Ansel Elgort (Baby Baby) video: A video featuring photos, film stills and scenes of Ansel Elgort and his co-stars (Shailene Woodley, Lily James, Eiza González, Chloë Moretz, etc.) and girlfriend Violetta Komyshan. Soundtrack "Ooh Wee Baby" by Jeff Barry, "Crazy About My Baby" by Randy Newman, "Be My Baby" by The Ronettes, "Baby Baby" by The Vibrators, and "Hot Rod Kelly" by The Sabres.
—Your character Baby uses cassettes to record things. What is your own relationship with old school things?
Ansel Elgort: —I love old school things. My house is an old house. The house I bought in Brooklyn, New York, was built in 1890, and it has old wood details. I did some renovation on the house, but I said don’t take any of the old details out. In fact, what I did was to take out the new stuff I didn’t like it. I love old movies, old music. I like new movies and new music too but I love learning from the past. I love old clothes. I love vintage shopping. I love old cars. Old things just have like a soul to it. I think when things get more modern, they lose a bit of that soul. But it’s like that Woody Allen movie Midnight In Paris, everyone wants things from the past because the past is better. I love the past.
Ansel Elgort: —In 10 years, I want to be happy. Like that’s the most important thing for me. It feels like a lot of people in this industry aren’t happy. But that seems ridiculous to me because we’re living our dream, in doing what we love to do. So where did things go wrong? I want to make a conscious effort to be happy and to do the art I want to do. I have certain goals, and I want to follow those goals. Source: www.star2.com
Ansel Elgort is FANTASTIC in the lead role as Baby! So charming and smooth but not in a cocky or hammy way, it is a real star making turn from him. It is that for Lily James as well. She owns her scenes, and the two of them together are dynamite. The laundrette scene just simmers with the perfect mix of passion and love. In terms of awards, I think it’ll have a chance at a comedy musical globe nomination, maybe for Elgort too but doubtful. It’ll probably easily get that SAG stunt ensemble nomination. It’ll be in the race for a PGA nomination. In terms of Oscars, it’s sole shot is sound. Hopefully it’ll win sound mixing. Source: www.goldderby.com
Closing Night of 55th New York Film Festival — Premiere of Wonder Wheel (2017) directed by Woody Allen: In a career spanning 50 years and almost as many features, Woody Allen has periodically refined, reinvented, and redefined the terms of his art, and that’s exactly what he does with his daring new film. We’re in Coney Island in the 1950s. A lifeguard (Justin Timberlake) tells us a story that just might be filtered through his vivid imagination: a middle-aged carousel operator (Jim Belushi) and his beleaguered wife (Kate Winslet), who eke out a living on the boardwalk, are visited by his estranged daughter (Juno Temple)—a situation from which layer upon layer of all-too-human complications develop. Allen and his cinematographer, the great Vittorio Storaro, working with a remarkable cast led by Winslet in a startlingly brave, powerhouse performance, have created a bracing and truly surprising movie experience. Source: www.filmlinc.org
Playing games with time: Becky called Shelly (known as Shelly Johnson, now Shelly Briggs in the 3rd Season) to complain about Steven who had been MIA two days. Mom told her to get down to the Double R for some cherry pie à la mode. A subsequent scene, set in the evening after Shelly had left work, saw Bobby hit the Double R for dinner (his usual: a plate of spaghetti and two pieces of garlic bread) and speak of an event that happened earlier that day, the discovery of “some stuff my dad left for me.” At no point did anyone reference the events of two weeks ago, when Becky went gunning for Steven upon discovering his adultery with Donna’s little sister and Bobby had to deal with madness in the streets outside the Double R.
Twin Peaks: The Return (Part 13) featured a musical performance as strange as Audrey’s reality blur. For the first time, a fictional musical act took the stage. James Hurley, former secret boyfriend to Laura Palmer, former sucker for femme fatales and neo-noir subplots, sang “Just You and I.” One of James' signature moments in the Season 2 was recording an old school rockabilly ballad called “Just You” with Donna and Maddie singing back-up. This sincere scene segued into one of the most terrifying scenes in all of Twin Peaks, Maddie’s vision of BOB appearing in the Hayward dining room. Now, 25 years later, James was on the Roadhouse stage, singing “Just You” once again. The guitar was the same, the thin falsetto vocal was the same, and besides the bald head, even James seemed the same.
