Neurologist

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Music for Sleep

Music-assisted relaxation may improve sleep quality, according to a report published in theJournal of Advanced Nursing in 2009. The report’s authors analyzed five clinical trials (with a total of 170 participants) and found that music had a moderate effect on the sleep quality of patients with sleep complaints.

Other research indicates that listening to music may help lengthen sleep duration, shorten the time it takes to fall asleep, reduce the number of nighttime awakenings, and enhance daytime functioning in people with sleep problems. Furthermore, a 2005 study from the Journal of Advanced Nursing suggests that music might have a cumulative effect on sleep, with improvements in sleep quality increasing over time.

How to Use Music for Sleep

When selecting music for sleep, soft music with slow rhythms might be your best choice. Some research shows that listening to relaxing classical music before bed might be particularly effective in improving sleep. In addition, using relaxation techniques (such as yoga and hypnosis) may augment the sleep-promoting effects of soothing music.

Learn more about using music for health purposes.

Should You Use Music for Sleep Problems?

Listening to relaxing music can be a safe, easy, and low-cost way to improve your sleep quality. But since sleep disorders may cause fatigue, intensify anxiety, increase sensitivity to pain, trigger inflammation, and raise depression risk, it’s important to talk to your doctor if you’re experiencing chronic sleep disruption. In some cases, it may be necessary to combine alternative approaches like music with more conventional therapies in treatment of sleep problems.

Sources:

de Niet G, Tiemens B, Lendemeijer B, Hutschemaekers G. “Music-assisted relaxation to improve sleep quality: meta-analysis.” J Adv Nurs. 2009 Jul;65(7):1356-64.

Harmat L, Takács J, Bódizs R. “Music improves sleep quality in students.” J Adv Nurs. 2008 May;62(3):327-35.

Johnson JE. “The use of music to promote sleep in older women.” J Community Health Nurs. 2003 Spring;20(1):27-35.

Lai HL, Good M. “Music improves sleep quality in older adults.” J Adv Nurs. 2005 Feb;49(3):234-44.

 

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March 8, 2011 Posted by | Uncategorized | Leave a comment

Vanessa Hudgens and Alex Pettyfer Discuss ‘Beastly’

Alex Pettyfer and Vanessa Hudgens in 'Beastly'Alex Pettyfer and Vanessa Hudgens in ‘Beastly’

© CBS Films

 

It’s a tale as old as time, so says one version of the classicBeauty and the Beast story, but with Beastly things have been updated quite a bit for a younger audience. Vanessa Hudgens(of the High School Musical franchise) and Alex Pettyfer (I Am Number Four) are both beauties in real life, but Beastly finds Pettyfer playing Kyle Kingson, a vain high school student so caught up in looks that he fails to see the inner beauty of those around him. After a particularly ugly verbal exchange with a witch (Mary-Kate Olsen), Kyle is cursed to spend his life as a disfigured, tattooed recluse. The only way to break the curse is to find someone who will say they love him by the end of one year, and because he hates himself this isn’t an easy task. Enter Lindy (Hudgens), a pretty but shy fellow student who winds up being forced into living with Kyle because her father’s in trouble with ruthless drug dealers. But will the ‘Beast’ be able to win over the his reluctant house guest before time runs out? I won’t spoil the ending in case you’ve been hiding under a rock all these years and haven’t heard the story before.

Together for a roundtable interview with journalists in Los Angeles to promote the romantic drama from CBS Films, Hudgens and Pettyfer talked about the moral of the story, working together, and the horrendous makeup process necessary to turn Pettyfer into a beast.

On getting into her character:

Vanessa Hudgens: “It’s really important to stand for what you believe in, and this message is definitely something that’s very strong and close to my heart. But I think the main thing always is to develop the character, develop a real person with depth and emotions, and to have it come from a personal place.”

