The actress says her part was so well written, she found it hard to snap out of.

“The roles were so amazing and so well written that I think we all ended up being those characters full-time and taking them home with us,” says Megan.

“I don’t mean I took on some of my character’s more extreme behavior but I definitely felt like she was part of me even when we were not shooting.”

Megan, 23, recently revealed that she accepted her role in Jennifer’s Body because the screenwriter wore ’stripper shoes’.

“Diablo Cody was really shy and really nice and she had on these six-inch pair of clear high heels, like the kind that strippers wear,” she said.

“I loved that in Hollywood here she was walking around in stripper shoes.

“It’s what swayed me to do the movie.”

Source

You probably noticed there’s something different about this Megan Fox cover tease for our next issue: It wasn’t shot with a camera. At least not a still camera. For the first time in Esquire‘s history (and, we imagine, magazine history in general), a cover image was shot as a video. Using the RedONE, a video camera that captures images at four times the resolution of high-definition, photographer-director Greg Williams (see below) recorded ten minutes of loosely scripted footage with Fox — getting out of bed, rolling around on a pool chair, inexplicably lighting a barbecue.

“It allowed her to act,” Williams says. “She could run scenes without being reminded by the sound of a shutter every four seconds that I was taking a picture. As in still photography, a lot of it is capturing unexpected moments. This takes that one step further.” He then went back and pulled out the best images, which you can see in Esquire‘s June issue, on sale May 10. Plus, there’s a fantastic by-product: Even though we made the film to get the stills, we were left with ten bewitching minutes of footage of a beautiful woman. We edited it down to a mini movie, which will be available at esquire.com/megan on May 4.

Source: Esquire

GALLERY UPLOADS:
Transformers 2: Posters & Covers
Transformers 2: Production Stills
Transformers 2: Promotional Shoot Jennifer’s Body: Production Stills

In the darkly comic Jennifer’s Body (Sept. 18), written by Oscar winner and EW columnist Diablo Cody, Fox (Transformers) plays a high school mean girl possessed by an even meaner demon. “In order to live in this new state of undead, she has to feed on human flesh,” says Fox. “So she takes revenge on men she secretly hated her whole life anyway… I’ve always hated boys, so I identify with that very easily…”

GALLERY UPLOADS:
Magazine Scans: Entertainment Weekly (US) – February 13, 2009

When a gorgeous cheerleader (Megan Fox) is possessed by a demon and starts feeding off the boys in a small Minnesota farming town, her “plain Jane” best friend Needy (Amanda Seyfried) must kill her.

GALLERY UPLOADS:
Jennifer’s Body: On Set

Megan Fox has been set as presenters at The 66th Annual Golden Globe Awards to be telecast live on NBC Sunday, January 11 (8 – 11 p.m. EST) at The Beverly Hilton.

The 66th Annual Golden Globe Awards will take place Sunday, January 11, 2009 at The Beverly Hilton with a live telecast airing on NBC at 8 p.m. (EST) and produced by Dick Clark Productions in association with the Hollywood Foreign Press Association.

Can’t wait for all the media coverage of Megan!

In the film, a gorgeous cheerleader (Fox) is possessed by a demon and starts feeding off the boys in a small Minnesota farming town. Her “plain Jane” best friend must kill her, then escape from a correctional facility to go after the Satan-worshipping rock band responsible for the horrible transformation.

The Vomit shot out of Megan Fox like water from a geyser. A ghastly movie concoction that looked like a mix of used motor oil, lawn clippings and the slag at the bottom of a Souplantation trash bin, the black puke sprayed actors Amanda Seyfried and Johnny Simmons, whose characters were doing their best to fight off a cannibalistic fiend, an otherwise popular cheerleader named Jennifer Check.

It was among the more gothic scenes in Jennifer’s Body, a closing battle with fewer rules than Ultimate Fighting, pitting Jennifer (Transformer’s Fox) against her longtime friend Needy Lesnicky (Seyfried, of Mamma Mia!) and her relatively wimpy boyfriend Chip Dove (Evan Almighty’s Simmons). The movie’s swimming pool location, inside a derelict juvenile hall slated to become a hospital for British Columbia’s criminally insane, was forbidding in its own right. The flotsam in the pool’s filthy water — leaves, a wheelchair, beer cans — made the entire setting for the film stomach-turning, especially since the young actors had to swim in it.

Somehow, though, it wasn’t quite disturbing enough.

“The vomit has too much hang time,” said Karyn Kusama (Girlfight), the film’s director. “It’s arcing too much.” Screenwriter Diablo Cody wondered aloud, “Can’t we adjust it, like a shower head?”