The final moment of Part 13 might have been a comment on James and the final destination of his dead-end pining, with his fixation with what was and what could have been. We saw his uncle, Big Ed Hurley, a man also owned by the past, sitting alone behind a desk at his gas station, looking out the window at the pumps, with nothing to keep him company except his memories, most them reminding him of lost love and unrealized dreams. It was a moving still life of quiet pain and sorrow, beautifully sad and subtly devastating. Source: ew.com
Ansel Elgort gets high marks for playing Baby as a generally cool, emotionless driver. Baby Driver allows Ansel Elgort and Lily James to truly shine. I've never been a fan of car racing movies and when Baby Driver is not mired in featuring big car chase sequences, the film allows Elgort's Baby and James's Debora to shine and explore some decent on-screen chemistry. Lily James seems to be channeling Madchen Amick's Twin Peaks character for much of her performance, but when the pair shares the screen, Baby Driver hits its high notes. Source: wlswarts.blogspot.com
David Lynch once said, all his characters seem to end up in a diner sooner or later. The diner is where Baby and Debora meet and fall in love, the perfect place for the fairytale of Edgar Wright’s Baby Driver to begin. Baby Driver, a reimagining of noir, takes well-worn tropes of the crime film and upends them. Baby’s father, Doc, Bats, and Buddy all threaten the dream, his fairytale ending, a golden world of warmth, soft light, the sound of his mother singing “Easy,” and Debora.
At first glance, Baby seems to share the macho stoicism of his cinematic predecessors, but it’s a facade, a defense mechanism. Baby constantly listens to music and wears sunglasses because he needs to drown out the world and the ringing in his ears caused by a childhood accident that killed his parents and left him with tinnitus.
Baby’s and Debora’s love story seems old-fashioned, but in the world of crime stories, it’s radical. In heist films, women are usually absent (Reservoir Dogs). Partners in crime are more often than not ill-fated: Bonnie and Clyde, Badlands. Like Walter Hill’s The Driver, everyone’s dialogue in Baby Driver is hardboiled, but Baby’s and Debora’s interactions have the earnest sweetness of Hill’s Streets of Fire. The mural in Bo’s Diner is Debora’s dream: a couple in a ’59 Chevy Impala convertible, alone in the desert, watching the sunset, a Route 66 road sign beside them. It’s another kind of getaway, a getaway to a nostalgic American paradise. Debora’s dream becomes Baby’s dream.
Debora is ride or die. Even when the full horror of Baby’s “job” reveals itself to her, she believes in him. Joseph aside, the men in Baby’s life bully him, challenge him, try to stop the music. But Debora is in tune with Baby — she even walks to the rhythm of Baby’s music when he first sees her. They are always in sync, their feet tapping to the same beat as they listen to T. Rex in the laundromat, their fingertips circling the rims of their wine glasses on their fancy restaurant date.
Baby is different, he’s kindhearted and innocent. Even the title Baby Driver feels a little bit like a “fuck you” to the hardboiled machismo typical of these films. This is a coming-of-age story where Baby doesn’t lose his innocence, he reclaims it. Baby redeems himself, transcends the trauma of his past, eludes the violence of his father and of his cinematic predecessors. He makes music out of the taunts of bullies. He gets a second chance. None of it comes easy, but you can’t have a rainbow without a little rain. Source: birthmoviesdeath.com
About 50 per cent of us will at some point in our lives experience “waking up” and being conscious while still in a dream – possibly, we may even be able to act with intention in it. Such “lucid dreams” are not only a vivid and memorable experience for the dreamer, they represent a strange, hybrid state of waking consciousness and sleep which could tell us completely new things about our inner lives. Nightmares are among the most common debilitating symptoms of post traumatic stress disorder. There is some evidence that lucid dreaming can be induced, too. Questioning the nature of one’s environment during the day – “Is this real or am I dreaming?” – increases the chances of having a lucid dream. Reports suggest that simple alterations can significantly alter the emotional tone and experience of the dream, helping us realise it is not real and that we able to exert control over it. Brain regions involved in meta-cognition are among the most activated in lucid dreaming. Source: www.psypost.org
The first teaser for Darren Aronofsky’s Mother! has arrived, and it looks gloriously strange. Synopsis: A couple's relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence. Aronofsky has reveled in sharing sordid little teasers, like a creepy poster for the new film that features an illustration of Lawrence holding her bloody heart in her hands.