On their initial interactions and working together on Beastly:

Vanessa Hudgens: “We met when we did a chemistry read, so it was for the movie. And it was really exciting because we both came in, we did a few scenes, and it was very creative. We kind of just played; it was a lot of fun. We talked about music.”

Alex Pettyfer: “I was very excited to see what Vanessa would do in this part. She’s done amazing.”

 

Would Kyle have eventually seen the error of his ways without the witch’s curse?

Alex Pettyfer: “I always believe what goes around comes around, so maybe. I mean different people have to learn different ways. Kyle just had to have all the ugliness inside fall outside to have him notice what was wrong.”

On being self-conscious as a teenager:

Vanessa Hudgens: “I grew up dancing a lot so I was very self-conscious of my, as I always called them, ‘tree trunk legs’ because I’m very muscular. When you’re dancing a lot every day, you become very muscular and I did not appreciate that at the time. But now I’ve learned to love them.”

Alex Pettyfer: “I think we’re all self-conscious at some point or another. I think it’s about growing up and becoming secure in yourself, and kind of pushing forward.”

Kyle tries to win Lindy over with gifts. What’s the best gift to get while being wooed?

Vanessa Hudgens: “Material things are fun, of course, but I love being outside. My friend took me on a camping trip and I thought that was just a lot of fun, creating new memories and being outside.”

On what traits she looks for in a man:

Vanessa Hudgens: “I think one really attractive thing to me is being present, not really worrying too much about the past or the future. Of course you can have dreams, but to just try to make the best out of each moment that you have.”

On comparisons between high school and the entertainment industry:

Vanessa Hudgens: “There are positive and negative experiences with everything that you endeavor, whether it’s the business or being in fashion. But it’s definitely…everything always has its cliques. I feel like there’s certain groups of people who hang out with other. But, I mean, it’s very exciting. The world is a lot bigger, it’s definitely a lot more cut-throat, but it’s really exciting. I think it’s just surrounding yourself with creative people and just staying true to what you are passionate about.”

On her own high school experiences:

Vanessa Hudgens: “I was home-schooled, so [I had] the comfort of my home and a lot of time with my mom. I had a really great time. Actually when I was going to home-school I was not too far away from Disneyland, so I would do a few hours of school and then go with my mom and my sister to Disneyland almost every day, which was a lot of fun.”

On which was more fun: doing the stunts or playing vulnerable:

Alex Pettyfer: “I think you just look to be challenged as an actor. I think that’s the most important thing. I mean, I guess I had fun doing both. It’s always fun to run around and blow up sh-t, as they say. But it’s also great to have this intimacy.”

On the biggest challenge of working on Beastly:

Alex Pettyfer: “I think the five and a half hours sitting in the chair every day. I find it hard enough to sit down for 20 minutes let alone that amount of time. So, yeah, the makeup.”

On why this Beast isn’t covered with fur:

Alex Pettyfer: “I think the thing with it, what I was explained was with fur it gets hot but you still have your skin. Whereas as I had this rubber mask…literally there was about 75 pieces that were put on and then they had to spray paint it, and then they had to like paint over it. So, basically, you’ve got a whole layer of glue. I shaved my head for the movie, so you basically have a whole layer of glue all over your head. It gets very claustrophobic because you touch yourself and you’re touching, essentially, silicon so you can’t feel your face. When you need to itch, you can’t itch. It’s a very disturbing feeling. I know it doesn’t sound that bad now, but when you have an itch underneath and you can’t scratch and you go like this [touching his face] and you can’t feel anything, it’s weird.”

On getting the right look for the Beast:

Alex Pettyfer: “We kind of went into Tony Goodwin’s shop. I sat there for like 16 hours and we went through it all and we decided, ‘I wish we had more tattoos,’ or ‘more of this and more of that.’ And we basically came up with this concept that everything that he thought was ugly on a person would come out in him. And so like in the beginning of the movie he sees Kendra has this tattoo on her face. He’s like, ‘Oh, you’re ugly. You have this tattoo.’ And then the pieces of glass in his cuts, because he’s a vain guy, you know, all the shards of the mirror that he smashes when he’s angry would be inserted into his skull. I found it very fascinating, the design of him.”

