TARGET: Save with the Red Card!


Enter your email address:

Delivered by FeedBurner

Green Apps



Burpee Gardening

Whole House Water Filter


Soft Phone Banner



Natural Mosquito Control

10% Off Mosquito Magnet Accessories - Use Code MMACCTEN

FTC Disclosure

Green Reflection may receive remuneration from the advertisers on this site.

How Twitter Brought the Frozen Songwriters and John Green Together

Robert Lopez and Kristen Anderson-Lopez, the husband-and-wife songwriting team behind Frozen, attended the TIME 100 Gala last year as honorees, but they still felt a little out of place this year’s event. “If you are at the Time 100 event and don’t know anyone, come find us in the corner and we will sing showtunes,” Anderson-Lopez tweeted early in the evening. “We are at the #time100 party awkwardly taking selfies in the corner,” her husband posted a few minutes later. If you are at time 100 event and don't know anyone, come find us in the corner and we will sing showtunes #time100 — Kris10 AndersonLopez (@Lyrikris10) April 21, 2015 We are at the #time100 party awkwardly taking selfies in the corner pic.twitter.com/pJInm7gr4d — Robert Lopez (@lopezbobby) April 21, 2015 But after the two told TIME that a Twitter follower suggested they seek out The Fault in Our Stars author John Green, an introduction was quickly made—though it turned out this wasn’t the first time the three had met. “I know what you guys did!” Green laughed after the couple told him who they were. “I talked to you last year but you don’t remember!” Green then introduced the pair to his wife, who, as the mother of small children, is extremely familiar with “Let It Go” and other songs from the movie. “You guys have changed her life, maybe not for the better,” Green said. Lopez and Anderson-Lopez are still deep in the Frozen universe, writing additional songs for the Broadway musical adaptation of the Disney animated hit, but with last month’s news that a sequel was officially on its way, the two say they haven’t yet come up with a “Let It Go” follow-up—not that they’re sweating it. “Definitely not!” Anderson-Lopez said. “We’re waiting till it comes [to us],” Lopez added. […]

The Fault in Our Stars Falls to Earth

MoreJohn Green Wants The Fault In Our Stars to Beat Tom Cruise’s Movie This WeekendBehind the Scenes with John GreenThe stars didn’t shine so bright Saturday night. The Fault in Our Stars, the cancer romancer based on John Green’s best-seller, earned $12.6 million, tumbling 51.6% from its first-day gross. Starring Shailene Woodley and Ansel Elgort as the afflicted teens, TFIOS will finish the weekend with $48.2 million. MoreMarvel’s Ant-Man Will Be Directed By Peyton ReedBox Office: How the Stars Aligned for a Fabulous Fault WeekendBowe Bergdahl Not Emotionally Ready to Come Home NBC NewsMen Charged With Toppling Ancient Rock Formation Avoid Jail Time Huffington PostComet Outlives Predictions Weather.comThat’s an impressive figure for a movie with a minuscule $12 million production budget. And you can’t feel sorry for a little drama that earned nearly $20 million more than Tom Cruise’s Edge of Tomorrow, whose cost was nearly 15 times that of TFIOS. Cruise’s sci-fi action thriller also will finish behind the $33.5 million earned by Angelina Jolie’s Disney fantasy Maleficent in its second week. But the TFIOS haul is a little disappointing for industry forecasters who only yesterday were predicting a weekend haul as high as $57 million. Those estimates were fueled by the gangbusters $26.1-million Friday opening, which includes $8.2 million for Thursday evening previews—some charging a $25 ticket price for the movie plus a satellite hookup with Green and his young stars. (READ: How the stars aligned to give Fault a fabulous Friday) How to explain the big balloon of attendance for TFIOS, and then the needle that let the air out? First, the movie had a large fan base eager to see it, and second, most of them saw it the first day. The social media blitz spearheaded by Green, which herded the Fault-heads into theaters, remained a cult phenomenon. The fever didn’t spread sufficiently to customers not in on the Absolute Necessity of Seeing This Movie Now. The CinemaScore survey of first-night attendees garnered TFIOS a perfect “A” rating. (Edge of Tomorrow pulled a B-plus.) And of course it would: Early on, the Green faithful were out in force. But the demographics are telling. An astonishing 82% of ticket buyers were female, and 80% were under 25. These numbers suggest that girls went in packs, without their boyfriends or parents. And not many of those groups went on their own. Maybe the infidel majority thought: Ewww, cancer. Or, even more toxic in this jaded age, Ugh, sentiment. There’s no crying at the multiplex. (READ: Corliss’s review of The Fault in Our Stars) Look at the eight other films that earned at least $30 million their first weekend and amassed at least half their gross by Friday night, as tabulated by the Box Office Mojo website. All were aimed at teens and tweens: four Twilight Saga entries, the last Harry Potter movie, two horror sequels (Paranormal Activity 3 and Insidious 2) and a Miley Cyrus concert film (Hannah Montana the Movie) back when she was a Disney Channel star. The Twilight and Potter entries all reaped much more money than TFIOS, most of them more than $100 million. But the John Green movie, if current numbers hold, will have the peculiar distinction of the all-time biggest fall-off from Friday through the rest of its opening weekend. TFIOS is on track to score the ninth-largest opening weekend of 2014, below eight expensive fantasy films and the Seth Rogen-Zac Efron comedy Neighbors, at $49 million. That frat-boy farce, which cost just $18 million to produce, attracted healthy percentages of men and women, teens and the geriatrics over 25. If TFIOS is to break out of its golden ghetto, it will have to corral the ordinary moviegoer whom Green’s social-media savvy somehow missed. […]