Naturally, the poster was revealed on Mother’s Day. Mother! will have its world premiere at the Venice Film Festival at the end of the summer, where critics and fans will finally see the project Aronofsky has been zealously guarding. The film is selected to compete for the Golden Lion at the 74th Venice International Film Festival, and is scheduled to be released on September 15, 2017, by Paramount Pictures. Source: www.vanityfair.com
Jennifer Lawrence and her filmmaker beau Darren Aronofsky have been avoiding the limelight at all costs since they got together in 2016, but the quiet couple are definitely stepping things up in their private relationship, a source tells E! News. The insider says, "Things are getting serious with them. They are so in love with each other." What really connects the two of them is their shared sense of humor, adds the source. "Jennifer always cracks jokes and Darren just gets her humor. They laugh all the time!" They may be low key but their romance is certainly heating up!
The source also said that the Oscar-winning actress and the Black Swan director, who met while filming their upcoming thriller Mother! in New Orleans, had "an amazing dynamic" on set. As for what's to come for the under-the-radar duo? The source says that the two have indeed discussed their future together but are "not in any rush to get married." However, marriage is "something Darren would love." The insider also noted that, "[Darren] adores Jennifer so much." “He is a visionary,” the actress gushed of the director to Vanity Fair in their 2016 holiday issue. Source: www.eonline.com
A new study suggests that men and women's views diverge widely on the significance of a kiss and how a kiss can have profound consequences for romantic relationships, and can even be a major factor in ending one. In a recently published article, Susan M. Hughes, Marissa A. Harrison, and Gordon G. Gallup, Jr. reveal that many college students have found themselves attracted to someone, only to discover after they kissed them for the first time that they were no longer interested. "In other words," said Gallup, "While many forces lead two people to connect romantically, the kiss, particularly the first kiss, can be a deal breaker." According to the study, kissing between sexual or romantic partners occurs in more than 90 percent of human cultures. "Kissing is part of an evolved courtship ritual," said Gallup: "When two people kiss there is a rich and complicated exchange of information involving chemical, tactile, and postural cues. This may activate evolved mechanisms that function to discourage reproduction among individuals who are genetically incompatible." Source: www.sciencedaily.com
'Ascendant' Series in the Works at Starz as 'Divergent' Franchise Moves to TV: The Divergent franchise is inching closer to continuing on the small screen. Premium cable network Starz is developing a TV take on Ascendant, which was to be the fourth movie in the Divergent franchise. Ascendant is in its early stages of development. It's unclear if the project would reunite any of the stars of the films including Shailene Woodley, Theo James and Ansel Elgort. Lionsgate TV and Starz declined comment.
Shailene Woodley, for her part, has been open to completing the story. The actress, who stars as Tris, initially rejected the idea of doing a TV movie to wrap the franchise. "I signed up to tell the whole story of Tris, and I would love to be able to do that," she said in September: "Nothing would make me happier." Multiple stars are expected to opt out of their deals if the movie evolves into a TV series. Ascendant was originally poised to debut June 9 of this year, but after the franchise's third installment, Allegiant grossed a mere $66 million domestically, Lionsgate began to rethink its strategy for the fourth film based on Veronica Roth's book series. For Lionsgate TV, the Divergent series could be a win for the former independent studio that now has a cable network to supply content. Source: www.hollywoodreporter.com
Divergent – There have been three installments, starring Shailene Woodley as Tris Prior, a heroine often compared to Jennifer Lawrence's Katniss Everdeen, although Woodley's Tris operated in a more alternative fashion. The first two installments, Divergent in 2014 and Insurgent in 2015, were successful, generating domestically the first $150 million and the second $130 million. However, 2016’s Allegiant barely made more it’s entire domestic run — $66 million — than the previous two installments did their opening weekends.
Although Tris' love interest in the Divergent saga was Four (Theo James), Ansel Elgort (who played Tris' brother Caleb) and Miles Teller (playing her antagonist Peter Hayes) also shared great chemistry with Shailene, and both actors would become her love interests, in The Fault in Our Stars and The Spectacular Now, respectively.
Shailene mentioned her favorite scene in The Fault in Our Stars was Hazel and Augustus consummating their relationship at a hotel room in Amsterdam. Elgort added: "We really can call it a love scene and not a sex scene—it's not lust, it's real love." Which on-screen sex scene did Shailene enjoy most: The Spectacular Now with Miles Teller or The Fault in Our Stars with Ansel Elgort? "Um," she said, "both different. I guess Ansel smells more pheromone-y and Miles smells more delicious—is delicious an appropriate word to say for a man?"
