score from Sofia Coppola collaborator Dustin O'Halloran. Her dynamic, engaging style swoops from room to room, passing fluidly between one group of characters and the next, finding humor at every turn.
It's no easy task to wrangle an ensemble of this size, and even though numerous characters seem interchangeable at first, Manafort somehow manages to elicit distinctive personalities and performances from her entire cast. They may be shallow and superficial personalities, but it's still refreshing to spend this much time with a bunch of attractive teens and not have to worry about a serial killer picking them off one by one.
Just as "Can't Hardly Wait" helped launch the careers of half a dozen young stars, "The Beautiful Ordinary" boasts a full lineup of talented teens, including Brie Larson (a scene-stealer as one delinquent senior's bossy younger sister), "Big Love's" Douglas Smith (who demonstrates an unforgettable party trick) and comedy natural Chris Marquette. And with the right material to engage her, Manafort is no less likely to succeed on her side of the camera

"Lords of Dogtown"

"La Ciudad y Los Perros"

John RobInson

"The Beautiful Ordinary "

"The Beautiful Ordinary" se estreno el pasado 22 de Junio en el Festival de Cine de Los Angeles. Todavia no hay fecha de estreno para Latino America, solo tendremos que estar alerta a lo que publique la pagina oficial.

http://www.thebeautifulordinary.com/

"Transformers" Y En Donde esta John???

John Robinson es Miles en Transformers, pero en la Web NO HAY NINGUNA FOTO, NOT PICTURE ABOUT JOHN IN TRANSFORMERS. Hoy me dedique especialmente a buscar informacion, pero nada, solo sabesmos que interpreta a Miles (Quien es Miles), ni Idea.

Donde estas John? Fans de Transformers si tiene alguna foto dejen su mensaje por favor.

john Robinson

John Robinson "The Beautiful Ordinary" Premier.

The Beautiful Ordinary. The last day of school in 1999 for a bunch of suburban high school kids. Wastes some good performances from a handsome cast of young actors by being little more than a valentine to the high school experience. Largely a TV sitcom with drugs and swearing. I guess we’re supposed to be shocked by all the sex and drugs in suburbia? Unlike Fast Times At Ridgemont High (which this movie seems to be trying to emulate along with Breakfast Club to a lesser degree), it falls flat whenever it tries to be about something. Still, there are some funny bits and good interactions between some of the kids and it feels like writer/director Jess Manafort was drawing from her own experiences. Katrina Begin was especially funny as this generation’s Jeff Spicoli and Brie Larson was terrific as snotty younger sister Angela.

"The Beautiful Ordinary " Premier

"The Beautiful Ordinary" Premier in entertainment.msn.com
http://entertainment.msn.com/celebs/celeb.aspx?c=116832&mp=p

Le Livre de Jèrèmie.

The Heart is Deceitful Above All Things

La traducion al frances seria, Le Livre de Jèrèmie.

Es Una pelicula estraña, llena de abusos, drogas y alcohol. En donde la religion es unos de los temas mas estraños en este caso o mas bien dicho oscuro. Es una pelicula que todavia no se estrena en LatinoAmerica, por el solo hecho de ser una pelicula Independiente, pero no todo esta perdido, mientras tanto puedes ver imagenes en Youtube.com Aqui les dejo una scena en donde una vez mas John de muestra todo su taleto.

http://youtube.com/watch?v=hAAJOD9M94k