Gallery Update: Candids, Recent Appearances, Scans

Candids > Candids in 2012

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Photoshoots & Press > Press Conferences > September 10, 2012: “End Of Watch” Press Conference

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Photoshoots & Press > Portraits > Chris Pizzello @ 2012 Toronto Film Festival (September 10, 2012)

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Media & Interviews > Talk Shows > Stills > Conan O’Brian – September 20, 2012

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Appearances & Events > 2012 > September 17: Taping an Episode of “Extra” at the Grove in L.A.

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Appearances & Events > 2012 > September 17: “End Of Watch” – Los Angeles Premiere

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Magazines & Scans

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Anna @ Angeleno‘s September Fall Fashion Issue dinner party

Anna Kendrick dolls up in a Vivienne Westwood dress for Angeleno‘s September Fall Fashion Issue dinner party held at Scarpetta Beverly Hills last week.

The 27-year-old actress was joined by a group of friends as well as editor-in-chief Lesley McKenzie and publisher Alan Klein for the celebratory dinner.

Anna is also featured in Moves newest issue.

She shared of her End of Watch co-star, Jake Gyllenhaal, “Jake should direct actors immediately. I think he would get the most stunning performances out of people. He’s just so connected and so willing to go the extra mile to help everyone out in their performance. He doesn’t think like an actor, he thinks like a director and it’s really beautiful.” {justjaredjr.com}


Anna for New York Moves Magazine

Anna is featured in New York Moves Magazine with Viola Davis on the cover. We have a ton of awesome black and white outtakes taken by Randall Slavin, scans, and the interview!

Magazines & Scans > Interviews > New York Moves – September 2012
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Photoshoots & Press > Photo Shoot Sets > New York Moves Magazine (September 2012)
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by Sam Trewick
photography by Randall Slavin

“Do I see something I can bring to this that maybe somebody else can’t?”

Researching” an actor whose work is as singular as Anna Kendrick’s can barely be called work. In fact, it reminds me of a Noel Coward quote she used when describing her approach to her own career: “Work is more fun than fun.”

As I watched as many of her films as I could get my hands on (50/50, the Twilight films, Up in the Air, CAMP, and very notably Rocket Science), one phrase kept repeating itself in my head: “She seems so alive.” Even in roles that I thought on paper must have looked mundane at best (Twilight’s Jessica), Anna is able to find the soul of the character and truly bring them to, well, life. It is this skill – borne of equal parts talent and hard work – that has lifted her into prominence… that and what can only be called her innate delightfulness.

It was a treat to speak to her at this phase in her career – after her ‘takeoff’ in Up in the Air (with George Clooney, in which she received a Best Supporting Oscar nod) a couple years ago, she has hardly had time to breathe. Anna is, in the next two months, launching the animated ParaNorman (a “bucket list” project for her), End of Watch (a police action film with the “beautiful” Jake Gyllenhaal), Robert Redford’s The Company You Keep (“My agents told me ‘you don’t have to kill yourself to do this,’ and I was like ‘Yes, I absolutely do!’”), and the movie-musical Pitch Perfect, which she stars in. However, one would not describe Anna as necessarily “ambitious.” She is not her character from Up in the Air. It comes back to that Noel Coward axiom – she truly enjoys her work. “I’d so much rather be at work than anywhere else. Sometimes I think ‘I love being on set, I love working with these people,’ – and I think you learn something from every experience.”

Anna seems to truly extract meaning from her job, and looks forward to whatever comes next without over-designing her own experience. She denies any kind of “master plan,” and instead looks for what truly engages her, and what she can contribute to: “Do I see something I can bring to this that maybe somebody else can’t?”

That system seems to be working. Out of the gate after ParaNorman is End of Watch, in which she plays the love interest of Jake Gyllenhaal’s character (a cop who finds himself in a mess of trouble). I asked her if she intentionally chose this role to show more vulnerability. “Absolutely,” she said, “I just find myself drawn to something because it’s a completely different girl I get to live in for a little while.”

She elaborated, describing an unorthodox rehearsal process during which the director asked she and Gyllenhaal to improvise a “first date” scenario. “[It was] one of the few scenes where we tried it like 100 different ways, to really find where it feels right and where the characters live… We tried it a couple times with the first date being in a really flirty, confident, kinda sassy way – you know, that’s a pretty comfortable place for me – but it just felt so wrong, and it was really great to find that vulnerability and that insecurity, but also to discover how clearly these two people needed each other within this scene. It was really lovely.”