Shailene Woodley and Ansel Elgort just won Best Kiss at the MTV Movie Awards 2015. "It's so much fun, cause I've always wanted to make out with my brother," Woodley jokingly told E! News. On a more serious note, Woodley admitted she was surprised Elgort got the part. "I actually didn't think at first that he would get it, because of our relationship in Divergent," Woodley admitted. But when the pair did a screen test together, Elgort blew the casting team away.
"Everybody in the room was sort of like: wow," a very proud Woodley gushed. And it seems Elgort enjoyed kissing his co-star so much that he offered to sub for her new love interest, Theo James, as they filmed their forthcoming flick, Insurgent. 'I asked Theo if it was alright to kiss Shailene because he wasn’t feeling well,' Ansel said during a press day for Insurgent in Los Angeles. "We were very comfortable with one another going into TheFault in Our Stars," Elgort said.
"Immediately we are totally comfortable which is nice, because sometimes you do love scenes with people and you have to kiss them and you have to be romantic and it could be very awkward. But we totally understand one another. Me and Shailene have a really platonic relationship. She's one of the best actors right now around, the fact that they put me with her twice is a huge compliment to me. It's given me confidence and made me feel great." Source: people.com
At 18, amid his professional debut in the off-Broadway play Regrets, Ansel Elgort was the focus of a breathless Vogue story about his journey so far: “Ansel Elgort radiates the brooding magnetism of James Dean,” the piece claimed, “uplifted by a kind of glinting purity”, earmarking him as one to watch.
“I don’t walk around calling attention to myself,” Ansel Elgort recently told Billboard Magazine: “It’s important to be able to blend in, otherwise you turn into a Hollywood douchebag. I’m sure plenty of people think I am one, too. I’m super easy to hate. But it’s fine. It’s hard to be liked and successful.” Edgar Wright gave these reasons why he chose Elgort for Baby Driver: “The thing that really charmed me about him was the fact that he’s very musical, and he can play lots of instruments. Ansel is actually obsessed with music. And also he’s a great actor and a nice guy.” Source: www.telegraph.co.uk
The running time of Stephen King adaptation It has been confirmed - and fans should prepare for an onslaught of sustained terror. The British Board of Film Classification (BBFC) website reveals that the duration of the long-awaited horror film is a sizable 135 minutes meaning audiences will have to put up with the evil Pennywise (Bill Skarsgård) for two hours plus - good news for fans of the source material considering King's novel spans well over 1,000 pages. It will be released on September 8, 2017.
There's another King adaptation to come ahead of It. Later this month, 18 August, The Dark Tower - starring Idris Elba and Matthew McConaughey - will be released, the confirmed running time of which (95 minutes) caused concern among fans despite getting the nod from Stephen King. Source: www.independent.co.uk
In the last few years alone, we’ve had a new-new Spider-Man, a new Batman, a new Power Rangers movie, a revival of “Full House,” “One Day at a Time,” “Arrested Development,” “Gilmore Girls,” “Samurai Jack,” and The Mummy, as well as variously faithful adaptations of Archie Comics, Anne of Green Gables, Snow White, Hansel and Gretel, Cinderella, and Beauty and the Beast. Remakes are nothing new, but the type of remakes in development these days consistently emerge under a cloud of 'Dark and Edgy.' Who are these reboots for? Are they doing so to attract that elusive, all-important Millennial viewer, capable of blowing up a show’s popularity with a single tweet? Or are they hoping to capitalize on the nostalgia of Generations X and Baby Boomer, in order to create a wider audience ?
The present-day contexts in which “Riverdale,” and “Anne with an E” are located also differ wildly from when they were originally introduced. When Archie, Anne, and the Power Rangers first showed up, their audience was largely children. But even though the CW is for teens, it’s still watched by plenty of adults, who recap its shows and write critical think pieces on them. Would a “Riverdale” that matched the precise tone of the comics — light, happy, slapstick, non-serialized — even be greenlighted, even if it was no longer a period piece?