How to Turn a Great Book Into a Movie That Isn’t Terrible

Fans of John Green’s beloved bestseller The Fault in Our Stars have been waiting just two years for the film adaptation on June 6 — but for devout followers of the book, it’s felt like much longer. Thanks to the author’s on-set social media teasers and extensive marketing from FOX, the amped-up-anticipation turned into a fan frenzy, which all weighed heavier on the imminent question: Will the film live up to the book? MoreWhen a Very Pregnant Amy Poehler Met Rising Star Jon HammThe Problem With Wanting to Know Your Baby’s Sex Before BirthFantasy ‘Slender Man’ Meme Inspires Horrific Wisconsin Stabbing NBC NewsMen Charged With Toppling Ancient Rock Formation Avoid Jail Time Huffington PostComet Outlives Predictions Weather.comAfter all, it’s difficult to trust Hollywood, and it’s not just fans who are often disappointed. Bestselling writer Jodi Piccoult has voiced frustration over her books being made into movies, telling TIME: “It’s really hard to have people in Hollywood lie to you. What’s really upsetting is when a fan says, ‘Why did you let them change the ending?’ As if we have any say in the matter.” Stephen King, similarly, was vocal about disliking Stanley Kubrick’s adaptation of The Shining. Popular Among Subscribers The Transgender Tipping Point Subscribe The Man Who Guards The PlanetSaving PreemiesWhile the book-is-always-better mindset persists, a new dawn is near: as Hollywood continues to look to books tied to a preexisting fan base, screenwriters continue expressing a desire to stay true to the original work. The lucky job of pleasing Green’s fans went to Scott Neustadter and Michael H. Weber, the dominant screenwriting duo behind 500 Days of Summer; next, they’re set to tackle book-club favorite Me Before You. The story for The Fault in Our Stars follows Hazel and Gus, terminally ill teens who fall in love after meeting in a cancer support group. Though some changes did have to be made, Neustadter and Weber stumbled on the book as fans and wanted to preserve the heart of the story as much as possible. “Our attitude resembled the fans who thought this might get screwed up,” Weber says. “We were, like, someone is going to do this the wrong way.” The task at hand wasn’t easy, Neustadter explained. “Your job is to figure out how to take something that people read over a week and do it in 100 minutes.” The difficulty of capturing that essence can be alleviated, though, when authors have a hand in the screenplay. That collaborative effort is becoming increasingly common, and worked well for Michael Mitnick, the screenwriter for Lois Lowry’s The Giver, premiering in August. Weinstein Company/Everett Collection/Cineplex“We were very lucky that Lois was very accessible and supportive,” Mitnick says. “Whenever we needed to make an alteration to something simple, she provided an answer.” He and the Weinstein Company used Lowry’s advice to keep The Giver from becoming a trendy movie about a dystopian society, full of sex and violence. “When you have a writer whose voice is everything, you lose that in a movie,” film critic Stephen Whitty explained during a Rotten Tomatoes adaptation panel at BookCon, a book lover’s convention in Manhattan. But those who’ve been privy to early screenings of The Fault in Our Stars seem pleased with the results. The substance of Green’s voice and the tear-jerking storyline is still very present. Approval from devoted fans has already begun to trickle in on social media — plus Green’s own endorsement, which he explained at a separate BookCon panel dedicated to the film’s release. “There were parts [of the script] I was infuriated by,” he said. “But it’s because it was so much better. They captured the tone, the feel, the kind of vibe I wanted to book to have.” The process, of