Friday, 31 August 2012
Cosmopolis DVD & Blu Ray Pre-order Links
Matilda Sturridge, Tom Sturridge's sister, talked about her son in a new interview and mentioned his "cool godparents"
“He has what I had and more. We’ve done that kind of Italian thing, where he’s grown up with all our families. I can go to work and there’s no sense of abandonment,” she says. “He’s so easy, so calm, I’ve never seen anyone so happy. I don’t know how he’s so calm with me and Charlie as parents!” Not only that: he has R-Patz as a godfather, by the way. “Yeah, Rudy’s very lucky. He’s got some cool godparents!”
Source RP Life
Thursday, 30 August 2012
Robert Pattinson 'selling LA mansion he shared with Kristen Stewart'
Robert Pattinson is said to be selling the mansion he shared with Kristen Stewart.
The Twilight Saga Breaking Dawn actor, who moved out of the LA pad he shared with Kristen following her cheating with Rupert Sanders, is now said to be putting the pad up for sale.
Robert Pattinson is believed to have put the £4 million three-bedroom house on the market, after he bought the love nest last September.
The move will come as a shock to Twi-hards who were hoping they'd
get their romance back on track, after reports revealing they are
talking again.
According to The Sun, a source close to the couple revealed: "Rob doesn't hate her.
"He just doesn't get why she did it."
After initially keeping a low-profile in the aftermath of the
pictures showing Kristen and Rupert in a clinch emerged, Rob has since
emerged to promote his new movie, Cosmopolis.
The
heartthrob has kept a dignified silence when questions surrounding his
personal life have come up though, managing to steer away from questions
surrounding his ex-girlfriend.
Source OK! Magazine
French On the Road DVD and Blu Ray Cover + Release Date
On The Road will be out on DVD and Blu Ray in France October 17th, 2012.
Source http://www.allocine.fr | Robsten Dreams
You can pre order it on Amazon DVD | Blue Ray
Source http://www.allocine.fr | Robsten Dreams
COSMOPOLIS US Theater List Updated
COSMOPOLIS will be opening in the following locations on 8/31. Keep checking back for updates. Click on the link to purchase tickets.
08/31/2012 Angelika Film Center and Cafe, Dallas, TX
08/31/2012 Ridgmar 13, Fort Worth, TX
08/31/2012 Garden Cinemas Norwalk 4, Norwalk, CT
08/31/2012 Montgomery 6, Rocky Hill, NJ
08/31/2012 Gateway Film Center 8, Columbus, OH
08/31/2012 Angelika Film Center and Cafe, Plano, TX
08/31/2012 Bell Tower 20, Fort Myers, FL
08/31/2012 Hollywood 20 - Naples, Naples, FL
08/31/2012 Silverspot 11 Cinemas at Mercato, Naples, FL
08/31/2012 Keystone Art Cinema 7, Indianapolis, IN
08/31/2012 Glenwood Arts, Overland Park, KS
08/31/2012 Rave Town Square 18, Las Vegas, NV
08/31/2012 Village Square 18, Las Vegas, NV
08/31/2012 Colonel Glenn 18, Little Rock, AR
08/31/2012 Osio Plaza 6, Monterey, CA
08/31/2012 Tower Theatre, Sacramento, CA
08/31/2012 Del Mar Theatre 4, Santa Cruz, CA
08/31/2012 Claremont 5, Claremont, CA
08/31/2012 Davis Varsity Theatre, Davis, CA
08/31/2012 Promenade Stadium 13, Rolling Hills Estates, CA
08/31/2012 Marketplace 6 - Long Beach, Long Beach, CA
08/31/2012 Galaxy Theatre - Cary, Cary, NC
08/31/2012 Southpoint Cinemas 16, Durham, NC
08/31/2012 Hollywood 20 - Sarasota, Sarasota, FL
08/31/2012 The Loft Cinema, Tucson, AZ
08/31/2012 Main Street 6, Kansas City, MO
08/31/2012 Hollywood Hits, Danvers, MA
08/31/2012 Palisades Center 21, West Nyack, NY
COSMOPOLIS will be playing in the following locations and opening on the listed dates. Please check back here for an updated list with additional cities and dates. Click on the link to purchase tickets.
08/17/2012 Elinor Bunin Monroe Film Center, New York, NY
08/17/2012 Sunshine Cinema 5, New York, NY
08/17/2012 The Landmark 12, West Los Angeles, CA
08/24/2012 Empire 25, New York, NY
08/24/2012 The Beekman, New York, NY
08/24/2012 Kendall Square Cinema 9, Cambridge, MA
08/24/2012 Boston Commons, Boston, MA
08/24/2012 Criterion Cinemas 7, New Haven, CT
08/24/2012 Palace 17 & Odyssey, Hartford, CT
08/24/2012 Ritz at the Bourse, Philadelphia, PA
08/24/2012 Ritz 16, Voorhees, NJ
08/24/2012 E Street Cinema, Washington, DC
08/24/2012 Landmark's Century Centre Cinema, Chicago, IL
08/24/2012 600 North, Chicago, IL
08/24/2012 Century Evanston 12, Evanston, IL
08/24/2012 Cedar Lee Theatres, Cleveland Heights, OH
08/24/2012 Lagoon Cinema, Minneapolis, MN
08/24/2012 Eden Prairie, Eden Prairie, MN
08/24/2012 Sandy Springs 8, Atlanta, GA
08/24/2012 Ballantyne Village 5, Charlotte, NC
08/24/2012 Alamo Drafthouse South Lamar, Austin, TX
08/24/2012 Arbor Cinemas at Great Hills 8, Austin, TX
08/24/2012 South Beach 18, Miami Beach, FL
08/24/2012 Sunset Place 24 Theatres, South Miami, FL
08/24/2012 Gateway 4, Fort Lauderdale, FL
08/24/2012 Delray Beach 18, Delray Beach, FL
08/24/2012 Shadowood 16, Boca Raton, FL
08/24/2012 Palace 20, Boca Raton, FL
08/24/2012 Winter Park Village 20, Winter Park, FL
08/24/2012 Downtown Disney 24, Lake Buena Vista, FL
08/24/2012 Denver Film Center/Colfax, Denver, CO
08/24/2012 Century Theatre @ 29th Street, Boulder, CO
08/24/2012 Los Feliz 3, Los Angeles, CA
08/24/2012 Arclight Sherman Oaks, Sherman Oaks, CA
08/24/2012 Broadway 4, Santa Monica, CA
08/24/2012 Laemmle NoHo 7, North Hollywood, CA
08/24/2012 Burbank 8, Burbank, CA
08/24/2012 The Block, Orange, CA
08/24/2012 Century Downtown 10, Ventura, CA
08/24/2012 Art Theatre, Long Beach, CA
08/24/2012 Playhouse 7, Cinemas Pasadena, CA
08/24/2012 University Town Center 6 Cinemas, Irvine, CA
08/24/2012 Rancho Niguel 8 Cinemas, Laguna Niguel, CA
08/24/2012 Cinemas Palme D'Or 7, Palm Desert, CA
08/24/2012 Hillcrest Cinemas, San Diego, CA
08/24/2012 La Jolla 12, La Jolla, CA
08/24/2012 Paseo Nuevo, Santa Barbara, CA
08/24/2012 Scottsdale 101, Scottsdale, AZ
08/24/2012 Tempe Marketplace 16, Tempe, AZ
08/24/2012 Esplanade 14, Phoenix, AZ
08/24/2012 Fox Tower 10, Portland, OR
08/24/2012 Meridian 16, Seattle, WA
08/24/2012 Varsity Theatre, Seattle, WA
08/24/2012 Lincoln Square Stadium 16, Bellevue, WA
08/24/2012 Embarcadero Center Cinema 5, San Francisco, CA
08/24/2012 Century Cinema 16 - Mtn View, Mountain View, CA
08/24/2012 Camera 7, Campbell, CA
08/24/2012 Shattuck Cinemas 10, Berkeley, CA
08/24/2012 Century CineArts @ Santana Row, San Jose, CA
08/24/2012 CineArts at Sequoia, Mill Valley, CA
08/24/2012 CineArts 5 - Pleasant Hill, Pleasant Hill, CA
08/24/2012 Rialto Cinemas 9, Sebastopol, CA
Source EOne Films US
Wednesday, 29 August 2012
On the Road movie reedited for Toronto screening
The 2hr20m drama has been downsized to approximately 125 minutes. That’s an interesting development, as On the Road has already been screened in several countries, with varying degrees of box-office success: $2.7m in France, $1.47m in Brazil, $423k in Belgium, $248k in The Netherlands, $160k in Finland, and $51k in Sweden. [Check out the On the Road trailer.]