Archie Andrews first popped up in the 1940s - 1950s, and was supposed to be reminiscent of popular movie star Mickey Rooney. By the time he got his own series, he and his world were perfectly suited to the ideals of the era: a bright, clean town, everyone declaratively heterosexual, front lawns, nuclear families, America as the greatest — a wholesome, idyllic vision of the United States. “Riverdale” (2017) in contrast, responds to a very different world, of the recent television landscape. If “Gossip Girl” were being made today, surely it too would have a murder mystery thrown in as well. Source: theawl.com
If De Palma’s vintage masterpiece Carrie (1976)was one part adolescent dream, three parts nightmare, with a sly streak of satire unning through it, Kimberly Peirce’s Carrie (2013) is a more earnest take on the story that should connect with contemporary teens. Aimed at captivating a new generation of viewers unfamiliar with the tale of a cruelly unloved high schooler who unleashes telekinetic revenge on her classmates, Peirce’s version (with her impressively coherent vision) eschews De Palma’s voluptuous style in favor of a somber, straight-faced retelling. Certainly there’s a case to be made for revisiting “Carrie”, given the alarming prevalence of cyber bullying in the post-Columbine era. Chief among the film’s selling points are an intensely committed Chloe Grace Moretz and Julianne Moore, enacting a subtler, more psychologically insidious take on the mother-daughter relationship immortalized by Sissy Spacek and Piper Laurie.
Chloe Moretz, though superficially deglammed with a strawberry-blonde mop, is still rather too comely to resemble the pimply, slightly overweight figure described in Stephen King’s novel, and her efforts to look downcast and withdrawn strain credulity at first. Still, the actress is canny and sympathetic enough that she eventually slips under Carrie’s skin. And when she puts on that dress and strolls into the prom on the arm of handsome Tommy Ross (Ansel Elgort), it’s hard not to feel a rush of bittersweet emotion, as well as anticipatory dread, as this Cinderella story proceeds to go terribly wrong.
A delicately winning turn from Ansel Elgort as Sue’s boyfriend, Tommy, who Sue convinces to take Carrie to the prom, movingly displays the transition from charity to sincerity. And not in a “She’s All That” kind of way. Both the hateful Chris Hargensen (Portia Doubleday) and conflicted good girl Sue Snell (Gabriella Wilde) are fleshed out with a touch more nuance than usual.
Carrie spends time cultivating her telekinetic powers, in “Exorcist”-style levitation scenes that suggest the origin story of a comicbook superheroine, or a more adult version of Roald Dahl’s “Matilda.” De Palma’s luridly funny sensibility is little in evidence; Peirce has excised every dirty chuckle and whisper of camp from the material, nudging the story in a more textured, realistic direction. Source: variety.com
Shailene Woodley is a Hollywood actress, climate advocate and board member of Our Revolution, a Bernie Sanders-affiliated advocacy group. She supports 100% renewable energy for the future with these words: Every person on this planet has one thing in common, the need for clean air and water. Right now, our nation is at a crossroads. Fossil fuel companies have pressured members of Congress into denying that climate change exists and is caused by human behavior.
These corporations think that Americans won’t notice when their water is polluted and their farm lands are covered in oil. Americans who care about clean air and water must come together now to support increasing our country’s use of renewable energy. Now is the time to create a just transition away from fossil fuel consumption to prevent the worst impacts of climate change. Oil, natural gas and coal are finite.
America is one of the most dynamic and inventive countries in the world. The reason we haven’t stopped climate change isn’t because we aren’t trying, it’s because a small subsection of the 1 percent are doing everything in their power to maintain the status quo. America has the technology, the workforce and the need to transition our energy grid away from fossil fuels to 100 percent sustainability as soon as possible. Renewable energy advocates in Congress are working to make that happen — Sens. Jeff Merkley (D-Ore.), Bernie Sander (I-Vt.) and Ed Markey (D-Mass.) recently introduced S. 987, the “100 By ‘50 Act,” named for the goal of transitioning our nation to 100 percent renewable energy by 2050. Source: thehill.com
Here’s what our 35th president might have said about the challenges of energy transition and the opportunities in clean energy: “Change is the law of life. And those who look only to the past or present are certain to miss the future.” "Kennedy was able and willing to embrace industry and the environment at the same time," said Joshua Fershee, an associate professor at the Center for Energy and Sustainable Development at West Virginia University. "The way he talked about things was unique, it was evolutionary." Early in his administration, President Kennedy was willing to take on multiple industries and make clear that the government would support and facilitate projects that were in the best interests of the country, not particular constituencies. President John. F. Kennedy, Feb. 23, 1961: “From the beginning of civilization, every nation’s basic wealth and progress has stemmed in large measure from its natural resources. This nation has been, and is now, especially fortunate in the blessings we have inherited. Our entire society rests upon—and is dependent upon—our water, our land, our forests, and our minerals. How we use these resources influences our health, security, economy, and well-being.” —"Atomic Power, Fossil Fuels, and the Environment: Lessons Learned and The Lasting Impact of the Kennedy Energy Policies" (2009) by Joshua P. Fershee
“Baby Driver” star Ansel Elgort has signed on to play John F. Kennedy in the drama “Mayday 109,” scripted by Samuel Franco & Evan Kilgore, based on the 1943 sinking of Kennedy’s PT boat during World War II. Kennedy was the commander of patrol torpedo boat PT 109 in the South Pacific when it was rammed by a Japanese destroyer Amagin, killing two crewmen. With the crew presumed dead by allies, Kennedy led the 11 survivors in swimming to a deserted island, where the crew had to hide from passing Japanese barges.