So the Jennifer’s Body special-effects team reset the compressed-air-powered rig, which discharged the artificial throw up from a tube hidden near Fox’s mouth. Carrying a lot more momentum, the barf in the subsequent take screamed out with the trajectory of a Manny Ramirez line drive. “That’s our money shot,” Cody said as the actors toweled themselves off.

Classing it down?

Oscar-winning screenwriter Steven Zaillian followed his Schindler’s List win with “A Civil Action and Gangs of New York. After winning his Forrest Gump screenwriting Academy Award, Eric Roth scripted The Insider and Ali. Ronald Harwood went from the Oscar-winning The Pianist to The Diving Bell and the Butterfly. Cody’s post-Oscar path follows a much different direction.

Fresh from her Juno triumph, a debut script that not only brought her the 2007 original screenplay trophy but also made her one of the town’s most in-demand storytellers, the 30-year-old Cody decided to make a horror film.

“I was just experimenting with several scripts,” said Cody, who also has worked on the Showtime television series The United States of Tara and the script for the college comedy “Girly Style.” “I did not think this would be my follow-up to Juno. But I don’t know if I will ever write [another] highbrow, artsy movie.”

In fact, Cody tried to get her Oscar out of her mind — and eyesight. “I literally put it away — under my bathroom sink with the toilet paper,” she said. “It was difficult to look at. I wanted to think of something else.”

Just as Juno was hardly a standard-issue teen pregnancy film, Jennifer’s Body, which comes out next year, intends to be an equally atypical genre movie.

Yes, several people will die horrific deaths. Of course, a stunning girl will appear wearing very few clothes. A young couple will fumble having sex. Pretty much everyone old enough to pay bills — police, parents, teachers — will come across as inept. And then, if Cody and Kusama can pull it off, Jennifer’s Body will veer off in new directions, trying to bring some girl power to what are almost always damsel-in-distress narratives.

“I want to be faithful to the genre but also turn all of those things sideways,” Cody continued. “My biggest priority is putting words in women’s mouths — it just doesn’t happen. Women don’t get the good lines. They don’t get to do anything. And they don’t get to be reckless. And I’ve always been reckless.”

A former alternative newspaper reporter, Internet blogger, sex industry worker and memoirist, Cody grew up loving scary 1970s and 1980s movies — “I’m a horror junkie,” she said. Cody was particularly drawn to thrillers with artistic flair — Rosemary’s Baby, Carrie, The Shining, Poltergeist and the darkly comic pre-” Spider-Man films from director Sam Raimi, especially The Evil Dead.

Yet Cody was equally struck by films that many might not find inherently terrifying, including Sofia Coppola’s The Virgin Suicides. “There’s the idea of the adolescent feminine mystique being inherently creepy,” Cody said. “Two girls holding hands platonically as they cross a schoolyard — I find that creepy.”

Just girls being bad

The Central characters in her Jennifer’s Body script are two classmates whose friendship dates back to slumber parties: Needy and Jennifer. Jennifer is a man-eater in both the literal and figurative sense. Needy has been resolutely faithful to her BFF, but changes course when Jennifer crosses to the dark side and decides that Needy’s boyfriend, Chip, would make for a tasty piece of teen jerky. “I am directly influenced by girls I have known,” Cody said. “Girls who treated life as a race, and if there was someone or something they wanted, they would stab you in the back. It’s a movie about hunger. A lot of teenage girls are starving themselves and a lot of them are psychologically hungry, because they are so misunderstood.”

Cody wrote Jennifer’s Body after “Juno,” but before the latter film was released theatrically last December. Producer Jason Reitman, who directed Juno, and Fox Atomic, 20th Century Fox’s since-downsized genre label, joined to buy the screenplay.

“I think the script flummoxes some people,” Cody said. “It’s a little weird, not what you’re used to.” In fact, she said, she’s a little “worried” about how Jennifer’s Body might be received. ” Juno is a life-affirming movie,” Cody said over dinner, with filming wrapped for the day. “And this is a death-affirming movie. The people who really loved Juno — I don’t know if they will love this in the same way. And the people who hated Juno — well, this will just be more grist for the mill.”

While the film, set in rural Minnesota not far from where Cody once lived, tweaks the conventions of the killer-on-the-loose genre, it does so in Cody’s familiar pop-culture-reference-laden style. When a poser devil-worshiping rock band named Low Shoulder decides to perform a human sacrifice, they rely on plans printed out from the Internet.

“Do you know how hard it is to make it as an indie band these days?” one of the group’s members, Nikolai (Adam Brody), says as he prepares to follow the online slaying instructions. “There are so many of us and we’re all so damned cute. If you don’t get on ‘Letterman’ or some retarded soundtrack. . . . Satan is our only hope.”