The new cut is clearly a move to make On the Road more "commercial" in the United States, where IFC Films / Sundance Selects will be opening the film for awards consideration on Dec. 21.
"The response at Cannes was that some people loved it and some people were respectful of it, like some people loved the book. And Walter took a lot of that to heart. … He’s added certain things that weren’t in the cut that was in Cannes. He has been in New York and Rio and L.A. working on it the past couple of months, and it’s going to be very wet when it gets to Toronto."
In addition to Garrett Hedlund, Sam Riley, and Kristen Stewart, On the Road features Viggo Mortensen, Tom Sturridge, Danny Morgan, Amy Adams, Alice Braga, Elisabeth Moss, and Kirsten Dunst. The Motorcycle Diaries screenwriter José Rivera penned the adaptation, while Francis Ford Coppola, who bought the rights to the novel more than three decades ago, is listed as one of the film’s executive producers. Brokeback Mountain‘s Gustavo Santaolalla composed the score.
On the Road box-office figures via Box Office Mojo.
Source Robsten Dreams
Tuesday, 28 August 2012
Cosmopolis Box Office
Domestic Total as of Aug. 26, 2012: $447,000 13.6%
Foreign: $2,837,056 86.4%
Worldwide: $3,284,056
Domestic Summary:
Opening Weekend: $70,339
(#45 rank, 3 theaters, $23,446 average)
% of Total Gross: 15.7%
Foreign Totals
Australia $212,734 - As Of 8/19/12
Austria $119,413 - As Of 8/12/12
Belgium $154,589 - As Of 7/8/12
Croatia $6,787 - As Of 7/1/12
Czech Republic - As Of $14,059 8/19/12
France - As Of $2,270,504 6/10/12
Germany - As Of $411,170 7/29/12
Italy - As Of $1,001,528 7/8/12
Netherlands - As Of $73,769 6/17/12
Poland - As Of $189,006 7/8/12
Portugal - As Of $184,448 7/22/12
Thailand - As Of $52,554 7/22/12
Turkey - As Of $33,711 8/12/12
United Kingdom - As Of $524,363 7/22/12
According to ERC Box Office, in it’s 2nd weekend, “Cosmopolis” grossed $153k from 63 sites (an average of $2,435 per theatre) with a new US total of $447k.
Source Robsten Dreams
Foreign: $2,837,056 86.4%
Worldwide: $3,284,056
Domestic Summary:
Opening Weekend: $70,339
(#45 rank, 3 theaters, $23,446 average)
% of Total Gross: 15.7%
Foreign Totals
Australia $212,734 - As Of 8/19/12
Austria $119,413 - As Of 8/12/12
Belgium $154,589 - As Of 7/8/12
Croatia $6,787 - As Of 7/1/12
Czech Republic - As Of $14,059 8/19/12
France - As Of $2,270,504 6/10/12
Germany - As Of $411,170 7/29/12
Italy - As Of $1,001,528 7/8/12
Netherlands - As Of $73,769 6/17/12
Poland - As Of $189,006 7/8/12
Portugal - As Of $184,448 7/22/12
Thailand - As Of $52,554 7/22/12
Turkey - As Of $33,711 8/12/12
United Kingdom - As Of $524,363 7/22/12
According to ERC Box Office, in it’s 2nd weekend, “Cosmopolis” grossed $153k from 63 sites (an average of $2,435 per theatre) with a new US total of $447k.
Source Robsten Dreams
Sunday, 26 August 2012
Robert Pattinson New Interview
It has been a summer of discontent for Robert Pattinson. Since his longtime girlfriend and “Twilight” co-star Kristen Stewart was photographed in intimate poses with another man a few weeks ago, the heat on his life has been daunting.
How does he deal with it?”
“It drives you nuts,” he says of all the hoopla. “It’s just nuts.
“I don’t know how I cope with it. I really don’t know,” he says in a good-natured voice.
“At times, I find the whole thing pretty funny. It is pretty funny. My life is kind of ridiculous to me. It’s so absurd at time.”
Last week he fended off countless questions about the scandal while making the media rounds to promote “Cosmopolis,” his new film with director David Cronenberg (“A History of Violence,” “Eastern Promises”).
Through it all, he felt the love of his fans. The Twi-hards definitely have been Team Robert.
“I don’t credit that to myself,” Pattinson says. “It’s just that there is something elemental about the ‘Twilight’ books and the movies. The core story has connected to people.
“The fan love from that is kind of amazing. I guess it’s so much better than everyone hating you.”
By now he should have developed an attitude — if only he knew how.
“I want to change. I can’t make myself change. I can’t develop an attitude,” Pattinson says with a goofy giggle that is his trademark.
Adds Cronenberg, “I’ve seen him even try to change and it’s pathetic.”
In “Cosmopolis,” based on the novel by Don DeLillo, Pattinson plays a 28-year-old financial whiz kid and billionaire asset manager whose world is exploding. He gets into his stretch limo to get a haircut from his father’s old barber while wagering his company’s massive fortune on a bet against the Chinese Yuan. His trip across the city becomes a journey as he runs into city riots, various visitors and intimate encounters.
Filming in a limo for so long wasn’t claustrophobic.
“I actually kind of enjoyed it,” he says. “In the beginning, I wanted to stay in the car for the entire day. But it was so unbearably hot. I couldn’t really do this method.
“The car made me really concentrate.”
The London-born actor does an American accent in the movie. “I don’t even know what accent I was doing half of the time,” he admits. “I always found that the dialect was written in the lines.”
This fall, he plays vampire Edward Cullen in “Breaking Dawn — Part 2,” meant to be the final installment of the “Twilight” franchise.
