10/19/12. I met Justin on his free day before his Minneapolis concert tomorrow! I went to the city and a lovely valet man told me his hotel. I had seen the buses and knew he was close. My brother and I arrived at the hotel around 8:00 p.m. without any idea of what would happen. My mom was already ticked after spending the day looking for him. We waited with about 40 fans for 4 hours. The block was surrounded with black escalade security cars and Kenny, Dan Kanter, and Scrappy came by. Finally Justin and Alfredo came out of a black SUV to take pictures! Selena stayed in the car. Alfredo held my camera and I talked to him about being friends with Niall. Justin was so calm, patient, and friendly. He even tweeted “Love being with u guys” afterwards. I couldn’t believe it when I held onto him. He is so perfect in real life and I feel truly blessed for the opportunity. He is very good to his fans. I hyperventilated and screamed and ran down the streets in joy. Life is complete. Follow this link: 10/19/12. I met Justin on his free day before his Minneapolis…
A car bomb ripped through eastern Beirut on Friday, shearing the balconies of off residential buildings and sending bloodied victims pouring out into the streets in the most serious blast this city [im]http://l3.yimg.com/bt/api/res/1.2/qUv9FJysAaWdhdD4vlkftw–/YXBwaWQ9eW5ld3M7Zmk9aW5zZXQ7aD0zMDA7cT04NTt3PTQwMA–/http://media.zenfs.com/en-US/video/video.associatedpressfree.com/1019dv_beirut_blast_400x300.jpg” alt=”Beirut bomb blast photos” /> Lebanese civilians carry injured people at the sc
Cheryl Cole has revealed that she#39;s known her new boyfriend dancer Tre Holloway for years, but the pair have been dating for just a few months, that hasn#39;t stopped him allegedly getting a cute present. The backing dancer, 28, was so keen to get the 53-year-old#39;s seal of approval that he reportedly gave her a cross and chain that was engraved. According to The Sun, the engraving read: “To Mam Love Tre”.
Jason Blum had produced a dozen projects before he hit upon 2007’s sleeper phenomenon Paranormal Activity , a micro-indie horror pic with no stars that in turn became the model for Blumhouse Productions, his own genre-leaning multimedia label. Fast forward just five years and Paranormal Activity 4 is set to continue the series’ low-budget thrills (with webcam technology!) next week, while the Blum-produced Sinister , about a writer (Ethan Hawke) contending with a house haunted by insidious forces, opens today. (For a third new venture, The Blumhouse of Horrors, Blum & Co. take over a historic theater in downtown Los Angeles. More info here .) Movieline caught up with the man behind many of the most profitable — and cost-effective — horror hits in recent memory for a peek behind the curtain: What’s the Blum secret to success? What was it that first interested you in Sinister , these filmmakers, and this story – and given your past horror projects, how do you think it fits into your portfolio? I’m super happy with the movie. I think it works because very simply [writer C. Robert] Cargill and [director Scott Derrickson] did a terrific job on it. They first pitched it to me a year and a half ago and the movie they first described to me in my office and the movie you’ll see are very close, they’re virtually the same thing. All I did was give these guys the creative freedom to make what they wanted to make. Your name has been so closely associated with the Paranormal Activity franchise and its success – how do you feel about being known for these particular films? I love genre movies. I’ve made a handful of other ones in addition to the Paranormal movies, and my favorite thing about what Paranormal allowed our company to do is that the company is based on this idea of betting on yourself. That’s what Oren Peli did on Paranormal Activity , that’s what James Wan did on Insidious , and that’s what Scott and Cargill did on Sinister . It’s given birth to all these movies and I’m really pleased that our company is associated with them. I’m really interested in genre, but I’m also doing TV shows and a haunted house in L.A. Having Paranormal and it allowing my company to expand in all things genre, I feel really lucky. Has the Paranormal franchise gotten a bad rap, a reputation it doesn’t deserve? It’s been so successful and the more these sequels charge on the more complaints you hear about found footage, or sequel fever, and all that. I’m sort of proud of the way the franchise has evolved. We’ve taken directors with very specific visions – Kip Williams was a real art house director and Henry and Rel who did 3 and 4 did Catfish . All the directors of the sequels of Paranormal , none of them had ever done genre movies before. And not that we would do that or not do that specifically going forward, but I feel that’s kept it fresh. The way each sequel has built on what’s come before and evolved the mythology has been fresh, but how much can you keep innovating? How much more difficult does it then become to find a new angle for the next one? The cool thing about Paranormal is now we have a real built-in mythology, of the demon and the family that the demon has upset, so it allows for a lot of places to go. And obviously technology changes so fast, so found footage can shift. Paranormal Activity 4 uses Skype webchat technology, which is new to movies – but it was also used recently in V/H/S . I did see