On relating to Lindy:

Vanessa Hudgens: “Me and Lindy are kind of different. Lindy is a girl who thinks it’s easier to go through life under the radar and slowly blossoms into her own person, which is really beautiful because she finds it kind of through love and helps him see the beauty within himself as well. But, yeah, I feel like we both end up as strong people who are, I guess, hopeless romantics.”

Do looks count?

Vanessa Hudgens: “To a certain extent. I think that true beauty is on the inside. It’s the way that someone carries themselves and what they’re passionate about and what they are like. I feel like if you can relate to someone and just have fun with them, that’s what really matters.”

On working with Mary-Kate Olsen:

Vanessa Hudgens: “I love her. I’ve loved her ever since I was a little girl, too. I was kind of intimidated by her because she’s been in this business for so long and she’s very, very smart with all the choices she’s made. I’ve just been such a big fan and she just was a really cool, laid-back chick. I was very pleasantly surprised.”

Alex Pettyfer: “I remember being 11 years of age, 12 years of age and then like, ‘Who’s your crush?’ ‘The Olsen twins,’ or something like that. And then you grow up and you’re 18 or 19, and you have this petite little lady come up and she’s so wise beyond her years. She is a presence, and so it was a great experience to work with her.”

Is it more difficult to play a jerk or vulnerable?

Alex Pettyfer: “I think it was harder to play vulnerable. I think anyone can have like a jerk easy. But I think to undergo that…I call it a surgery, because it was practically a surgery every day…and become someone else and look different – you feel the eyes on you – is a hard process.”

On acting underneath all that rubber and makeup:

Alex Pettyfer: “You know what was great is that all the prosthetics that were attached to my face all moved with my face. It was still me. But, I guess there were certain things. I had teeth in that restrained me from talking. It’s like I remember Heath Ledger said when he was doing Brokeback Mountain, he said he wanted to close his mouth. Like his mouth was like a fist because he had been through so much hurt. So it’s like little stuff like my mouth doesn’t open as much because he’s pained by how he looks.”

 

March 8, 2011 Posted by | Uncategorized | Leave a comment

Johnny Depp and Gore Verbinski Discuss ‘Rango’

Rango (voiced by Johnny Depp) in 'Rango'Rango (voiced by Johnny Depp) in ‘Rango’

© Paramount Pictures and Nickelodeon Movies

The Pirates of the Caribbean 12, and 3 team of Johnny Depp and director Gore Verbinski reunite for Rango, an animated tale of a chameleon with an identity crisis. Also featuring the voices of Bill NighyIsla Fisher, and Abigail Breslin, Paramount Pictures’ Rangodistinguishes itself from the pack of animated films with gorgeous animation and writing geared more toward an adult audience. And, thankfully, Verbinski said no to 3-D, which also sets it apart from most animated movies these days. In addition, Verbinski chose to have his actors act out their parts, a major change from the way most animated film characters are brought to life by the voice cast. 

Together for a press conference in LA to promote the PG film, Depp and Verbinski explained the process of making Rango.

Johnny Depp and Gore Verbinski Rango Press Conference

Reports are you fought tooth and nail in order to make sure that Rango wasn’t going to be in 3D. Are you for or against 3D in general?

Johnny Depp: “I’m waiting for 5D. That’s what I want.”

Gore Verbinski: “I don’t know. I just don’t feel…I watched the movie [and] I don’t think there’s a dimension missing. I don’t feel like, I don’t watch it and go, you know, ‘It’s flat,’ or it’s missing anything. We talked about it early on and it just didn’t seem like we needed to go there.”

Johnny, can you talk about finding your Rango voice?