Fans of the series are about to enter the depression zone, and Pattinson offers some words of hope.
“I’m sure they’ll have a ‘Twilight’ TV series spinoff soon. They’ll do it again,” Pattinson says.
Would he ever play Edward Cullen again?
“Who knows?” he says. “The only thing that creates a little bit of a problem is that I’m supposed to be 17 forever.
“I’m not sure I can be 17 forever,” he says with another giggle.
He is excited to see what the future holds for him in Hollywood and elsewhere.
“Life is all about luck,” he says. “Getting to this point was lucky. I just hope that my luck holds out.”
Ask him what he knows about life at this point that he didn’t know when he was younger, and he giggles again.
“I basically have learned that I know absolutely nothing,” he says. “I thought I knew it all. Again, I knew absolutely nothing.”
Source http://robpattinson.blogspot.com
Kristen Stewart Little White Lies Interview
Chapter One: The Question
Robert Pattinson. Twilight. Getting naked in indie movies. Fame. These are some of the things we won’t be talking about with Kristen Stewart. “Oh, good.” says the actress, slightly taken aback when we give her the good news. We’re sat on the roof terrace of a hotel – heavily populated on the ground floor by security guards – and it’s week two of Cannes Film Festival. Only 22-years-old, Stewart is being afforded the kind of elite protection from the media usually reserved for Hollywood’s biggest megastars. But we don’t really want to ask her about that either.
In fact, LW Lies only has one question: what does Kristen Stewart want to talk about? “Right,” she says. Then she thinks. “I don’t want to sell myself. People are so weird. They suddenly find themselves so interesting that they think they’re worth selling. Typically speaking, the most interesting thing to me about myself is, right now, the fact that On the Road is coming out. And I want to talk about On the Road.
Chapter Two: On the Road
To talk about on the road is to discover that, although people ask Kristen Stewart a lot of questions, the answers all lead to one place. It’s really simple: she’s a 22-year-old kids who’s crazy-stupid in love with her job. “Oh my god, I fucking love it so much,” she beams. “I’m not Maryloul; I’m Sal. Right now, I feel so full. I’m like, bursting. I should be working. I don’t want to take a break. It’s funny, on set, I don’t have to go to the bathroom, I don’t have anything wrong, I’m perfectly fine, so through-and-through. I’m not hungry. I’m literally not even in my own body. They wrap and they send me back to my trailer and I fucking fall to pieces. I suddenly realise that I’ve had to pee for six hours. And I’m starving.”
This kamikaze work ethic left her co-star Chris Hemsworth dumbfounded on the blockbuster Snow White and the Huntsman. Why, wondered the Aussie heartthrob, was she attacking a basic Hollywood fantasy like it was a Paul Thomas Anderson drama? “Awww…” she smiles, affectionately. “He’s the same way. Well, he takes it very much at face value. Sometimes I need to make myself do that. I just really am trying, trying, all the time. I mean, Walter actually said to me several times during On the Road, ‘Stop reaching, you’re already there.’ But I like to be scared. I love to suddenly feel out of control. Actors walk around wearing these little tool-belts of acting skills. And I just don’t find that interesting to watch. I never want to see someone who clearly can cry at the drop of a hat. That’s so uninteresting. And so many actresses are so fucking crazy. They’re emotional wrecks, so they pretend to be these characters. But the emotions aren’t coming from the right place. Do you know what I mean?” And you have to remind her: this is your interview: you tell us.
Source
READ THE REST UNDER THE CUT!
Chapter Three: Coming from the Right Place
“At first, the reason I started doing this was literally just because I wanted a job. My parents are crew – my mom’s a script supervisor; my dad’s an AD – and I always looked up to them, I really completely glorified the movies. And so at first, I just wanted the responsibility. I wanted adults to talk to me. I wanted to be involved. I was bored. Then I turned 13 and did this movie called Speak…I mean, to do a date-rape movie at 13, it really affected me. I suddenly felt like things could be really important and really help people. I did this public service announcement right after I did the movie and this enormous influx of people called in and said things that they had never told anyone before. And it hit me so fucking hard. I was like, ‘Wow, something that I love, something that was so personal to me’ – because at that point, I had never gotten any aknowledgement for anything I’d done, it really was just for me – ‘suddenly touched people.’ Movies, they can be important if you want them to be.”
Chapter Four: Movies are important
So here it is. If you want them to be, even teen movies about hair-gelled vampires and werewolves in cut-off jeans can be important. They can help you make other movies, movies like On the Road, movies that might not get seen or even made without you.
In Hollywood, with great power comes…great parties. But here’s the reason why you wont see Stewart following Lindsay Lohan into the starlet scrapyard. Through some crazy accident, indie actress got bitten by a radioactive franchise and gained special powers. They won’t last forever. But while they do…”It’s weird to be in this position of, like…” She sighs, checking herself. “Not to sound fucking crazy, but ‘financial prowes’. I feel bad about it. I feel like you need to do something. I made Welcome to the Rileys [in which Stewart played a young woman with emotional issues] a few years back and now I want to open two halfway houses, one in New Orleans and one in LA, and I want to make a documentary about why it’s important. But all this ridiculously empty charity work that you see? Like, you show up at an even and you wear a dress and you auction your dress off and you suddenly feel important. I want to do it right. Right now, I just feel it. It’s not to be wasted. Because I know my value is fucking strong.”
SourceKristen J Stewart
Robert Pattinson. Twilight. Getting naked in indie movies. Fame. These are some of the things we won’t be talking about with Kristen Stewart. “Oh, good.” says the actress, slightly taken aback when we give her the good news. We’re sat on the roof terrace of a hotel – heavily populated on the ground floor by security guards – and it’s week two of Cannes Film Festival. Only 22-years-old, Stewart is being afforded the kind of elite protection from the media usually reserved for Hollywood’s biggest megastars. But we don’t really want to ask her about that either.
In fact, LW Lies only has one question: what does Kristen Stewart want to talk about? “Right,” she says. Then she thinks. “I don’t want to sell myself. People are so weird. They suddenly find themselves so interesting that they think they’re worth selling. Typically speaking, the most interesting thing to me about myself is, right now, the fact that On the Road is coming out. And I want to talk about On the Road.
Chapter Two: On the Road
To talk about on the road is to discover that, although people ask Kristen Stewart a lot of questions, the answers all lead to one place. It’s really simple: she’s a 22-year-old kids who’s crazy-stupid in love with her job. “Oh my god, I fucking love it so much,” she beams. “I’m not Maryloul; I’m Sal. Right now, I feel so full. I’m like, bursting. I should be working. I don’t want to take a break. It’s funny, on set, I don’t have to go to the bathroom, I don’t have anything wrong, I’m perfectly fine, so through-and-through. I’m not hungry. I’m literally not even in my own body. They wrap and they send me back to my trailer and I fucking fall to pieces. I suddenly realise that I’ve had to pee for six hours. And I’m starving.”