that in V/H/S . It’s an interesting coincidence, that both of these films picked up on that same emerging technology at the same time. Sure. And I think I’ve seen it in some other movies too. I think because Skype is becoming so much more prevalent and you’re looking at someone else on a screen it’s going to work its way into movies and TV shows in all different ways, which I think is really cool. Where do you go from there? In this franchise alone you’ve gone through film, video, home movies, now Skype – are cell phone cameras and iPads and the rearview camera on my Prius next? I hope so! I think surveillance, and cameras are so prevalent everywhere that it allows for different possibilities for found footage. I wish I could see the future but I can’t, but I do think that cameras are everywhere now, and they’re so inexpensive. That’s a great thing. I read an interview where someone said “It’s a shame that anyone can make a movie now” and I feel the exact opposite. It’s much less cost-prohibitive… and to answer your question, that will allow Paranormal hopefully to grow and be different each time out. You came across Paranormal Activity early on, and that was a case in which the film was almost curated and then brought into the mainstream consciousness. The idea of discovering a micro-budget independent film and having that platform to bring it to audiences, is that a formula that’s easy to replicate — and is that even your plan at this stage? A hundred percent. I saw Paranormal as a rough cut, but I felt my job on Paranormal and my job on Sinister weren’t wildly different. I’m proud of Sinister because Scott and Cargill did a great job on the movie and I set up a framework for them to make what they wanted to make. They gave me the idea and I figured out how to get it out into the world. Oren did the same thing. I don’t have any aspirations to be a writer or director; I really like identifying a story or a pitch, whether it’s a script or a rough cut of a movie that resonates with me, and trying to get it out into the world. That’s what our company does and that’s what, personally, I’m passionate about. That’s kind of our mission. This is a big question, but: What is the state of horror cinema now, in your eyes? The realm of independent horror and studio-released mainstream horror are divided, with independent original stories balancing against studio-released sequels and remakes. Where do you feel you stand in the grand scheme of it all? I feel the state of horror cinema is the same as it’s been for the last ten or 20 years. When there’s a great horror movie, people are like, “Horror’s back!” And when there’s a series of not so good ones, “Horror’s dead.” I think it’s all about the quality. When there are one or two good horror movies in a row, people come out interested again. I think our company’s specific role is that we straddle both of those worlds. We make all of our movies independently – with the exception of the sequels of Paranormal – but Sinister , Insidious , and the first Paranormal Activity were made completely outside of the studio system but then distribution is through the studio system. Paranormal Activity was the model for what my company does, from that experience. For me, and I can’t speak to other people, it’s the best of both worlds. We get to make these movies with the director’s vision and a singular vision, and to me that’s the definition of an independently made film – it’s one person’s vision. The movies that our company is involved with have the director’s vision, and then we get the great benefit of studio distribution – which no one has figured out a way to compete with. Maybe in five years someone will but at the moment it’s virtually impossible to compete with the studios in terms of distribution. You’ve used the word “independent” to describe your films, but when I think of indie horror I think of the You’re Next and V/H/S filmmakers. They seem to be in a separate camp within the world of indie horror, while you tend to bring in directors from outside the genre community and work with studios. Do you see that as a distinct separation? From a consumer’s point of view I don’t think there’s a separation. You’re Next is going to come out wide from Lionsgate. I loved the movie, I think it’s a terrific movie. I think it’s a very commercial movie. It’s going to be released by a studio and was made independently, so I don’t think from a consumer’s perspective it’s radically different from the movies we’re doing. You have identified something; we tend to work with directors who have a few movies under their belt. You’re opening a haunted house attraction in L.A. – The Blumhouse of Horrors. Where did that concept come from? It’s a great extension of what we’re doing in movies and TV – almost all of our movies shoot in L.A. and we work with the same crews, so we approached the haunted house as if it was a movie production. We got a big crew of people who’ve been prepping for about as long as it takes to prep a movie and we took over a building in downtown L.A. It’s going to be a really cool live experience that’s scary, and hopefully great. That sounds like a clever extension of horror culture, taking it off the screen. But horror cinema has been going increasingly meta in recent years – look at Cabin in the Woods , for example – and it already feels like the serpent is eating its tail. What happens after horror comes all the way full circle ? Boy, I wish I had the answer to that. I just love that people are into it and I’m just really passionate about exploring all different media to scare people, whether it’s a haunted house or a reality show or a scripted show or a movie, it’s a really fun, creative place to be playing in. But what eventually happens… your guess is as good as mine. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Jason Blum had produced a dozen projects before he hit upon 2007’s sleeper phenomenon Paranormal Activity , a micro-indie horror pic with no stars that in turn became the model for Blumhouse Productions, his own genre-leaning multimedia label. Fast forward just five years and Paranormal Activity 4 is set to continue the series’ low-budget thrills (with webcam technology!) next week, while the Blum-produced Sinister , about a writer (Ethan Hawke) contending with a house haunted by insidious forces, opens today. (For a third new venture, The Blumhouse of Horrors, Blum & Co. take over a historic theater in downtown Los Angeles. More info here .) Movieline caught up with the man behind many of the most profitable — and cost-effective — horror hits in recent memory for a peek behind the curtain: What’s the Blum secret to success? What was it that first interested you in Sinister , these filmmakers, and this story – and given your past horror projects, how do you think it fits into your portfolio? I’m super happy with the movie. I think it works because very simply [writer C. Robert] Cargill and [director Scott Derrickson] did a terrific job on it. They first pitched it to me a year and a half ago and the movie they first described to me in my office and the movie you’ll see are very close, they’re virtually the same thing. All I did was give these guys the creative freedom to make what they wanted to make. Your name has been so closely associated with the Paranormal Activity franchise and its success – how do you feel about being known for these particular films? I love genre movies. I’ve made a handful of other ones in addition to the Paranormal movies, and my favorite thing about what Paranormal allowed our company to do is that the company is based on this idea of betting on yourself. That’s what Oren Peli did on Paranormal Activity , that’s what James Wan did on Insidious , and that’s what Scott and Cargill did on Sinister . It’s given birth to all these movies and I’m really pleased that our company is associated with them. I’m really interested in genre, but I’m also doing TV shows and a haunted house in L.A. Having Paranormal and it allowing my company to expand in all things genre, I feel really lucky. Has the Paranormal franchise gotten a bad rap, a reputation it doesn’t deserve? It’s been so successful and the more these sequels charge on the more complaints you hear about found footage, or sequel fever, and all that. I’m sort of proud of the way the franchise has evolved. We’ve taken directors with very specific visions – Kip Williams was a real art house director and Henry and Rel who did 3 and 4 did Catfish . All the directors of the sequels of Paranormal , none of them had ever done genre movies before. And not that we would do that or not do that specifically going forward, but I feel that’s kept it fresh. The way each sequel has built on what’s come before and evolved the mythology has been fresh, but how much can you keep innovating? How much more difficult does it then become to find a new angle for the next one? The cool thing about Paranormal is now we have a real built-in mythology, of the demon and the family that the demon has upset, so it allows for a lot of places to go. And obviously technology changes so fast, so found footage can shift. Paranormal Activity 4 uses Skype webchat technology, which is new to movies – but it was also used recently in V/H/S . I did see that in V/H/S . It’s an interesting coincidence, that both of these films picked up on that same emerging technology at the same time. Sure. And I think I’ve seen it in some other movies too. I think because Skype is becoming so much more prevalent and you’re looking at someone else on a screen it’s going to work its way into movies and TV shows in all different ways, which I think is really cool. Where do you go from there? In this franchise alone you’ve gone through film, video, home movies, now Skype – are cell phone cameras and iPads and the rearview camera on my Prius next? I hope so! I think surveillance, and cameras are so prevalent everywhere that it allows for different possibilities for found footage. I wish I could see the future but I can’t, but I do think that cameras are everywhere now, and they’re so inexpensive. That’s a great thing. I read an interview where someone said “It’s a shame that anyone can make a movie now” and I feel the exact opposite. It’s much less cost-prohibitive… and to answer your question, that will allow Paranormal hopefully to grow and be different each time out. You came across Paranormal Activity early on, and that was a case in which the film was almost curated and then brought into the mainstream consciousness. The idea of discovering a micro-budget independent film and having that platform to bring it to audiences, is that a formula that’s easy to replicate — and is that even your plan at this stage? A hundred percent. I saw Paranormal as a rough cut, but I felt my job