True-to-gracious-form, Anna immediately shared credit with her co-star, for whom she shows flowing ardor. She describes Gyllenhaal as “a very sincere person,” with generosity and patience that inspire her fawning. “Jake should direct actors immediately. I think he would get the most stunning performances out of people. He’s just so connected and so willing to go the extra mile to help everyone out in their performance. He doesn’t think like an actor, he thinks like a director and it’s really beautiful.”

No wonder ‘work is more fun than fun.’

Immediately after End of Watch premieres in September, Anna’s musical Pitch Perfect hits theaters. As the face of a movie-musical for the first time, Anna does not hide her anxiety. She says she’s “happy to talk about” her other films at parties, but describes singing and dancing in a movie as “absolutely terrifying!”

Not that this is the first time, mind you. One of her first movies was CAMP, in which she stole the show with her undermining character’s rendition of Sondheim’s “The Ladies Who Lunch” from Company (in a hilarious moment that’s part Single White Female, Anna’s adolescent nerd poisons the show’s lead with Woolite just in time to step into the big number – martini, pearls and wig already in place). She was also one of the youngest Tony-nominees in history for her performance in High Society at age twelve.

Once again, however, Anna seems to quell her nerves by turning to the process and learning from her fellow actors. Bridesmaids’ breakout star Rebel Wilson is her comrade-in-arms in Pitch Perfect (she plays a character – really – named “Fat Amy”). She says she, as Anna, was able to take comfort in Rebel in the same way their characters do on-screen.

“My relationship with Rebel in Pitch Perfect was definintely friendly on paper, but as we filmed it became more like ‘this character is the reason my girl stays in the group.’ [My character] loves these girls and that’s really the reason she ends up being in this activity that she thinks is kind of lame, and Rebel was a big part of that. Finding another outcast, even though she’s utterly different from my character – but ‘I respect that you are who you are’ kind of thing.”

Still, I think, the consummate professional that is Anna Kendrick must have had her work cut out for her when teaming up for scenes with the rebel that is Rebel: “Absolutely! There would be so many times that she’d be improv-ing and then at a certain point I’d be like ‘How did we GET here? How is this happening?’ And we’re all just trying not to cry because we’re, like, sucking in our laughter. She really has this absurdist voice that works so well in this movie – a very, like, female-Zach-Galifianakis kind of thing – she’s so smart and so unpredictable. You never know what you’re going to get.”

But Anna’s experience and joy in her craft make her the (excuse me) ‘pitch perfect’ actor to meet such a challenge. She talks about acting in films “like algebra, in a way.” In addition to looking forward to working with her peers (and she’s worked with some pretty great ones at the ripe young age of 27), she loves the problem-solving – picking out what the director is looking for and doing her best to deliver. “A lot of actors really don’t like the limitation that film brings,” she says, “and obviously there are times where that’s very frustrating for me, too. But I kind of like being a part of the puzzle, and helping as much as I can to get the thing accomplished.”

The ‘thing’ they are accomplishing together is of no small consequence to her. She seems to view film as giving voice to the voiceless; as a way to transmit and communicate compassion – and she’s justifiably pleased that she gets to make a contribution to that end game.

“The most important thing to me, and the most impressive thing to me, is when, whether it’s the writer, director, actor… they put something across on-screen that makes me think ‘I wish I were brave enough to say that.’ I think that’s the only reason to create anything. To stand up and say ‘I’m this way, I don’t know if anybody else is, but I feel like I need to communicate that.’ And that is something that I think is the most noble and courageous thing to do with art – to say ‘Maybe you should forgive yourself for whatever it is that you’re embarrassed about.’”

The delightful, frank Anna Kendrick certainly has nothing to be embarrassed about. Enjoying a brief respite from the work marathon she’s recently completed when I spoke to her, she was using her spare time to prepare to welcome her mom to her new (first) home. “I kind of like not having the next thing moving, so I can concentrate on my real life,” she says. “I’m not unhappy about it.” Work may be more fun than fun, but a break can make the work that much more fun.


1883 Scan + John Russo Portraits

. . . “A year later and the Gossip Girl poster boy [Chace Crawford] is just an ink blot on a list of Anna’s enviable male co-stars, a role call that starts with Ben Stiller and ricochets past Robert Pattinson and George Clooney, finishing in one frisky scene with Jake Gyllenhaal in this Autumn’s gritty cop drama ‘End of Watch’. “It was all sexy time with us,” she teases. “It was actually the strangest version of a make-out scene because it’s all filmed on small handheld cameras and was mostly all improv, there weren’t twenty people set watching on a monitor so the stakes definitely felt a little bit higher.”