This kamikaze work ethic left her co-star Chris Hemsworth dumbfounded on the blockbuster Snow White and the Huntsman. Why, wondered the Aussie heartthrob, was she attacking a basic Hollywood fantasy like it was a Paul Thomas Anderson drama? “Awww…” she smiles, affectionately. “He’s the same way. Well, he takes it very much at face value. Sometimes I need to make myself do that. I just really am trying, trying, all the time. I mean, Walter actually said to me several times during On the Road, ‘Stop reaching, you’re already there.’ But I like to be scared. I love to suddenly feel out of control. Actors walk around wearing these little tool-belts of acting skills. And I just don’t find that interesting to watch. I never want to see someone who clearly can cry at the drop of a hat. That’s so uninteresting. And so many actresses are so fucking crazy. They’re emotional wrecks, so they pretend to be these characters. But the emotions aren’t coming from the right place. Do you know what I mean?” And you have to remind her: this is your interview: you tell us.
Source
READ THE REST UNDER THE CUT!
Chapter Three: Coming from the Right Place
“At first, the reason I started doing this was literally just because I wanted a job. My parents are crew – my mom’s a script supervisor; my dad’s an AD – and I always looked up to them, I really completely glorified the movies. And so at first, I just wanted the responsibility. I wanted adults to talk to me. I wanted to be involved. I was bored. Then I turned 13 and did this movie called Speak…I mean, to do a date-rape movie at 13, it really affected me. I suddenly felt like things could be really important and really help people. I did this public service announcement right after I did the movie and this enormous influx of people called in and said things that they had never told anyone before. And it hit me so fucking hard. I was like, ‘Wow, something that I love, something that was so personal to me’ – because at that point, I had never gotten any aknowledgement for anything I’d done, it really was just for me – ‘suddenly touched people.’ Movies, they can be important if you want them to be.”
Chapter Four: Movies are important
So here it is. If you want them to be, even teen movies about hair-gelled vampires and werewolves in cut-off jeans can be important. They can help you make other movies, movies like On the Road, movies that might not get seen or even made without you.
In Hollywood, with great power comes…great parties. But here’s the reason why you wont see Stewart following Lindsay Lohan into the starlet scrapyard. Through some crazy accident, indie actress got bitten by a radioactive franchise and gained special powers. They won’t last forever. But while they do…”It’s weird to be in this position of, like…” She sighs, checking herself. “Not to sound fucking crazy, but ‘financial prowes’. I feel bad about it. I feel like you need to do something. I made Welcome to the Rileys [in which Stewart played a young woman with emotional issues] a few years back and now I want to open two halfway houses, one in New Orleans and one in LA, and I want to make a documentary about why it’s important. But all this ridiculously empty charity work that you see? Like, you show up at an even and you wear a dress and you auction your dress off and you suddenly feel important. I want to do it right. Right now, I just feel it. It’s not to be wasted. Because I know my value is fucking strong.”
SourceKristen J Stewart
Friday, 24 August 2012
Cosmopolis Updated List
08/17/2012 Elinor Bunin Monroe Film Center, New York, NY
08/17/2012 Sunshine Cinema 5, New York, NY
08/17/2012 The Landmark 12, West Los Angeles, CA
08/24/2012 Empire 25, New York, NY
08/24/2012 The Beekman, New York, NY
08/24/2012 Kendall Square Cinema 9, Cambridge, MA
08/24/2012 Boston Commons, Boston, MA
08/24/2012 Criterion Cinemas 7, New Haven, CT
08/24/2012 Palace 17 & Odyssey, Hartford, CT
08/24/2012 Ritz at the Bourse, Philadelphia, PA
08/24/2012 Ritz 16, Voorhees, NJ
08/24/2012 E Street Cinema, Washington, DC
08/24/2012 Landmark's Century Centre Cinema, Chicago, IL
08/24/2012 600 North, Chicago, IL
08/24/2012 Century Evanston 12, Evanston, IL
08/24/2012 Cedar Lee Theatres, Cleveland Heights, OH
08/24/2012 Lagoon Cinema, Minneapolis, MN
08/24/2012 Eden Prairie, Eden Prairie, MN
08/24/2012 Sandy Springs 8, Atlanta, GA
08/24/2012 Ballantyne Village 5, Charlotte, NC
08/24/2012 Alamo Drafthouse South Lamar, Austin, TX
08/24/2012 Arbor Cinemas at Great Hills 8, Austin, TX
08/24/2012 South Beach 18, Miami Beach, FL
08/24/2012 Sunset Place 24 Theatres, South Miami, FL
08/24/2012 Gateway 4, Fort Lauderdale, FL
08/24/2012 Delray Beach 18, Delray Beach, FL
08/24/2012 Shadowood 16, Boca Raton, FL
08/24/2012 Palace 20, Boca Raton, FL
08/24/2012 Winter Park Village 20, Winter Park, FL
08/24/2012 Downtown Disney 24, Lake Buena Vista, FL
08/24/2012 Denver Film Center/Colfax, Denver, CO
08/24/2012 Century Theatre @ 29th Street, Boulder, CO
08/24/2012 Los Feliz 3, Los Angeles, CA
08/24/2012 Arclight Sherman Oaks, Sherman Oaks, CA
08/24/2012 Broadway 4, Santa Monica, CA
08/24/2012 Laemmle NoHo 7, North Hollywood, CA
08/24/2012 Burbank 8, Burbank, CA
08/24/2012 The Block, Orange, CA
08/24/2012 Century Downtown 10, Ventura, CA
08/24/2012 Art Theatre, Long Beach, CA
08/24/2012 Playhouse 7, Cinemas Pasadena, CA
08/24/2012 University Town Center 6 Cinemas, Irvine, CA
08/24/2012 Rancho Niguel 8 Cinemas, Laguna Niguel, CA
08/24/2012 Cinemas Palme D'Or 7, Palm Desert, CA
08/24/2012 Hillcrest Cinemas, San Diego, CA
08/24/2012 La Jolla 12, La Jolla, CA
08/24/2012 Paseo Nuevo, Santa Barbara, CA
08/24/2012 Scottsdale 101, Scottsdale, AZ
08/24/2012 Tempe Marketplace 16, Tempe, AZ
08/24/2012 Esplanade 14, Phoenix, AZ
08/24/2012 Fox Tower 10, Portland, OR
08/24/2012 Meridian 16, Seattle, WA
08/24/2012 Varsity Theatre, Seattle, WA
08/24/2012 Lincoln Square Stadium 16, Bellevue, WA
08/24/2012 Embarcadero Center Cinema 5, San Francisco, CA
08/24/2012 Century Cinema 16 - Mtn View, Mountain View, CA
08/24/2012 Camera 7, Campbell, CA
08/24/2012 Shattuck Cinemas 10, Berkeley, CA
08/24/2012 Century CineArts @ Santana Row, San Jose, CA