on Paranormal and my job on Sinister weren’t wildly different. I’m proud of Sinister because Scott and Cargill did a great job on the movie and I set up a framework for them to make what they wanted to make. They gave me the idea and I figured out how to get it out into the world. Oren did the same thing. I don’t have any aspirations to be a writer or director; I really like identifying a story or a pitch, whether it’s a script or a rough cut of a movie that resonates with me, and trying to get it out into the world. That’s what our company does and that’s what, personally, I’m passionate about. That’s kind of our mission. This is a big question, but: What is the state of horror cinema now, in your eyes? The realm of independent horror and studio-released mainstream horror are divided, with independent original stories balancing against studio-released sequels and remakes. Where do you feel you stand in the grand scheme of it all? I feel the state of horror cinema is the same as it’s been for the last ten or 20 years. When there’s a great horror movie, people are like, “Horror’s back!” And when there’s a series of not so good ones, “Horror’s dead.” I think it’s all about the quality. When there are one or two good horror movies in a row, people come out interested again. I think our company’s specific role is that we straddle both of those worlds. We make all of our movies independently – with the exception of the sequels of Paranormal – but Sinister , Insidious , and the first Paranormal Activity were made completely outside of the studio system but then distribution is through the studio system. Paranormal Activity was the model for what my company does, from that experience. For me, and I can’t speak to other people, it’s the best of both worlds. We get to make these movies with the director’s vision and a singular vision, and to me that’s the definition of an independently made film – it’s one person’s vision. The movies that our company is involved with have the director’s vision, and then we get the great benefit of studio distribution – which no one has figured out a way to compete with. Maybe in five years someone will but at the moment it’s virtually impossible to compete with the studios in terms of distribution. You’ve used the word “independent” to describe your films, but when I think of indie horror I think of the You’re Next and V/H/S filmmakers. They seem to be in a separate camp within the world of indie horror, while you tend to bring in directors from outside the genre community and work with studios. Do you see that as a distinct separation? From a consumer’s point of view I don’t think there’s a separation. You’re Next is going to come out wide from Lionsgate. I loved the movie, I think it’s a terrific movie. I think it’s a very commercial movie. It’s going to be released by a studio and was made independently, so I don’t think from a consumer’s perspective it’s radically different from the movies we’re doing. You have identified something; we tend to work with directors who have a few movies under their belt. You’re opening a haunted house attraction in L.A. – The Blumhouse of Horrors. Where did that concept come from? It’s a great extension of what we’re doing in movies and TV – almost all of our movies shoot in L.A. and we work with the same crews, so we approached the haunted house as if it was a movie production. We got a big crew of people who’ve been prepping for about as long as it takes to prep a movie and we took over a building in downtown L.A. It’s going to be a really cool live experience that’s scary, and hopefully great. That sounds like a clever extension of horror culture, taking it off the screen. But horror cinema has been going increasingly meta in recent years – look at Cabin in the Woods , for example – and it already feels like the serpent is eating its tail. What happens after horror comes all the way full circle ? Boy, I wish I had the answer to that. I just love that people are into it and I’m just really passionate about exploring all different media to scare people, whether it’s a haunted house or a reality show or a scripted show or a movie, it’s a really fun, creative place to be playing in. But what eventually happens… your guess is as good as mine. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
New York City officials are already teed off over Ken and Sarah Burns documentary The Central Park Five — but just wait until they see the poster for the headlines-generating film. The stark, black-and-white image simply, effectively — and immediately — communicates the idea that the scales of justice did not work for the five men who were convicted and later cleared in the racially charged 1989 Central Park jogger case that rocked the city. As I reported in early October, lawyers for the city of New York have subpoenaed notes and outtakes from the documentary, which Burns directed with his daughter Sarah Burns and her husband David McMahon, in order to determine whether the material can help them fight a federal civil rights lawsuit that five men filed nine years ago as a result of their experience. (Each of the five men is seeking $50 million.) The documentary, which was shown at the Cannes, Telluride and Toronto film festivals, scrutinizes the initial convictions of the Central Park Five — Yusef Salaam, Antron McCray, Kevin Richardson, Raymond Santana, and Kharey Wise — noting, for instance that the five men did not appear to be in the area of the park where the rape occurred, that their DNA was not found on the victim and that their confessions did not jibe with one another’s. As I also reported, the filmmakers are fighting the subpoena . Sarah Burns told me, “We’re not sure the city can subpoena us because we believe we’re protected by the shield laws” that allow journalists to protect their sources and research. In 2009, on the 20th anniversary of the incident, the lawyer for the five men, Jonathan Moore called their experience “the most racist prosecution that occurred in the City of New York. The city maintains that that cops and prosecutors acted appropriately. “We believe that based on the information that the police and prosecutors had at the time, they had probable cause to proceed, and the confessions were sound,” a city spokeswoman told the New York Times. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
New York City officials are already teed off over Ken and Sarah Burns documentary The Central Park Five — but just wait until they see the poster for the headlines-generating film. The stark, black-and-white image simply, effectively — and immediately — communicates the idea that the scales of justice did not work for the five men who were convicted and later cleared in the racially charged 1989 Central Park jogger case that rocked the city. As I reported in early October, lawyers for the city of New York have subpoenaed notes and outtakes from the documentary, which Burns directed with his daughter Sarah Burns and her husband David McMahon, in order to determine whether the material can help them fight a federal civil rights lawsuit that five men filed nine years ago as a result of their experience. (Each of the five men is seeking $50 million.) The documentary, which was shown at the Cannes, Telluride and Toronto film festivals, scrutinizes the initial convictions of the Central Park Five — Yusef Salaam, Antron McCray, Kevin Richardson, Raymond Santana, and Kharey Wise — noting, for instance that the five men did not appear to be in the area of the park where the rape occurred, that their DNA was not found on the victim and that their confessions did not jibe with one another’s. As I also reported, the filmmakers are fighting the subpoena . Sarah Burns told me, “We’re not sure the city can subpoena us because we believe we’re protected by the shield laws” that allow journalists to protect their sources and research. In 2009, on the 20th anniversary of the incident, the lawyer for the five men, Jonathan Moore called their experience “the most racist prosecution that occurred in the City of New York. The city maintains that that cops and prosecutors acted appropriately. “We believe that based on the information that the police and prosecutors had at the time, they had probable cause to proceed, and the confessions were sound,” a city spokeswoman told the New York Times. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
London authorities are trying to determine if cheating played a role in the American poker star Phil Ivey’s recent winning streak at a game called Punto Banco. A variant of baccarat, the game is a favorite of Ivey, often called the Tiger Woods of Poker for his dominance and resemblance to the golf great. In August, Ivey, 35, and a companion entered Crockfords in London’s fashionable Mayfair district, the city’s oldest gambling club and among its most prestigious. Over the course of two days, the couple played for seven hours, first losing heavily, then winning back their losses plus many millions more – $11.5 million in all . He’s still waiting for the money. “There’s nothing in his past that would hint at his being a cheater or unethical in any way,” says Brian Bradley of Bluff Magazine. “People say he’s arguably the best poker player in the world; but, really, there’s no argument: He’s #1. He’s known both for skill and his love of high-stakes games.” “He loves anything where there’s some sexiness at stake.” According to the Daily Mail, suspicions of cheating arose when it was discovered that Ivey’s female companion had her membership at another gambling house suspended. Genting, the parent company of Crockfords, has had its investigators inspect every detail of Ivey’s play. Video recorded by 10 overhead cameras also was reviewed, but failed to disclose any wrongdoing. Ditto interviews with all staff present. Bradley finds coverage of the story by the English press to be insinuating and contradictory. “Bizarre” he calls it. On the one hand, the stories make clear that no impropriety has been found. Yet at the same time, they leave open the possibility Ivey may have cheated. “Character assignation,” Bradley calls it. What possible explanation could there be? “I’m not sure,” says Bradley. “They’re earning themselves a ton of publicity – but it’s not the kind of publicity you want. It’s like a run on a bank.” “When you withhold payment, people stop trusting you. Maybe it’s because with $12 million involved they just want to make sure every ‘I’ has been dotted and every ‘t’ crossed.” “Phil’s going to get his money; they’re just making him wait.” And why might they want to make him wait? “Casinos love high-rollers. But not high-rollers who win. Maybe they think if they make it less enjoyable for Phil, he won’t come back. Essentially, they’re firing their customer.”