Johnny Depp: “You know, early on some of the talks that Gore and I had had about the character… I mean, you know – talk about two grown men, you know, middle-aged men discussing the possibility of one of them being a lizard. So it starts off on a surreal kind of note anyway. But you know, it was one of the – finding the voice or finding the character, it was like we talked about people in life, when they have a tendency to exaggerate or lie or whatever, you always sort of notice that their voice goes up quite high, you know? It goes to another, a completely different register. Whereas, if I’m talking to you and speaking and babbling non-stop, and then suddenly I’m really nervous about telling you the truth – you know, but I’m lying – so that’s kind of where it came from. You imagine the character to be just really like a nervous wreck.”

Johnny and Gore, you have worked together a few times now. What is it you like so much about working with each other?

Gore Verbinski: “I like the way he smells.”

Johnny Depp: “I’ve been told I smell good. I mean, I don’t look like I smell good.”

Gore Verbinski: “I don’t know. Because we have shorthand, talking and sound effects and unfinished sentences and he seems to understand exactly what that means, and I get it back. And you know, a very complex direction, like, ‘More fuzz…'”

Johnny Depp: “More fuzz, yeah.”

Gore Verbinski: “More stink on this line, you know? Really, that’s about as intellectual as it gets.”

Johnny Depp: “And it really is that, exactly, you know? ‘ Ah, let’s make maybe some more fuzz. Let’s put some more fuzz on it.’ ‘Okay. Gotcha.’ No, I mean working with Gore in threePirates films and Rango, certainly, there are no limits to what you could [do], to the possibilities. He allows you to try all kinds of things that sometimes fail miserably.”

Gore Verbinski: “Yes, please.”

Johnny Depp: “And other times, [he] goes into this kind of weird…you’ve just arrived at some place that you know no one’s ever been to before. And he welcomes it and he creates an atmosphere that allows you to just go essentially ape. And, yeah, it’s a blast. That’s really a fun part of the process.”

Gore Verbinski: “What’s great about Johnny is the trust that neither of us are going to make the other one look like an ass. He has to trust that at the end of the day, we’re not going to use that stuff where we’ve tried something that didn’t work, but we’re going to try it because [it’s an] anomaly and we’ve got this sort of pursuit of finding the truly awkward moment, which you’re only going to get there by not knowing and sort of venturing into the unknown. And so I just think he’s incredibly brave on top of being incredibly talented. It’s like you’ve got to kind of cross that threshold.”

Johnny, you’ve played a lot of characters that kids love, from Edward Scissorhands to Captain Jack and Willy Wonka. What is your relationship with that audience, as opposed to the more grownup roles you’ve played?

Johnny Depp: “I think kids in general, as an audience, are the way forward because they’re not sort of sullied by intellectual expectation or this or that. It’s a very pure kind of response to the work. And the great luck that I had, for example before Pirates 1 I had a daughter. And for about four years all I watched was like cartoons – just cartoons. And I realized at that point that the parameters were far away from what we do in sort of normal, everyday movies, and that you can get away with a lot more. Kids accept a lot more, and they buy it because they’re free. So for me that was everything, in terms of coming up with what Captain Jack would be. So yeah, I trust kids far more than I do adults. Kids give you the honest opinion, you know? They tell the truth.”

For Gore, is it weird to see trailers for a new Pirates movie coming out?

Gore Verbinski: “No, I want to go see it.”

Johnny, there’s obviously the call back to Raoul Duke [from Fear and Loathing in Las Vegas] in the film, but part of your character is also reminiscent of William Blake inDead Man. Was that a conscious decision?

 

Johnny Depp: “No, it wasn’t conscious but I can see what you’re saying. Yeah, I mean, this sort of journey, this sojourn, this spiritual quest that William Blake was on, I can definitely see that. But, yeah – no, I didn’t sort of consciously connect the two, not really.”

Johnny, you’re a very physical actor and this process is different than the other animated films you’ve done, where you were in a booth. You actually acted this out. Did that help you?