course, is no easy feat. Though there’s a common perception that Hollywood will ruin a book, the trend is starting to shift, with studios working to preserve the original text’s integrity as much as possible, even if that means waiting years — or decades — to get it right. For Lowry, whose The Giver was published in 1993, it’s been a 20-year journey to get it to the screen. “It was probably optioned in 1995, and I’m aware of five screenplays having been written,” she says. “It was frustrating in periods, but in retrospect it’s probably good that it took so long.” The patience for the right screenplay stems from the obvious fear of disappointing fans, who don’t shy away from picking apart every detail the studio releases. The Giver fans tweeted and blogged their concerns about the first trailer being in color, as opposed to the black and white shades the main character sees in the book — only to have their fears allayed by The Weinstein Company’s black and white featurette that was later released. Screenwriters are lucky if they get to work closely with authors, but some choose to do the heavy lifting themselves. Jonathan Tropper’s adaptation of his own 2009 novel This Is Where I Leave I Leave You will be released in September, starring an ensemble cast that includes Tina Fey and Jason Bateman. But authors aren’t always the best people to do the adapting. JoJo Mayes tried to write her own script for Me Before You, but the job ultimately landed in the hands of Neustadter and Weber, who could give it a more cinematic, less novelistic feel. Tropper, on the other hand, worked closely with director Shawn Levy at refining the script, even though it took five years of development and nearly 40 drafts. Jessica Miglio—Warner Bros. Entertainment Inc.Tropper says the stakes are high when you’re trying to please a new audience in addition to the existing fans of the book, especially with the omnipresent risk of studio interference — and unlike some others, he was fortunate. “I was really lucky in that no one I worked with was too interested in straying too far from the book,” he says. “Adapting your own book is tricky. It’s like doing surgery on your own kid.” […]

New Trailer for The Fault in Our Stars Shows Lighter Side of The Tearjerker

The new trailer for The Fault in Our Stars, this summer’s adaptation of John Green‘s young adult bestseller about two teenagers with cancer, finally shows fans of the books what they’re looking for: the novel’s lighter side. In the new three-minute spot, shown in theaters before The Other Woman, fans get their first look at the movie’s dry sense of humor, perhaps best exemplified by comedian Mike Birbiglia’s Patric, the support group leader who’s consistently mocked for referring to the group as the ‘literal heart of Jesus.’ Fans also get another taste of the dreaminess of Ansel Elgort’s Augustus Waters, whose metaphorical cigarette explanation and sarcasm truly explains why Hazel falls so hard for him. What’s particularly exciting, though, is that the extended sample of the film shows off the book-to-screen adaptation talents of Scott Neustadter and Michael Weber, who also adopted The Spectacular Now for the screen and are signed on to do the same for Green’s Paper Towns. Quotes in the trailer are verbatim from the book, including Hazel’s discussion with her parents about wanting to be a regular teenager and the fan-favorite quote “I fell in love the way you fall asleep, slowly and then all at once.” Though it looks like fans will have to wait to get a glimpse of the character Peter Van Houten, there was a quick look at the cover of his book, An Imperial Affliction, which Hazel and Gus bond over. Even though this a more lighthearted look at what Green’s book did for readers, tears, or at least goosebumps, are still inevitable. […]