Kennedy swam over two miles to two other islands in search of help and food, then led his men to Olasana Island, which had coconut trees and drinkable water, before they were rescued. He and his shipmates engaged friendly locals and after scrawling an SOS on a coconut, they were finally located by rescuers. “We could not be more excited about Ansel coming aboard,” producer Basil Iwanyk said, per Deadline.
“Not only is he a tremendous actor, he embodies the charisma, athleticism and looks of a young JFK. We love that this is not a bio-pic nor a film about politics. This is simply a riveting and unbelievable tale that very few people know—about a young man who was a hero long before becoming the iconic 35th President of the United States. With Ansel, we’ve found our perfect JFK.” Source: variety.com
No one can play the 35th President and emerge fully unscathed. They either don’t look right or they overdo the accent or both. Elgort’s main advantage is that he’s matinee-idol handsome and slender like Kennedy, although he’s slightly disadvantaged by being too tall at 6′ 3″. Elgort would have made a note-perfect Han Solo — he’s got the slightly brash attitude, the smug assurance and the guy-ness. Han Solo movie directors Chris Miller and Phil Lord, not to mention producer Kathy Kennedy and the Disney brass, were dead blind not to see this. Instead they hired a 5′ 9″, beady-eyed Rabbinical student with a gloomy countenance (Alden Ehrenreich).
Ansel Elgort, who resembles the young Marlon Brando of the mid ’40s, is the anchor and owner of Baby Driver. Lily James is almost terrific as a heart-of-gold manic pixie waitress whom Baby falls for early on. The noirishly cool baddies are played with great flair by Kevin Spacey, Jon Hamm (best thing he’s done since Mad Men), Jamie Foxx (a little too hostile and crazy), Jon Bernthal and Eiza González. However this strange-sounding Mayday 109 project turns out, Ansel Elgort is definitely a movie star in the wings.
After seeing The Fault In Our Stars three years ago I wrote that “Elgort’s charm and charisma has a lulling effect… I sat there saying to myself, this guy’s got it.” He has that X-factor quality, he just does, and one thing strongly in his favor is that he’s acquired a rep as a bit of a scamp. If you ask me, anyone who doesn’t play the game as ordered by the PC banshees is doing something right, and especially if they inspire Jezebel articles that seem to take exception to some of his interview comments. Source: www.hollywoodelsewhere.com
—Ansel Elgort on Shailene Woodley: Shailene is very different. I wouldn't use her as an example of what most women are like. She hates people pleasing. She wishes the world could be a place where we could be really honest and true to our emotions.
For a generation of young women, Ansel Elgort may always be Augustus Waters, the cancer-stricken heartthrob in the heartbreaking romance The Fault in Our Stars. Gus is basically Prince Charming with an iPhone. It turns out Elgort is a hopeless romantic too, often speaking as if he's been sprung from a Shakespearean sonnet. If he is so in touch with his emotions, perhaps that's because he graduated from Manhattan's LaGuardia High School Of Music & Art and Performing Arts, and spent his summers at Stagedoor Manor, the storied theater camp in the Catskills. The dude knows drama.
—Ansel Elgort: I'm not a playboy. I like to go on really nice dates... I go to nice dinners. I prefer being with a girlfriend longterm. I prefer to be with someone I can trust. I'm more into that. My mom is very romantic. As is my dad. They appreciate real romance. I like romanticizing romance. I think I could say this: If you like someone and the sex is really good and you enjoy spending time together, why wouldn't you make that person your girlfriend? Why go around dating random girls and having terrible sex when you can be with someone you really like? Source: www.elle.com
Ansel Elgort and his girlfriend Violetta Komyshan (his high-school sweetheart whom he started to date at LaGuardia High in 2012).