Photoshoots & Press > Photo Shoot Sets > John Russo (August 2012)

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New John Russo Covers & Portraits

Anna is in more Modern Luxury mags across the country, including Jezebel in Atlanta, Riviera in Orange County, and Manhattan Magazine. While the interview identical to the new one in Angeleno, the images used for the covers are previously unseen. There are also two gorgeous new portraits from John Russo’s new shoot!

Magazines & Scans > Interviews

Photoshoots & Press > Photo Shoot Sets > John Russo (August 2012)


Anna in 1883 Magazine

We have an exclusive look at Anna in 1883 Magazine thanks to Hen, who said:

Magazines & Scans > Interviews > 1883 – September 2012

“In another exclusive promo from the brand new issue, we meet American sweetheart Anna Kendrick who reveals to us her sassy side, talking strippers, Twilight and childhood limelight. Check out the full article in 1883 ‘A Dark Romance’ Issue out next week or pre order online.”

here are the links to where fans can get it online and in print:
to get a hard copy http://www.1883magazine.com/buy
or to buy the app http://itunes.apple.com/gb/app/1883-magazine/id438169793?mt=8
or to get a electronic copy on their computer http://www.otheredition.com/1883-magazine

I’ve also added a few misc clippings of mentions/tidbits of Anna in various gossip magazines:

Magazines & Scans > Clippings > Misc

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Anna Covers Boston Common Magazine

Anna is cover girl for Boston Common Magazine’s Summer 2012 issue, with a brand new photo shoot and interview!! See the scans exclusively below :D! We also have MQ portraits from the shoot, as well as a text version of the interview, “Portland Native Anna Kendrick Charms Hollywood”:

Magazines & Scans > Interviews > Boston Common – Summer 2012

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Photoshoots & Press > Photo Shoot Sets > Robert Ascroft for Boston Common (Summer 2012)

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Portland Native Anna Kendrick Charms Hollywood

Anna Kendrick is sitting in the middle of the Hollywood Hills house she has just moved into, combing the Internet. No, she’s not looking for her next film project. Nor is she finally getting a break from a hectic work schedule that has made her one of Hollywood’s hottest young comers. The 27-year-old actress from Portland, Maine, actually is trying to learn how to build a spice rack.

“I just wish that I were more handy,” Kendrick says with exasperation. “Nothing makes you feel more useless than when you don’t know how to fix anything.” This admission is from someone who prides herself on a Maine self-reliance and who has catapulted to fame playing brisk, tightly wound, empowered young women. She has done this most notably in her high-profile appearances in The Twilight Saga, as the catty and confident Jessica; and in Up in the Air, for which she was nominated for an Oscar as Natalie Keener, whose alpha personality challenges George Clooney’s corporatist mien.

Lately, however, Kendrick has taken a break from her power roles to focus on women who are not afraid to show their vulnerabilities. On the heels of costarring as a cancer-ward therapist out of her depth in the acclaimed weepy 50/50, Kendrick is part of an all-star cast in this summer’s What to Expect When You’re Expecting, in which she plays a food-truck owner who accidentally becomes pregnant by Chace Crawford. She follows this up by adding her vocal chops to the stop-motion animation feature ParaNorman about a zombie-busting boy. Then in the fall she plays the wife of Jake Gyllenhaal in the police drama End of Watch and the socially awkward Beca in Pitch Perfect, a comedy about rival college a capella groups. Later in the year, Kendrick will be courted by the Antichrist in the apocalyptic religious comedy Rapturepalooza. And next year she appears to return to form as Miles Teller’s edgy, hard-charging girlfriend in Get a Job.

“It wasn’t strategic,” says Kendrick of the broader spectrum of characters. “Those other roles were more a case of wish fulfillment, being able to do [in movies] what I’d find much more difficult to do in life. I’m a control freak but not nearly as rigid. When I fall apart, I’m all over the place.” She admits she can be just as awkward and clumsy as some of her alter egos and often struggles to express herself with clarity.

Scott Ellis, who directed Kendrick in 2003 in a New York City Opera production of Stephen Sondheim’s A Little Night Music, says, “There is an innate honesty to Anna. She works hard to be true to that.” Indeed, in the course of an interview, Kendrick is polite and thoughtful but cautious, eager to protect her privacy and not come across as self-aggrandizing. Even after more than a decade in the spotlight—she was nominated for a Tony Award by age 12 for the Broadway musical High Society—she has yet to become comfortable with her celebrity. “I still find it all rather scary. I still get sweaty and super-nervous before I walk the red carpet,” she says. And nearly 10 years after moving to Hollywood at the age of 18, she still can’t adjust to the ethos of the place.