08/24/2012 CineArts at Sequoia, Mill Valley, CA
08/24/2012 CineArts 5 - Pleasant Hill, Pleasant Hill, CA
08/24/2012 Rialto Cinemas 9, Sebastopol, CA
08/31/2012 Dallas, TX
08/31/2012 Houston, TX
08/31/2012 Norwalk, CT
08/31/2012 Rocky Hill, NJ
08/31/2012 Columbus, OH
08/31/2012 Plano, TX
08/31/2012 Des Moines, IA
08/31/2012 Fort Myers, FL
08/31/2012 Naples, FL
08/31/2012 Indianapolis, IN
08/31/2012 Overland Park, KS
08/31/2012 Las Vegas, NV
08/31/2012 Little Rock, AR
08/31/2012 Monterey, CA
08/31/2012 Santa Cruz, CA
08/31/2012 Cary, NC
08/31/2012 Durham, NC
08/31/2012 Salt Lake City, UT
08/31/2012 Sarasota, FL
08/31/2012 Tucson, AZ
08/17/2012 Sunshine Cinema 5, New York, NY
08/17/2012 The Landmark 12, West Los Angeles, CA
08/24/2012 Empire 25, New York, NY
08/24/2012 The Beekman, New York, NY
08/24/2012 Kendall Square Cinema 9, Cambridge, MA
08/24/2012 Boston Commons, Boston, MA
08/24/2012 Criterion Cinemas 7, New Haven, CT
08/24/2012 Palace 17 & Odyssey, Hartford, CT
08/24/2012 Ritz at the Bourse, Philadelphia, PA
08/24/2012 Ritz 16, Voorhees, NJ
08/24/2012 E Street Cinema, Washington, DC
08/24/2012 Landmark's Century Centre Cinema, Chicago, IL
08/24/2012 600 North, Chicago, IL
08/24/2012 Century Evanston 12, Evanston, IL
08/24/2012 Cedar Lee Theatres, Cleveland Heights, OH
08/24/2012 Lagoon Cinema, Minneapolis, MN
08/24/2012 Eden Prairie, Eden Prairie, MN
08/24/2012 Sandy Springs 8, Atlanta, GA
08/24/2012 Ballantyne Village 5, Charlotte, NC
08/24/2012 Alamo Drafthouse South Lamar, Austin, TX
08/24/2012 Arbor Cinemas at Great Hills 8, Austin, TX
08/24/2012 South Beach 18, Miami Beach, FL
08/24/2012 Sunset Place 24 Theatres, South Miami, FL
08/24/2012 Gateway 4, Fort Lauderdale, FL
08/24/2012 Delray Beach 18, Delray Beach, FL
08/24/2012 Shadowood 16, Boca Raton, FL
08/24/2012 Palace 20, Boca Raton, FL
08/24/2012 Winter Park Village 20, Winter Park, FL
08/24/2012 Downtown Disney 24, Lake Buena Vista, FL
08/24/2012 Denver Film Center/Colfax, Denver, CO
08/24/2012 Century Theatre @ 29th Street, Boulder, CO
08/24/2012 Los Feliz 3, Los Angeles, CA
08/24/2012 Arclight Sherman Oaks, Sherman Oaks, CA
08/24/2012 Broadway 4, Santa Monica, CA
08/24/2012 Laemmle NoHo 7, North Hollywood, CA
08/24/2012 Burbank 8, Burbank, CA
08/24/2012 The Block, Orange, CA
08/24/2012 Century Downtown 10, Ventura, CA
08/24/2012 Art Theatre, Long Beach, CA
08/24/2012 Playhouse 7, Cinemas Pasadena, CA
08/24/2012 University Town Center 6 Cinemas, Irvine, CA
08/24/2012 Rancho Niguel 8 Cinemas, Laguna Niguel, CA
08/24/2012 Cinemas Palme D'Or 7, Palm Desert, CA
08/24/2012 Hillcrest Cinemas, San Diego, CA
08/24/2012 La Jolla 12, La Jolla, CA
08/24/2012 Paseo Nuevo, Santa Barbara, CA
08/24/2012 Scottsdale 101, Scottsdale, AZ
08/24/2012 Tempe Marketplace 16, Tempe, AZ
08/24/2012 Esplanade 14, Phoenix, AZ
08/24/2012 Fox Tower 10, Portland, OR
08/24/2012 Meridian 16, Seattle, WA
08/24/2012 Varsity Theatre, Seattle, WA
08/24/2012 Lincoln Square Stadium 16, Bellevue, WA
08/24/2012 Embarcadero Center Cinema 5, San Francisco, CA
08/24/2012 Century Cinema 16 - Mtn View, Mountain View, CA
08/24/2012 Camera 7, Campbell, CA
08/24/2012 Shattuck Cinemas 10, Berkeley, CA
08/24/2012 Century CineArts @ Santana Row, San Jose, CA
08/24/2012 CineArts at Sequoia, Mill Valley, CA
08/24/2012 CineArts 5 - Pleasant Hill, Pleasant Hill, CA
08/24/2012 Rialto Cinemas 9, Sebastopol, CA
08/31/2012 Dallas, TX
08/31/2012 Houston, TX
08/31/2012 Norwalk, CT
08/31/2012 Rocky Hill, NJ
08/31/2012 Columbus, OH
08/31/2012 Plano, TX
08/31/2012 Des Moines, IA
08/31/2012 Fort Myers, FL
08/31/2012 Naples, FL
08/31/2012 Indianapolis, IN
08/31/2012 Overland Park, KS
08/31/2012 Las Vegas, NV
08/31/2012 Little Rock, AR
08/31/2012 Monterey, CA
08/31/2012 Santa Cruz, CA
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08/31/2012 Sarasota, FL
08/31/2012 Tucson, AZ
Robert Pattinson Little White Lies Interview
Written-off Robert Pattinson as just another fleeting tween sensation? Then listen up. Because Cosmopolis, David Cronenberg's smart adaptation of Don DeLillo's futurist novel, is about to announce the 26-year-old Brit's true arrival. LWLies met up with Pattinson recently to chat about the making of Cosmopolis and why he'll always be up for a challenge.
LWLies: We were in Cannes when Cosmopolis first screened. How was that whole experience for you?
Pattinson: It was kind of terrifying, but mainly because I've never been to a premiere with potentially a hostile audience. It's a film which could potentially be quite divisive because it's quite wordy and in Cannes there's the added complexity with the language barrier. I remember sitting there and looking around at all these blank faces. No one was laughing. I genuinely thought it was going to get booed. I was so grateful it wasn't savaged.
The whole Cannes booing thing is kind of a carnival, you can't take it too seriously.
I know, I know. But then David [Cronenberg] was telling me about when Crash screened and people were screaming in the audience. Like, actually going wild during the movie. And I was speaking to Gaspar Noé the other day and he was saying that with Irreversible everyone was yelling 'How would you like it?!' and all this nonsense. He was sitting next to the guy who plays the rapist [Jo Prestia] thinking, 'Fuck, I'm going to get killed after this'.
Did it put you at ease being in David's company?
Yeah, totally. He was really relaxed. The thing is, normally when you go to a premiere you don't often stay for the whole movie, but in Cannes you sit through it wondering if you're going to get clapped or booed afterwards. It's a pretty terrifying experience and a strange environment to watch a film in. But I'd seen the film before Cannes and I knew I loved it, which is a pretty rare thing for me because I don't normally like the stuff I'm in.
Was Cosmopolis something you chased or were you approached?
I read the script about a year before we made it. Someone sent it to me on the basis that it was just a really well-written script. I really liked it then but we didn't act on it right away because initially Colin Farrell had been cast, but he dropped out and suddenly I was in a position to go for it.
What was it like working in an environment where you're in a small closed set, in the back of a limo for most of the film, and you only share a few minutes of screentime with the other actors?
I worked with everyone for about two or three days, but actually the further we got into the shoot the less time the scenes took. So where the early scene with Jay Baruchel took, like, three or maybe four days, a the others were generally much shorter. After two weeks of shooting a movie you normally just relax into the routine of the work, but with Cosmopolis we had big names coming in every few days shooting their scenes and then going. It really keeps you on your toes and in many ways it's like shooting loads of different, or smaller movies. But you get used to it and actually you get quite comfortable because you're so familiar with the set.
Was it difficult having David direct you remotely from outside the limo?
It was a little odd a first. But you know I did this Harry Potter movie where we filmed a lot underwater, so I was kind of experienced in not having the director standing next to you. It was similar in some ways to that because you can't see anything apart from what's inside the limo and a camera that's mounted on this remote-controlled crane. David always had the camera positioned incredibly close to your face as well, with a really wide lens on it. So you have a totally different relationship with the camera because normally you're trying to communicate with the guy behind the camera, you ignore the camera. Here you're doing everything for the camera, but it's like no one's watching, like no one's ever going to see it. It's like you're close friends with this little machine.
Do you see this as a significant juncture in your career?
Not really because the film is so obscure. It's not like everyone's going to get it. But yeah, it's definitely a good step in terms of my career and where I'd like to end up.
Having done a lot of mainstream films are smaller, more out-there films now more appealing to you?
Um, I mean... Sometimes. But it's not like I went out looking for the highest risk project. To be honest what attracted me was working with David and the quality of the writing, which was just insane compared to some of the garbage I'd been reading around the time. I'd never read any Don DeLillo before, so it was a bit of an eye-opener. But I'm not looking for obscurities the whole time. The movies I've signed on to do after this aren't quite as odd as this but they're certainly artistically ambitious.
So few actors ever receive the level of exposure you have right now, do you feel a pressure to try to maintain that by taking on bigger roles?
I don't really know. If I could stay at a level where I was consistently working then I'd be happy. But I can't predict the way the industry is going to go. Things change so quickly, there are so many people who were huge a few years ago and now can't even get a film made. Right now people seem to care about me, but I'm sure that won't last. Frankly I find it all a bit absurd. I'm just trying to do as much interesting stuff as I can for as long as I can.
What do you love about movies?
I think it's the easiest was to educate people about, like, a million things. I remember watching Godard movies when I was younger and being introduced to Henry Miller and from there discovering Tom Waits and suddenly you've learned so much. Cool movies taught me so much more than books in school ever did. I didn't even realise I was interested in working in movies when I was watching them when I was younger. Now I can't imagine doing anything else.
Source RP Life
Tuesday, 21 August 2012
Dylan Wiley, VP of eOne Films, and Paul Dergarabedian, from Hollywood.com, Talk About Rob with EW
Robert Pattinson, after years of puckering his sparkling vampire lips
and gaining female fans with every perky strand of his swoopy hair in
theTwilight films, has finally graduated with alumni cred at the box
office, showing he has what it takes to draw in moviegoers beyond the
romantic realm of blood-lusty (and just lusty) Edward and Bella.
Pattinson’s whoozy, philosophy-laden pairing with director David Cronenberg, Cosmopolis, racked up a solid $70,339 in three theaters this past Friday through Sunday, when it opened in tightly limited release domestically, according to box office tracker Hollywood.com. The film, about Pattinson as a disillusioned, overly sexed billionaire making his way across Manhattan to get a haircut, has made roughly $266,900 in North America, including theatrical screenings in Canada. Next weekend the film jumps into nationwide limited release in 60 theaters across the U.S., said Dylan Wiley, vice president of theatrical marketing and distribution for the movie’s distributor Entertainment One Films U.S.
“Rob, with this performance, has shown there is more to him than just Twilight,” Wiley tells EW.com. “This is a very serious actor playing a very serious role with a very serious filmmaker.
(...)
Box office experts also see some hope in Pattinson, a relatively shy, musically inclined intellectual sort, compared to other Twilight graduates (Taylor Lautner, anyone?).
“Perhaps of all the Twilight folks, he’s the one, with this movie, who has gained credibility,” says Paul Dergarabedian, president of the box office division of Hollywood.com. “His personal life has not been great, but his acting life is just beginning. I think Pattinson has a lot of gravitas, and that translates on screen.”
Mostly, to straddle the hurdles of both mega movie franchise fame and artsy indie flick gusto at the box office, he needs guys to go out and watch him too, not just women.
That may or may not happen with upcoming films such as the Werner Herzog-directed Queen of the Desert, in which he’ll play T.E. Lawrence — Lawrence of Arabia — alongside Naomi Watts. There’s always The Twilight Saga: Breaking Dawn Part 2, the franchise’s fifth and last installment, set to premiere in November.
“The challenge for Pattinson is winning over the male fans, who stayed away from the Twilight films,” says Dergarabedian. “I think he can do it… If he were to work with a [Quentin] Tarantino or [Steven] Spielberg, who have that kind of credibility themselves, he’ll gain credibility. He’s still pretty young, and has time to build his career. He may be able to bounce between the big budget films and independently minded films. Look at Jeremy Renner.”
Source Robsten Dreams
Pattinson’s whoozy, philosophy-laden pairing with director David Cronenberg, Cosmopolis, racked up a solid $70,339 in three theaters this past Friday through Sunday, when it opened in tightly limited release domestically, according to box office tracker Hollywood.com. The film, about Pattinson as a disillusioned, overly sexed billionaire making his way across Manhattan to get a haircut, has made roughly $266,900 in North America, including theatrical screenings in Canada. Next weekend the film jumps into nationwide limited release in 60 theaters across the U.S., said Dylan Wiley, vice president of theatrical marketing and distribution for the movie’s distributor Entertainment One Films U.S.
“Rob, with this performance, has shown there is more to him than just Twilight,” Wiley tells EW.com. “This is a very serious actor playing a very serious role with a very serious filmmaker.
(...)
Box office experts also see some hope in Pattinson, a relatively shy, musically inclined intellectual sort, compared to other Twilight graduates (Taylor Lautner, anyone?).
“Perhaps of all the Twilight folks, he’s the one, with this movie, who has gained credibility,” says Paul Dergarabedian, president of the box office division of Hollywood.com. “His personal life has not been great, but his acting life is just beginning. I think Pattinson has a lot of gravitas, and that translates on screen.”
Mostly, to straddle the hurdles of both mega movie franchise fame and artsy indie flick gusto at the box office, he needs guys to go out and watch him too, not just women.
That may or may not happen with upcoming films such as the Werner Herzog-directed Queen of the Desert, in which he’ll play T.E. Lawrence — Lawrence of Arabia — alongside Naomi Watts. There’s always The Twilight Saga: Breaking Dawn Part 2, the franchise’s fifth and last installment, set to premiere in November.
“The challenge for Pattinson is winning over the male fans, who stayed away from the Twilight films,” says Dergarabedian. “I think he can do it… If he were to work with a [Quentin] Tarantino or [Steven] Spielberg, who have that kind of credibility themselves, he’ll gain credibility. He’s still pretty young, and has time to build his career. He may be able to bounce between the big budget films and independently minded films. Look at Jeremy Renner.”
Source Robsten Dreams
David Cronenberg Talks About Rob
As Eric, Pattinson is in every scene of the film, portraying a character
unlike any he's tackled before. And in our exclusive interview in
support of Cosmopolis' theatrical release by eONE Films, writer/director
Cronenberg explained why Pattinson was right for the part of Eric and
how he went about tackling the adaptation of DeLillo's novel.
In casting Robert Pattinson, it's kind of a double-edge sword, isn't it? You have his Twilight fans anxious to support him in whatever he chooses to do and then you have the people who dismiss him because he is 'that guy from Twilight'.
"Yeah. In a weird way, on the one hand of course I'm completely aware of all of those elements and also of course when you're making a movie that for an independent movie was relatively expensive, you have to have a leading character who is very charismatic and who can carry the weight and has the star quality and so on, because you're going to be looking at him. He's literally in every scene in the movie, and that's pretty unusual. I mean even in Tom Cruise movies, Tom is not in absolutely every scene of the movie - but Rob is. So he has to have that. But at the same time, you want to forget the movies, you know? You want to forget his movies and my movies because we're creating this completely new thing and you don't know what audience you're going to get. You can anticipate it, you can think about it, but really you don't know. So ultimately when you're making the movie you're saying, 'Okay, I'm here with these actors. They're wonderful actors, I cast them because they're terrific and they will bring great stuff to the script,' and then at that point you're just making a movie and you're not thinking about any other movie."
Needing an actor to carry the film by being in every scene, how did you figure out Robert Pattinson was the right guy to play Eric?
[Laughing] "Well, this is the magic of casting! I think as a director, it's part of your job. It's a really important part of your job. I think a lot of people don't even realize that the director's involved in casting. Some people say, 'Did you choose your actors?,' and I say, 'Yes. You're not a director if you don't.'"
"Of course, you're juggling many things, like I say. You're juggling, for example, their passports. This is a Canada / France co-production and we were limited to one American actor. Most people of course don't know that - nor should they. Paul Giamatti is the only American in this movie even though it takes place in New York City. So from that kind of aspect to just finding the right guy...of course he's got to be the right age, there are a lot of things that are just basic. And then after that, though, there are no rules. You as a director just have to intuit that this actor will be able to carry off this role."
"We often talk about chemistry, for example, in movies between actors, let's say. When I was doing A Dangerous Method, Keira Knightley and Michael Fassbender - how do I know they have chemistry together because I had never seen them in a movie together? They've never been in one; they've never met each other. I don't see them together until I'm actually directing them, so I have to be this kind of dating master who can anticipate that this couple will be good together. It's a strange kind of thing. So you give yourself credit when it works, and you have to berate yourself when somehow it hasn't worked. That's basically where you're left."
It strikes me with Cosmopolis that the chemistry actually needed to come between you and Robert more so than between Rob and any of his co-stars.
"There's truth in that too. That is the unspoken thing is the chemistry between the director and the actors is the key. And at a certain point I think Rob would...you know, he's a serious actor and he didn't want to be the one who was going to blow this movie. He was kind of thinking, 'Well, I'll be alone in that limo because I won't have one person who is always playing opposite me. It's really a one-man show with a lot of day players coming in.' And I said, 'No, you won't be alone because I'll be there. I'll be with you every moment.' And so that is a real element."
Do you think that you view the character of Eric the same way that author DeLillo did? Or do you think that you two don't necessarily agree on how an audience should look at him?
"I think we actually illuminate things for each other. I've been on the road doing publicity with Don in several countries and I think he was pretty intrigued by seeing what would happen. Because, after all, once you put Rob Pattinson in that role, that's a very specific thing. You've got a particular face and a particular voice and a body, and that's something that the novel can not have. That's one of the things that movies can do that novels can not do, and so it immediately shapes the character in a way that he wasn't shaped in the novel. So, there are differences, I think, but it's not a major split or divergence. It's just really shading and shaping things. It's just really hearing the dialogue spoken, which was something that when I read the novel, I thought, 'Yeah, I really want to hear this spoken by really great actors.' Just doing that immediately changes your reaction to the characters and to the words. So there is a difference, definitely."
Source Robsten Dreams
In casting Robert Pattinson, it's kind of a double-edge sword, isn't it? You have his Twilight fans anxious to support him in whatever he chooses to do and then you have the people who dismiss him because he is 'that guy from Twilight'.
"Yeah. In a weird way, on the one hand of course I'm completely aware of all of those elements and also of course when you're making a movie that for an independent movie was relatively expensive, you have to have a leading character who is very charismatic and who can carry the weight and has the star quality and so on, because you're going to be looking at him. He's literally in every scene in the movie, and that's pretty unusual. I mean even in Tom Cruise movies, Tom is not in absolutely every scene of the movie - but Rob is. So he has to have that. But at the same time, you want to forget the movies, you know? You want to forget his movies and my movies because we're creating this completely new thing and you don't know what audience you're going to get. You can anticipate it, you can think about it, but really you don't know. So ultimately when you're making the movie you're saying, 'Okay, I'm here with these actors. They're wonderful actors, I cast them because they're terrific and they will bring great stuff to the script,' and then at that point you're just making a movie and you're not thinking about any other movie."
Needing an actor to carry the film by being in every scene, how did you figure out Robert Pattinson was the right guy to play Eric?
[Laughing] "Well, this is the magic of casting! I think as a director, it's part of your job. It's a really important part of your job. I think a lot of people don't even realize that the director's involved in casting. Some people say, 'Did you choose your actors?,' and I say, 'Yes. You're not a director if you don't.'"
"Of course, you're juggling many things, like I say. You're juggling, for example, their passports. This is a Canada / France co-production and we were limited to one American actor. Most people of course don't know that - nor should they. Paul Giamatti is the only American in this movie even though it takes place in New York City. So from that kind of aspect to just finding the right guy...of course he's got to be the right age, there are a lot of things that are just basic. And then after that, though, there are no rules. You as a director just have to intuit that this actor will be able to carry off this role."
"We often talk about chemistry, for example, in movies between actors, let's say. When I was doing A Dangerous Method, Keira Knightley and Michael Fassbender - how do I know they have chemistry together because I had never seen them in a movie together? They've never been in one; they've never met each other. I don't see them together until I'm actually directing them, so I have to be this kind of dating master who can anticipate that this couple will be good together. It's a strange kind of thing. So you give yourself credit when it works, and you have to berate yourself when somehow it hasn't worked. That's basically where you're left."
It strikes me with Cosmopolis that the chemistry actually needed to come between you and Robert more so than between Rob and any of his co-stars.
"There's truth in that too. That is the unspoken thing is the chemistry between the director and the actors is the key. And at a certain point I think Rob would...you know, he's a serious actor and he didn't want to be the one who was going to blow this movie. He was kind of thinking, 'Well, I'll be alone in that limo because I won't have one person who is always playing opposite me. It's really a one-man show with a lot of day players coming in.' And I said, 'No, you won't be alone because I'll be there. I'll be with you every moment.' And so that is a real element."
Do you think that you view the character of Eric the same way that author DeLillo did? Or do you think that you two don't necessarily agree on how an audience should look at him?
"I think we actually illuminate things for each other. I've been on the road doing publicity with Don in several countries and I think he was pretty intrigued by seeing what would happen. Because, after all, once you put Rob Pattinson in that role, that's a very specific thing. You've got a particular face and a particular voice and a body, and that's something that the novel can not have. That's one of the things that movies can do that novels can not do, and so it immediately shapes the character in a way that he wasn't shaped in the novel. So, there are differences, I think, but it's not a major split or divergence. It's just really shading and shaping things. It's just really hearing the dialogue spoken, which was something that when I read the novel, I thought, 'Yeah, I really want to hear this spoken by really great actors.' Just doing that immediately changes your reaction to the characters and to the words. So there is a difference, definitely."
Source Robsten Dreams
Monday, 20 August 2012
Pattinson and Cronenberg about fame, Cosmopolis, fans and Twilight
The phone call began with Pattinson and Cronenberg laughing.
Question: Sounds like you two aren't having any trouble having fun.
Pattinson: We rollick and frolic. We have no problem.
Q: And Robert, you haven't been in the news enough lately.
Pattinson: Heh.
Q: Your character is a disconnected guy trying to connect. Or maybe it's the other way around. How do you play that?
Pattinson: I think he's just very, very self-obsessed. It's going deeper and deeper into self-obsession until it kind of implodes. It's also just the words. Everything is done for me. I sort of instinctively felt like I knew what to do from the beginning because the script was so good.
Q: Is it tricky to direct someone having a prostate exam (as Packer does in the film)?
Cronenberg: For me? Oh, no problem.
Q: Robert, I assume you're rich. But Packer is incredibly rich. Is there a freedom to that?
A: I think it's actually quite a difficult way to live. I've met a few people who have fictional money (laughing). If you have any interest in the world, it's very difficult to see. Your eyes are totally different to most people. Money really does change people. You have to make an effort to be normal, I think.
Q: Did you go through that when you became successful?
Pattinson: It's different. Dealing with fame is different. Everyone gets stuff thrown at them in life, and you have to figure out how to deal with it.
Q: There's a ton of publicity surrounding you now, good and bad. Presumably you're in a bubble while shooting the film, so not as many people are keeping up.
Cronenberg: In fact, a lot of the "Twilight" fans were keeping up. They made websites, and they had spy-cams. But all of that was really quite sweet. It was quite gentle and quite affectionate, and you had these young girls who had never read anything but "Harry Potter" and "Twilight" before (but) were reading "Cosmopolis," they were reading Don DeLillo and writing about it on their blogs.
Q: Robert, "Twilight" is winding down. What has that been like?
Pattinson: Pretty crazy (laughing). No one ever believes me, but no one involved with the first movie had any idea that it was going to turn out to be what it was going to be. We didn't even know if we were going to make the sequels. You go on this runaway train that I was entirely unprepared for. And at the same time, I was kind of figuring out whether I wanted to be an actor or not, which is kind of interesting. You're in your 20s, you're trying to figure out what you want to do with your life.
Q: What about the fame aspect of it? Isn't that kind of a weird way of life? You can't even walk across the street without someone taking a picture.
Pattinson: Yeah. It's just how you deal with it. Everyone has to figure out how they want to live. It's a challenge.
Cronenberg: I can say that Rob was definitely able to walk across the street in Toronto (where "Cosmopolis" was shot) and no one noticed. And he could go to a bar and he could go to a restaurant. Really, part of it has to do with where you are and how much you're publicizing yourself. If you're Lindsay Lohan and you're making sure that everybody knows where you are at all times, then you know what the consequences will be. But if somebody doesn't want that, there are ways you can do that.
Source RP Life
David Cronenberg about Robert Pattinson
Of course everybody wants to ask you about your star, who unfortunately has decided not to join us today. I guess he has his reasons. How and why did you wind up casting Robert Pattinson?
Well, it begins in a very pragmatic way. You get a list of 10 people from various producers and agents, and you start with the basics. How old is this character, and how old is the actor? This character is young, his age is given as 28. So that’s where you start. Does he feel like the right guy? Eric talks about working out a lot and is very physical, so you’re not going to cast someone who’s overweight. It’s simple stuff like that to begin with. And then you get to the pragmatics: How big is your budget and what kind of star power do you need to get the movie financed?
And here’s something people don’t think about, which is the passport of the actor. This is a Canada-France co-production, so you’re really restricted in the number of Americans you can use. There’s only one American in this movie, even though it’s set in New York, and that’s Paul. So the fact that Rob is British helps, because he can fit into the co-production thing. So that’s the long way round, and ultimately you get to: Does the guy have the chops and charisma to hold the movie together? Because this character is in every scene of the movie, without exception, and that’s very unusual, even for a star.
So I looked at everything I could find that Rob had done, including “Little Ashes,” where he plays the young Salvador Dali, and I thought, yeah, he could really do this. And I think he’s actually extraordinary. It’s ultimately intuition on my part, and casting is a huge part of directing that’s very invisible. Making-of documentaries don’t usually cover the casting process, but for a director it’s a hugely important part of your art. Juggling all those other balls that I was just talking about, and still coming up with the right guy.
I realize I’d be better off asking him that question, but do you think Rob is eager to change his image after “Twilight,” and push into doing different kinds of characters? After this role, and playing a sadistic sociopath in “Bel Ami,” it certainly looks that way.
Well, I know from doing interviews with him in Europe that he’s not really thinking in terms of his career. He gets offered a lot of stuff, and it’s usually very conventional, boring stuff. He’s always been interested in doing unusual stuff. He’ll tell you that when they started with “Twilight,” he thought it was kind of an indie film. Which it sort of was, you know! It had Catherine Hardwicke as the original director, and it was an unusual, off-kilter vampire story. Nobody knew that it would be the kind of mainstream success that it became.
In a way, “Cosmopolis” is a lot closer to his heart than “Twilight,” you know. When he read it, he told me that he was also struck by the dialogue. He thought it was incredibly fresh and new and surprising and engaging, and he immediately wanted to do it. He was afraid, because I think he still hasn’t come to terms with the fact that he’s actually an actor! He didn’t grow up thinking he wanted to be an actor. As with many actors, and not just young, inexperienced ones, he wasn’t sure he was good enough! He wasn’t sure he was the right guy, and he didn’t want to be the guy who would bring down this terrific project. So my job, at that point, was to convince him that he was indeed the right guy. That took me about 10 days, I suppose.
Are you telling me that you have actually watched the “Twilight” movies? That’s a bit hard to imagine.
Yeah — or no, I watched about one and a half of them. I’m interested in everything, frankly. I’m not a snob, you know. I really am curious about everything. If something’s hugely popular, it doesn’t automatically mean I’m going to look at it, but sometimes I’m curious as to why something is really popular, let’s say. In the case of “Twilight,” I was watching it for Rob, that was the thing. It’s not like – I mean, I hadn’t seen them before that.
Source RP Life
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