Johnny Depp: “Well, yeah. I mean, ultimately, it was everything. Though there were times when you didn’t feel that, when you were doing it [and] you’d rather have been [in a booth] because you know, well, we’re lazy. At least I am. And I’d sort of rather just sit in front of a microphone and do the thing. However, the process that we did, that Gore created this sort of atmosphere that was really, truly ludicrous. I mean, just ridiculous. It was like just regional theater at its worst. And somehow, because of – not the idea of ‘motion’ capture, but ’emotion’ capture, you know? Certain gestures, body language, movement, something you might have done with your eyes – all those guys, these animators took it and put it in there. So it was very strange.”

“I mean, for Harry Dean Stanton to walk up to me one afternoon – because I’ve known him for a million years – and he walks up to me and says, ‘This is a weird gig, man.’ And I went, ‘Oh, yeah. You’ve just started. You just wait.’ But ultimately it was the right thing to do. And that was his vision, and we saw it through.”

Is this a kids’ movie or are we kind of blinded by the fact that it’s just beautiful animation?

Gore Verbinski: “I think it’s a kids’ movie. I mean, I know my kids like it. You know, my kids like The Holy Grail and so it depends on your kid, I suppose. We’ve shown the movie for 500 kids and they seem to be absolutely mesmerized and enjoying it. There’s hilarity and then when we get into the existential moments. I think they’re not seeing it, their frontal lobe doesn’t operate in that way, but they’re kind of the heart. And they know, ‘Why is he leaving now? Why isn’t he facing Jake? Why is he…where’s he going?’ And you see they’re not squirming.”

You should watch it with a bunch of kids because it’s quite fascinating. They seem to have a kids’ dream – they have a dream logic that we seem to not appreciate as adults. We kind of take everything on face value. And certainly there’s stuff in there for adults so that we get to have a good time as well. But they really stick with it. I think people constantly underestimate what they can handle.”

There’s a lot of references, obviously, to Westerns. What is the best Western you’ve seen?

Johnny Depp: “Oh, boy.”

Gore Verbinski: “Wow, that’s a tough one.”

Johnny Depp: “I was always a fan, as Gore was, of the great old spaghetti Westerns. You know, the Sergio Leone films. But the one that always sticks with me, that I just thought was brilliant and perfect is Cat Ballou. Lee Marvin in Cat Ballou…”

Gore Verbinski: “Unbelievable.”

Johnny Depp: “He reinvented some form of acting there.”

Gore Verbinski: “Yeah. For me, I think it’s probably Duck, You Sucker – a Leone movie when I was very young – totally age inappropriate. I snuck in and saw that movie in the theater and it felt like I was viewing some forbidden world. I entered the Western from this sort of post-modern Western – Leone and [Sam] Peckinpah and the myths are dying and the railroad’s coming and the gunfighter’s a dying breed, and progress is inevitable for us. And what do they do? Sort of the silhouette becoming less visible because of all the clutter that comes with progress. So I was always fascinated with those. I got into John Ford later. I mean, I kind of came in through those movies.”

How did your kids feel about their dad playing a lizard? Were they down with it? Did it work for them?

Johnny Depp: “They actually call me the Lizard King. My children – they do. I’ve forced them to address me like that since they were tykes. Yeah…no, it was an odd sort of thing. You know, ‘Where you going, daddy?’ ‘Ah, I gotta go to work.’ ‘What are you doing?’ ‘Well, I’m playing a lizard.’ ‘Okay.’”

“It’d literally be that kind of thing. You drop your kids off at school, give them a kiss and it was, ‘Oh, yeah – now I’m gonna go be a lizard.’ Or the things that I’ve done that my kids have been sort of privy to… I mean, Willy Wonka and all – it doesn’t register. They’re just kind of far more interested in Family Guy or Justin Bieber or…” 

Are you a Belieber?

Johnny Depp: “A Belieber? Wow. I’ve actually never heard that one.”

Ask your kids.

Johnny Depp: “And you know what? Yes, I am a Belieber. I am, and I shall remain so.”

