You thought Kristen Stewart was big on the blockbuster stage? Wait until she takes over the indie world, too.

I was tooling around the Sundance Film Festival’s ass-kicking new interactive schedule website on Friday, putting together a tentative itinerary for the January event. Among the site’s cool features is a “Buzz” tracker that logs all the interest in the films in the program — both page views and the number of visitors who have tagged a film to insert in their personal festival schedules.

Guess what the top two films are, in terms of both page count and scheduling?

“The Runaways,” a Stewart starrer that Apparition picked up for distribution this weekend, six weeks before it was even scheduled to premiere at Sundance. And “Welcome to the Rileys,” Jake Scott’s new film starring… Kristen Stewart.

“Runaways,” which features Stewart as Joan Jett opposite “New Moon” co-star Dakota Fanning as Cherie Currie, has 12,326 page views and 287 adds as of Monday at 1 pm, PST. “Rileys,” a competition film that features Stewart as a New Orleans prostitute opposite James Gandolfini’s grieving father, has 5,817 views and 267 adds.

Not to make it a competition or anything…

But really, is Park City ready for some “Twilight”-level chaos?

Take my picture, touch me, love me...

If there are any of you ladies left who haven’t seen the movie or already taken dozens of photos of the various onesheets, here’s an extra little bonbon to feed your “New Moon” obsession: GetFugu.

Don’t get all salty, it’s not an abbreviated kiss-off. It’s an iPhone app.

Herewith:

GetFugu’s dynamic “See It, Say It, Find It, Get It” vision, voice and location recognition services will enable users to access film content by utilizing the free GetFugu iPhone app. Fans across the country will be able to take a picture of any “The Twilight Saga: New Moon” movie poster or say the movie title into their iPhone and instantly retrieve movie trailers, access movie information and even locate the nearest cinema where the film is playing.

Handy bonus: You can Photoshop Taylor Lautner’s 12-pack over your prom date’s flabby midsection.

People who get paid handsomely to watch boxoffice were surprised to see just how well “The Blind Side,” Sandra Bullock’s feel-good football pic, did this weekend.

The ode to all things American (or at least to all things Hollywood uplift) earned an impressive $35 million — and over a weekend when it seemed like everyone with a pulse was flocking to “New Moon.”

The conventional assumption to explain the numbers (”Blind Side” was expected to earn only in the mid-twenties) is that filmgoers who were sold out of “New Moon,” dressed for a night out but with nowhere to go, opted to pick up tickets to the pigskin-fest instead.

That would suggest a halo effect for movies that open wide opposite a juggernaut — even though the (other) conventional assumption about tentpole openings is that it’s better for rival studios and movies to get the heck out of the way.

It’s hard for many avid film fans and industry insiders to know how to read the insanely successful  weekend of “New Moon” (unless you’re Summit, the Weitz family or a distant cousin of Taylor Lautner’s,  in which case the only thing you probably need to read at the moment is your bank statement).

On the one hand, it’s hard not to feel some validation at at the fact that a film is in the middle of the pop-cultural conversation — to again see proof that for all the advantages Oprah and Letterman and CNN and a host of other popular TV brands have by regularly entering our homes, there’s still nothing like a bigscreen phenomenon  to galvanize the masses.

Marketing the new pic in the “Twilight” franchise may seem like the most enviable job in the world — like offering water to a dying, thirsty man — but even studio Summit has its challenges as it strategizes the “New Moon” release.

When we caught up with Summit marketing guru Jack Pan for a different piece we were working on recently, we asked him what marketing the biggest tween franchise in Christendom entailed. “Expectations are very different this year than there were last year,” Pan said. “We want to make sure we not only continue to satisfy the fans but continue to introduce new people to the franchise.”

That’s true for the industry, which is now watching eagerly/enviously to see if “New Moon” can repeat the $69m opening and $351m global take of “Twilight” from last November. But it’s also true of the fans, who have grown in numbers and increased their scrutiny (apparently that is possible) since the pic came out twelve months ago, catching up on books and forming new fan sites by the day.

(THR’s Borys Kit interviews director Chris Weitz in Wednesday’s paper, and the director acknowledges that he paid attention to the fans, at certain intervals, anyway:  “I listened to what they have to say by checking in on the Internet. I didn’t do it that much while we were shooting because I didn’t want to get swayed one way or another…But now that the footage is complete, I kind of enjoy just checking in various sites and seeing what they like.”)

The studio also must face a world saturated with vampires (that also means Weitz brother Paul, now with a “Vampire” tag on his Universal pic “Cirque du Freak”), both a benefit and a pitfall when you’re trying to lure fresh-faced new fans.

The release is in some ways much more of a commercial enterprise than last year, when many in Madison Avenue were (like many in Hollywood) largely unaware of the tween-vampire sensation before that gargantuan opening weekend. “This time around, you’re going to see a lot of promotional partners that will also be tying into the movie,” Pan said.

That means more opportunities to get the word out (not to mention more financial support for the splashy campaign) even as the studio must guard against having the campaign seem inorganic with promotional-partner overkill. The tween audience, after all, is not the Transformers audience; it’s younger and less brand-blitzed.

Marketing a franchise like “Twilight” is also a careful balance in another way. Each new clip and trailer is treated like a mini-release in its own right, carefully timed by the studio and scarfed down hungrily by an eager fan base  (one of those new pieces of material made its way around the Web Tuesday, a clip in which star Taylor Lautner introduces a werewolf-morphing scene — video below, with requisite Shirtlessness Alert — and in which one of said promotional partners, iTunes, gets a shout-out).

But it’s also about holding back key scenes that fans are waiting for. As Pan says, “Marketing is the element of surprise. It’s about not giving everything away.” Well, for people who don’t have the book memorized, anyway.