Kusama and Cody face an unusual challenge with Jennifer’s Body: While the film is populated with gorgeous women, they want to make sure the movie isn’t lecherous. “That’s something you have to grapple with when you are making a monster movie — the girls have to look hot,” said Cody, who describes herself as a radical feminist. “We didn’t have to worry as much about [Juno star] Ellen Page’s lip gloss” as how Seyfried and Fox look in this film.

“But horror is a surprisingly feminist genre,” Cody said. “The last person standing is usually a woman. And most of the guys in this movie are vain and insecure. You’ll notice there are no fathers in this movie. I didn’t want there to be any male role models — I didn’t feel these were girls who were loved by their fathers.”

memoiristDirector Kusama, who read Jennifer’s Body before she had seen Juno or heard of Cody, said the script reminded her of a Grimm fairy tale. “What’s really special about it is the emotional underpinning of the story, and the idea that your parents cannot protect you,” Kusama said.

As she bobbed in the pool wearing a black-and-white prom dress (of course, there’s a prom scene — it’s a horror movie after all), the 22-year-old Fox said she knows girls like Jennifer all too well. “I was the Jennifer of my school — the troublemaker, the anarchist,” Fox said. “She has an appetite for destruction.”

It’s because of people like Jennifer, Fox said, “that I don’t have any girlfriends. Because they always want what every other woman has. There’s no loyalty among women.” Still, Fox said, her character isn’t pure evil.

“I hope that people feel sorry for her,” she said. “She’s a victim before she’s a predator.”

Source: LA Times

The film’s performances are pretty decent. Seyfried does as good as one could to hold up the film even though it’s this bad. Megan wasn’t horrifyingly bad but neither was she good. There was a scene where it’s a real big close up of her kissing another chick (YES!!!!). The men in the audience hooted and cheered even though it was completely random and the director put it in as a a kind of apology for not giving up the real goods (no Megan Fox boobage).

Honestly, who cares if the reviews are bad. I personally LOVED Juno and the reviewer apparently didn’t. Jennifer’s Body is my most awaited film of the moment and I’m sure it’ll make me happy, even if it doesn’t please the Juno hating crowd and others who simply don’t get the awesomeness of Diablo Cody.

Somebody just got very excited! Check out the deliciously wicked new teaser art for Jennifer’s Body! I’ll admit the poster isn’t the most original but get your attention it does! Also check out this err, interesting quote from Amanda Seyfried from a recent issue of Entertainment Weekly. :wink:

“We make out in one scene [in Jennifer's Body]. That’ll probably be the trailer, in slo-mo.” – Amanda Seyfried on a scene with Megan Fox

GALLERY UPLOADS:
Jennifer’s Body: Posters & Covers

“I had to put on size for Transformers II because [director] Michael [Bay] doesn’t like skinny girls,” Fox, 22, said. “I had three weeks to gain weight, and I put on 10 lbs.”

The actress, who said she got “really scrawny” for her role in the upcoming zombie film Jennifer’s Body, indulged in some of her favorite foods to gain back her curves: “You know Doughboys?” she asked of the trendy Hollywood eatery. “They make that red velvet cake. I seriously have that every night before I go to bed.”

“I don’t really eat that healthy,” added the actress, who talked to reporters at FOX’s Television Critics Association party July 14 (she attended with boyfriend Brian Austin Green, who stars in Terminator: The Sarah Connor Chronicles). “I have a really bad sugar tooth.”

FHM magazine’s Sexiest Woman in the World also said she spends little time working out.

“I’m kind of naturally fit for now,” she said. “But I hear when you turn 25 your body changes, so I might be out of luck once I hit that age.”

The actress also joked about the secrecy surrounding Transformers II when asked to describe the film.

“I can’t – I’ll get fired, and then they’ll replace me with Eva Longoria!”

Source: People.com

GALLERY UPLOADS:
Magazine Scans: FHM (US) – July 2008

Everyone [on set] was telling us how they were inspired by the great horror films of the 80s–what are some of the worst horror films that have inspired you?

I would never say such a thing, because I feel that bad horror movies are edifying in their own way. Y’know it’s interesting…that’s a tough question. I guess I don’t consider any of them bad because it’s hard for me to say objectively what’s bad, what’s tacky. Horror is inherently tacky, it’s a garish genre–which is why I love it. I think some of the later Nightmare films got pretty bizarre–at that point Freddy was just a character, he had stopped being a shadowy boogeyman and had become this stand-up comedian. And you rooted for him, it kind of switched the perspective. So it was corny but really cool. Those were my favorite movies when I was little.