Gore, why the mariachis?

Gore Verbinski: “Well, early on in the development process it became apparent that we needed a…the movie is very much a film within a film. I mean, the protagonist is an actor looking for an audience. So we just felt like we needed one more layer, that kind of Greek chorus. And Crash McCreery early on was doing some character designs and he drew a mariachi owl. I saw the drawing and said, ‘Okay, we need to work this into the script.’ We just started getting some guitars out and writing a narrative using the mariachis as a kind of absurdist Greek chorus somewhere between a little bit of Cat Ballou, it was kind of like those guys that follow Sir Robin with the coconuts singing of adventures. And then just the idea of kind of the ‘all good legends must die’ – some horrific dance. So that was a key. And then talking to Hans Zimmer and trying to describe emotionally the soundtrack for the film, but babbling for 15 minutes. And then he just said, you know, ‘Schadenfreude – that’s what you’re saying.’ You know, it’s like this delight in this character’s pain, and only the Germans would have a word for that. But that sort of celebration of the great demise of this guy. It’s looming, following him throughout the film. It just seemed like good fun.”

Rango tells lies to get through a critical situation. Could you share with us your kind of lying experience?

Johnny Depp: “I actually tell lies for a living. Exactly. I mean, that’s what acting is, really.”

Gore Verbinski: “That was a lie.”

Johnny Depp: “Yeah, I was lying. I’m sorry.”

Your voice didn’t go up.

Johnny Depp: “No, it’s kind of stuck at the moment in this register. Yeah, there are certain… I felt having kids and stuff like that, I had horrific guilt for many years, playing along with the Santa Claus thing. Do you know what I mean? And waiting for that moment to arrive where they – because you’re never going to bring it up to them – they’re going to arrive and say, ‘Hey, you’ve been telling me a lie for my entire life. What are you prepared to do about that?’ I mean, it’s like that kind of thing. So, yeah, I had horrific guilt. And we’re now kind of just on the outskirts of that, so I feel okay. But, no, these are lies that society tells you. You must keep these lies going – these kind of myths. Yeah, and I feel guilt about it. I still do.”

The ILM guys did a presentation and showed that you guys did the reference video on some of the sets, and then some of the animators did their own reference videos for the performances. Did you ever have to discipline the ILM guys for overacting?

Gore Verbinski: “Oh, consistently. One of the things early on is like, ‘You’re an animator; you’re animating. And what about the pause? Don’t be afraid to do nothing for 16 frames,’ is a very, very early on discussion. We’ve never made an animated movie before. People keep saying, you know, ‘For an animated movie… this,’ and, ‘For an animated movie, that…’ It’s like it’s some kind of genre. And it’s just a technique to tell a story. So early on we just felt like we’re not going to think of this as an animated movie; we’re going to think about this as a six foot tall lizard and I’ve got a camera on my shoulder, and I’m photographing him perform this scene with these other people. And so there was a great fear about iterations destroying that, multiple iterations and things becoming clinical or homogenized by virtue of discussions about why is he blinking on frame 38. ‘It should be blinking at frame 34,’ or whatever. It just becomes minutiae, minutiae, minutiae. And trying to get out of the animators a sense that they’re your cast, as well, and that they’re performing. And moving away from the concept of the shot and discussing the concept of the scene and where is Rango coming from or going to or what’s Bean’s feeling now, or the reaction shot. Sometimes we have to just get a camera out because it can’t be frontal lobe anymore; it’s got to be intuitive.”

“That whole emotion capture, sort of live-action record was really – when I heard, you know, people say, ‘Well, it’s an animated movie. This is how they do it. They get a microphone and an actor.’ And I just thought that sounded so crazy to me. Like, ‘I’ve got Harry Dean Stanton and I’ve got Johnny Depp, I want to see them together.’ I mean, it’s acting, you know? It’s reacting. So all of those things were just trying to create. We had a mantra up at ILM, which was ‘fabricate anomaly wherever possible’ – You’ve got to fabricate it, because otherwise it’s not going to feel honest.”