Also in Monday afternoon’s round-up of news briefs: Oscar-winner Alex Gibney is boarding the new CNN Films for doc projects. The Weinstein Company scores first Oscar DVD mailer for one of its titles. And Girls ‘ Lena Dunham scores cha-ching for a book project. Twilight: Breaking Dawn – Part 2 to Premiere at Rome Film Festival Though the upcoming festival has scored the world premiere of the final installment of the mega-franchise, stars Kristen Stewart and Robert Pattinson will not be in Rome for the premiere. The pic directed by Bill Condon will screen in the Alice in the City section of the festival, which focuses on films oriented for a youth audience, THR reports . Hungry Hungry Hippos to Get Big Screen Outing Hungry Hungry Hippos is part of a roster of planned films that also includes Monopoly (a project that at one point had Ridley Scott attached) and Britain’s Action Man, the latter despite his American cousin GI Joe having already featured twice in multiplexes. Hasbro has been inspired by the multibillion-dollar success of its Transformers franchise in the hands of Michael Bay, and apparently has not let Battleship’s disappointing $300m (on a $200m budget) haul earlier this year upset its plans for worldwide domination, The Guardian reports . Alex Gibney Strikes Deal to Make Docs for New CNN Films Unit Oscar-winning documentarian Alex Gibney ( Taxi to the Dark Side ) and director Andrew Ross ( Page One: Inside the New York Times ) has signed on to develop docs for the new CNN Films. CNN Films will kick off with Richard Robbins’ Girl Rising , THR reports . Weinstein Company’s The Intouchables is First Official 2012 Oscar Screener Mailed to Members TWC is the first to send out a DVD screener to Academy members. Every member of the Academy of Motion Picture Arts and Sciences received a screener of the hit French film over the weekend. The Intouchables is France’s entry for Best Foreign Language Oscar consideration and has grossed $360 million worldwide, Deadline reports . Lena Dunham Book Goes for $3.5 Million to Random House Her SXSW title eventually grossed $392K, but it got her a gig with HBO and the subsequent Girls series. Now, the filmmaker/TV star has landed a book deal for upwards of $3.5 million for Not That Kind of Girl: A Young Woman Tells You What She’s Learned , Deadline reports .
On 13th of September 2012, my dream came true. I had wanted to meet Justin since 2009 when my sister met him and have been a belieber since then. People always told me to never say never and to believe but it just seemed like a dream. I had come so close to Justin many times before but never close enough to touch him. I had school and I ran home thinking that today was going to be the day. I met my friend Alice in Waterloo and we heard Justin was going to be at Kiss fm so we went to Oxford St but when we arrived, no one was there. They said he recorded it off sight. As you can imagine we were a bit upset but we didn’t give up. A girl on Twitter told me that Justin was going to be at ITV studios at 6 so we got the train back there. Justin waved from the window but did not come out. When we got there everyone was screaming and we ran as fast as we could over and there was no room to get up onto the bars. I fell on the floor in the dirt and ended up sticking my head through people’s legs to try and see him. All off a sudden there he was right in front of me and he said “Hey” and touched my hand. I just burst out crying in disbelief and happiness. Something that I had wanted for so long in my life happened to me. Once Justin had gone inside, a man came out who was working at ITV and we asked him to come over. We gave him a book that we had made for Justin and he took it and promised he would give it to him . Even though Justin hasn’t tweeted us about it, just the thought that Justin may have read it or even just seen it makes me so happy and feel lucky. I didn’t get a picture with Justin, hug him or tell him how much he means to me but I saw him so close. It has given me the strength to believe that I will meet him again and tell him what I want to. My dream became a reality. Even though it seems cheesy and as if it wont happen; never say never and believe that you can do it because if you do, you will meet Justin. I can say that that no matter what happens to me throughout my life Justin, will be someone here to support me and I will always support him and his music. He makes me so happy and he has made such a difference to my life! I will be here until the end. -@BelieberTeensUK Read more here: On 13th of September 2012, my dream came true. I had wanted to…