If you compared Jennifer’s Body to a certain film, what would it be?

Oh my God! That’s such a good question. The Virgin Suicides, Suspiria, Creepshow, Carrie, Just One of the Guys, or Ginger Snaps.

After writing the script, did you in your mind see this as being akin to a certain type of horror movie, and now that it’s shot do you see the same way, or as a different sort of film?

I think, yeah, when I first wrote it I had intended for it to be gorier and maybe exploitative, a little more lurid; and the thing is there’s such talented people involved outside of myself that I think it’s become more atmospheric and a little creepier and maybe a little more high-brow–which is cool. Like Rosemary’s Baby, one of my favorite movies, which is kind of the definition of the art-house horror movie.

What was happening in your life when you wrote this?

I wrote this in the same year that I wrote Juno. Juno had not been made yet–it was 2006 maybe. A couple years ago. I was still living in Minnesota, I was still in…it must’ve been quite some time ago, because I think I still had a day job at the time. What happened was I had written Juno and I had a couple of more screenplays that summer because I had been hired to do so off of Juno. But it wasn’t really satisfying. I thought, “What do I wanna write that’s not some idea being fed to me by a studio?” I thought, “I wanna write a horror movie because that’s a genre I’ve always been passionate about.” And then I thought to myself, “Well, I wanna write something that legitimately frightens me. I don’t wanna write something that’s just commercial. I wanna write something that’s familiar. I wanna write something that I would actually be frightened by.” And I said, “Alright, what’s scary? Teenage girls.” [Laughs.] So I thought about the sort of terrifying, aggressive teenage bullies that I had known in my life–ones that made my blood run cold when I was younger. I started to kind of imagine them as literal monsters, and that’s when I started, and it turned out to be really inspiring. So this one was an easy one to write.

[Director] Karyn [Kusama] has all of these layers on which she sees it. Do you think of any of that when you’re writing it, or do you just see a good story?

No, no…I was really overthinking it. I was definitely going to deep places. It was an opportunity for me to tap into a lot of my emotions and think about the things that have given me reason to be anxious as a woman. Just the hunger that society imposes on young girls–sometimes literally. I think of those things as horrific so I wanted to write a horror movie.

Is it at all a reaction to some of the horror you see today. Are you satisfied or dissatisfied by the stuff that you see?

I think of it as being a cousin to that stuff–but completely different. I actually am satisfied with some of the stuff I’ve seen in recent years. Some of the stuff is visually dissatisfying, I think a lot of the movies have started to copy each other visually and I’m getting tired of that aesthetic. So I’m happy with how rich and warm this film looks; but y’know I think there’s been a lot of really smart social commentary in recent horror movies. So I’m happy with it.

What is this film looking like? What kind of visual style or palette does it have?

Y’know, I wrote a lot of colors specifically into the script. Like Needy has this really gross magenta prom dress, because I love those really rich pinks–it makes me think of Argento with the bright red. And David Mullin shoots the most beautiful night stuff–it’s really, like, enchanted-forest creepy. I really like it. Karyn brings out fairy tales a lot as a visual reference, and I hope we’re getting that look.

Are there any secret references in the script to girls that bullied you as a teenager?

I wasn’t bullied as a teenager, I kind of separated myself from that. It wasn’t really my posse, but I remember the competition between girls and I remember this one girl in particular who seemed willing to tear flesh to get what she wanted. Yeah. Society pits young girls against each other, I think.

When did you become a big fan of horror? What was the first horror movie you ever saw?

I think the first horror movie I ever saw was Poltergeist. And my mom had allowed us to rent it on VHS because it was ‘PG’–I think. It was crazy. Looking back at that film, it’s really terrifying and gory. Like that guy rips his face off–that would not get a ‘PG’ now. My brother and I watched it, and we were completely transfixed and terrified. I still think about that movie. I’m so mad about the opening title sequence–with the sign-off and the national anthem. I’m so mad that Tobe Hooper did it first because I love it so much.

What else does Jennifer’s Body have in it? It sounds like a teen movie, but it’s rated ‘R’–what else does it have in it that adults will like?

I think good storytelling can pop up anywhere. I think sometimes you even go see a children’s movie that’s satisfying to watch if it has a good story. I think if you’re interested in story or just in dialogue or just in social commentary–those are all things that are in the movie. I hope it has things in it that will excite teenagers. I hope they’re not bored. I think this is an important film for teenage girls to see because, like I said before, I think they are underrepresented in cinema. So if they can go and see it and see themselves as heroes and villains–that’s good.