Johnny, are you planning on segueing from Rango to Emir Kusturica’s Pancho Villa film? If so, are you brushing up on your Spanish?

Johnny Depp: “Well, you know, that’s really kind of a…it’s a project that I think is a little bit up in the air, you know? Kusturica is an old friend, and certainly a filmmaker that I admire greatly. From the first second that we spoke about it, I always had a bit of a problem. My dilemma is just the fact that it’s Pancho Villa. It is Pancho Villa, and it’s one of the great heroes of Mexico. And for me, I feel like it should be played by a Mexican and not some…”

Gore Verbinski: “Charlton Heston.”

Johnny Depp: “Not some mutt from Kentucky, you know what I mean? I still feel very strongly about that. And so, yeah, it’s sort of floating at the moment. But it’s a great character and Kusturica is a great filmmaker. I’m sure he’s going to do something very special.”

Have you had a chance to look at any of the screeners for the films for the Oscar this year, and what do you think?

Johnny Depp: “I have. You know, tI don’t do well with modern films, to be honest. I don’t know – opening credits, and I’m just gone. [making a snoring sound] People make great films, I just don’t have the eyes to watch them. But, you know, there’s a film that I was really, really impressed with, that I absolutely adored, and I’ve seen it a few times now. And it’s called Exit Through the Gift Shop by Banksy. And I thought it was a very brave film, and a very honest film. I’m all the way with that film.:

In the Rango movie storybook there’s a continuing adventure where he goes to another town. Is there hope that there might be a Rango 2?

Gore Verbinski: “I don’t know. Let’s see if people like Rango I’m not even going to call itRango I.”

Johnny Depp:Rango 1.”

So there’s a possibility?

Gore Verbinski: “Currently, not talking about it. I mean, if you just had a kid, would people say, ‘How about twins?’ We’re just – we’re still recovering.”

In the past you’ve said that you’ve always chosen characters that you had like a personal connection with. What was your connection with this character?

 

Johnny Depp: “I don’t know. I always had an affinity for lizards; I’ve always felt somewhat close to them. They’re reptile – feeling somewhat reptilian myself at times. Oddly, I think, Gore might disagree but I feel like when we were doing Pirates 12, and 3, there was a certain… At times when Jack Sparrow had to run, there was this very specific run that I wanted. I saw this footage of a lizard running across the water, and it was like the strangest thing I’ve ever seen. And so I said, ‘Gore, he’s got to be the lizard running across,’ and he’s like, ‘Oh, yeah, absolutely.’ So that was the whole thing. And so whenever we were in that situation, ‘Okay, it’s time to…you know, let’s get in touch with the lizard,’ and we did it. So I actually think that Rango was somehow planted in Gore’s brain from that run, from that lizard run, you know? And when he actually called me and said, ‘I want you to play a lizard,’ I thought, ‘Well, god, I’m halfway there. I know what I’m doing.”

[At this point the press conference is interrupted by a visit from Justin Bieber]

Johnny Depp: “Hey, man. We just established that I’m a Belieber.”

Justin Bieber: “You know, and I’m a big fan of you so I had to come support you.”

Johnny Depp: “Bless you, man.”

Justin Bieber: “Awesome.”

Johnny Depp: “Good.”

Justin Bieber: “I had to come say hi. I heard you were in the building.”

Johnny Depp: “Bless you.”

Justin Bieber: “You’re a Belieber and I’m a big fan of him.”

Johnny Depp: [Introducing the Bieber to the audience] “By the way, Justin Bieber.”

[applause]

Johnny Depp: “Well done, man, thank you.”

Gore Verbinski: “Okay, now, who’s not a Belieber now? You know what I mean? Aren’t we all Beliebers? Bless him.”

Johnny Depp: “How am I going to explain this to my daughter?”

 

March 8, 2011 Posted by | Uncategorized | Leave a comment