“I remember when I first came to Los Angeles, I was shocked at the open ambition and complete lack of humility,” she recalls. “Bragging about what you had, what you had done, and what you hoped to do— I thought it was such a strange phenomenon. Those are things you keep to yourself.”

Kendrick says her sense of discretion was forged while growing up in her middle-class Portland home with her older brother, Michael Cooke Kendrick, and parents, Janice, an insurance accountant, and William, a teacher. Kendrick says there was no great “eureka” that impelled her to perform. She just loved to sing and dance. By the age of six, she was starring in a community production of Annie. At eight, she was obsessed with the movie Life with Mikey and dancing around the room to Bette Midler albums; and by 10, she and her brother were traveling by bus to audition in New York.

By age 12, Kendrick was Tony nominated for her featured role as Dinah Lord, the precocious sister of the heroine in the Broadway musical High Society. During the run of that show, Kendrick lived with her father, who homeschooled her and whom she credits for keeping her grounded. Upon her return to Maine, Kendrick attended Deering High School in Portland, where like all teens, she faced the desire for attention while also wanting to fade into the background.

“Anna was a very modest young woman,” says Kathleen Harris, a Deering English and drama teacher, of her former pupil. “Some kids who achieve will try to lord it over others. But Anna, who walked in with [the experience of] a Broadway show and commercials, never talked about it. And it wasn’t that big a deal. The kids probably didn’t even know what a Tony Award was. Now, if she’d played with the Boston Red Sox…”

Having been offered the role of Fredrika, the daughter of an aging stage star in A Little Night Music, Kendrick decided not to pursue a college education. Her next big project was Todd Graff’s 2003 cult film, Camp, as the ambitious and scheming Fritzi, a scary little show-biz minx who claws her way to a scorching rendition of the jaded Sondheim anthem “Ladies Who Lunch.” (In a clip, it’s easy to see the influence on Kendrick of what she says is her favorite film, the bitchy 1939 classic, The Women.) The actress then starred in the 2007 film Rocket Science, which would change her life. As Ginny, the fast-talking and manipulative debate champ, Kendrick drew the attention of writer-director Jason Reitman, who was then in the process of developing what would become Up in the Air.

“When I saw her in that movie, I just thought, This girl has a different voice from everyone of her generation,” Reitman told MTV. “She oddly talks like someone from the 1940s. She’s witty, smart, and sharp, and I needed a girl who could go toe-to-toe with George Clooney.”

Kendrick more than justified Reitman’s faith, winning acclaim and welldeserved honors for the role he specifically wrote for her. She has since chosen to translate her clout largely into independent films that offer the sort of acting challenges she relishes more than money or prestige. She says that her experience on David Ayer’s End of Watch is a case in point. The improvisation she did with Gyllenhaal in one scene, she says, “is the most fulfilling thing that I’ve ever done.”

By comparison, the Twilight blockbusters she has been featured in can’t hold a candle. Says Kendrick, “I don’t know if my agents would appreciate me saying this, but the focus and energy demanded when you don’t have any money or time is much more exciting than those projects where there’s a little too much time and a little too much money and it gets sluggish. You lose that urgency, and that’s what I love most.”

The “urgency” for Kendrick now is to maintain a personal equilibrium in the peculiar hothouse of film fame. The fact that most of her close friends are not in the business helps. (“They give me crap all day long,” she says with a laugh.) And while she has tried to master social media—she has 254,972 followers on Twitter—she is ambivalent about it. “I haven’t tweeted since December,” she admits. “I can’t help but think, Why should anyone pay attention to me?”

As far as work is concerned, Kendrick is giving herself a break from pursuing a perfectionist agenda in favor of, as she puts it, “just having some fun.” She’s good at that, too. “Anna’s probably one of the top comedy actresses around, dry and laconic, with terrific range,” says Paul Middleditch, who directed her in Rapturepalooza. “She is both intuitive and intellectual when it comes to humor. She understands what’s funny, and she likes to experiment. What she offers up is always surprising.”

In What to Expect When You’re Expecting, she says, the best part was being able to give the “obscenely handsome” Chace Crawford some “sass.” In Rapturepalooza, she loved the idea of being romanced by Craig Robinson as the Antichrist and singing “Edelweiss” between takes with him. And in Get a Job, she said that she laughed so hard at Bryan Cranston that she forgot she was actually in a scene. Kendrick adds that she almost passed on Get a Job since the role seemed at first like yet another buttonedup, every-hair-in-place ice queen. But toward the end she discovered a challenging twist. And the best part, she says with a laugh, “is that I got to not wash my hair for three whole days!”