There’s a band in the film. Rock and horror kind of go hand-in-hand, and you’ve kind of brought that back that.

I’m glad that people see that as reintroducing a classic element to the cannon; that’s great. To be honest, I actually thought it would just be hilarious to take a band that was like super wussy and super-mom-friendly and poppy, and then have them secretly be satanic assholes.

Can you talk about the band in the film? We heard some of their lyrics–were you just trying to find something kitsch?

Yeah, I actually wrote those lyrics but…that was my intent. I just wanted to find the cheesiest, top-40s, power ballad that just took FM radio by storm one summer. Then just imagine if it had really dark origins. The band represents greed and ambition and desperation, and just stopping at nothing to get famous.

Your next film going into production is a sex comedy. Do you feel that you’ve exercised your urge to make a horror film?

No, I plan to make many more.

You’ve said you’d like to direct–do you think that one of your first directorial gigs will be horror?

I think ideally it would be, but I don’t know–I have to learn how to direct.

Considering the string of terrible teen-slasher movies in the late 90s, what’s the tough sell to the audience? How do you assure them that this is not just another Scream 3?

This is a horror movie–not to sound like a complete pretentious douche bag–but it is a horror movie made by filmmakers and made by people who genuinely care about film. Karyn was a total horror geek. I’m a horror geek. The producers are into this stuff. This was not a mercenary effort to make something that seemed like it was kind of profile. We wanted to make a horror movie, and we are extremely respectful of the great films that came before us. I think that people will see that in the finished product.

Can you tell us about the casting? Are the leads how you imagined them in your head when you were writing this?

I tend to not be super visual when it comes to imagining the characters just because I haven’t been writing movies very long. I never picture certain actors. I tend to go at it like a short story, where I’m actually imagining the person in mind as a distinct entity. I’m making people up. I’m imagining my own people!

Are all the people in the cast what you would’ve wanted?

Oh, absolutely. Megan [Fox]… Megan’s perfect. She’s absolutely how I imagined Jennifer. And Amanda, I think, in a way created Needy. Because I always saw Needy as being very nervous and submissive, but then Amanda comes in and she brings this humble quality to the character. And she’s such a lovable person–you root for her. That’s important.

Tell us about the status of the series you’ve been working on [with Steven Spielberg] and if you’d rather stick with TV or filmmaking.

Working in TV is amazing and, especially as a writer, the pace is really inspiring. You have to be creating constantly. I like that. I like the fact that I can write something and I can see it on television two weeks later. So that’s cool. But it is completely different, and, when it comes down to it, I think writing features is probably my top priority. I’m very excited to be working on the series but, to be honest, working at Showtime is almost like producing short films. It’s not like writing for a network. It’s fun.

Will there be a sequel to Jennifer’s Body?

Wouldn’t that be awesome? I thought about it a little. See, I like sequels, especially when they’re done well.

What’s you’re favorite sequel?

Do number 3′s count? Because Nightmare on Elm Street 3 is actually one of my favorite horror movies EVERRRR!!!

Is there any chance Jennifer’s Body will show up at San Diego Comic-Con?

Yeah, I think there’s a chance. I don’t know what I’m allowed to say about it, but yeah.

Was it important to you that your next project that was made be different from Juno?

At the time that I wrote this, there were rumblings that Juno could get made, but it still hadn’t occurred to me that it was going to happen; so that was definitely not something I was conscious of while I was writing it, which was nice. I was still in the phase where I didn’t have to be conscious of that. Now I’m conscious of it all the time. [Laughs.]

Source: FearNet

On set Cody talked her love for bad horror movies saying “I feel like bad horror movies are edifying in their own way. Horror is sort of a inherently tacky. It’s a garish genre and that’s why I love it because I am a garish individual.” Cody then goes on to use the following movies as the recipe to make Jennifer’s Body: The Virgin Suicides, Suspiria, Just One of the Guys, Creepshow, Carrie, and Ginger Snaps. Cody definitely shared her thoughts on her first attempt at horror and also mentioned a possible future romantic comedy.

Also on set was producer Jason Reitman, who besides showing some serious love for JoBlo.com, supported his production partner Cody. He compared the script for Jennifer’s Body to Juno this way: “[It] took teenagers seriously. There was a warmth to it… Recently, most horror films I see kind of fall in two categories: either kind of gore and decimation or this world of really cold horror films that have sprung from The Ring.” Reitman went on to talk about his love for Diablo’s genius as well as touch on some of his future projects.

By the way, do not forget to cast your votes for Megan at the 2008 MTV Movie Awards for Breakthrough Performance! You can vote as many times as you like. :biggrin: