Robert Pattinson in duplex with Laurent Delahousse for 20h France 2
Archive for the ‘Cosmopolis’ Tag
New/Old Pictures of Robert Pattinson and David Cronenberg promoting Cosmopolis at Cannes 2012 + ‘Cannes fait le mur’ exhibition
Interview with Robert Pattinson “Cosmopolis”
I was impressed with the script that David wrote. “The reason why I wanted to take this part is that I really would like to work with David Cronenberg. I knew he would be very creative, and that it would be a real experience. And I was appealed by the writing of the script, like a kind of long poem. And a mysterious poem too. (omit) But this time it was completely different, the further I read, the less I could figure out where it was leading and the more I wanted to be a part of it.”“I couldn’t imagine myself in the role at all. The first time I spoke to David, it is exactly what I told him, that I didn’t visualize anything, and he thought it was a good thing. (omit) Even during the first week of shooting, we were all still wondering what the film would look like once finished. It was fascinating, I felt like the film was fashioning itself.”“David doesn’t like rehearsals. We didn’t talk much about the film before the shooting. And I only met the other actors on set, during production, I discovered them as they appeared, literally, on Eric Packer’s limousine, And it was quite pleasant.”It is uneasy to play a character that dose not follow a predictable path without clear vision. But the truth is that this character is changing. It dose not matter if it ends badly nor the change is different from an ordinary character we usually see. David, however, has complete control. It was the first time for me to work with a director who took complete control over his own movie. He completely grasps any situations and has clear ideas what he wants in any stages. Eventually, under the circumstances, I could have some confidence and relax.
RS: Fast forward 20 years and now you are making huge movies. After Spider there were a few and then A Dangerous Method and Cosmopolis with Robert Pattinson.
MK: I think it was great for us and the movie that Rob was interested in making that type of move at this time. I think he is great in the movie and he will bring a new type of audience to David’s world.
RS:What’s next for the ever evolving Martin Katz?
MK: I have two things that I am excited about. I am working on my fourth collaboration with David Cronenberg called Maps To The Stars. It is an absurdist comedy about the entertainment business. We hope to be able to work with many of the people we have worked with before including Rob Pattinson.
GUCCI Cinema Visionaries “Cosmopolis” Screening
GUCCI Cinema Visionaries at GUCCI Ginza will hold a screening of Robert Pattinson’s new movie “Cosmopolis”.
We all know Robert Pattinson wore GUCCI suites in the movie.
The Film Foundation is a NPO founded by Martin Scorsese in 1990 to restore and preserve the cultural heritage of the movie industry, GUCCI has been a financial partner to the organization since 2006, GUCCI Ginza has one of their theatre to show restored movies.
The movie opens at selected theatres on April 13.
It is time to get your chance to see the movie, go web magazine “honeyee.com” or “.fatale”.
Date: April 6 (Sat) theatre opens at 4:30pm, screening starts at 5pm
Place: Gucci Ginza 6th floor GUCCI CINEMA VISIONARIES (Tokyo)
See detail and enter at firstname.lastname@example.org
Cosmopolis to be shown at the ‘Domestic Arrivals Festival of Canadian Film’ on March 2nd
Domestic Arrivals, the museum’s showcase of Canadian film, takes place from Feb. 28 to March 3. In total, 14 movies will be screened, ranging from hidden gems to Academy Award nominees. Other highlight movies include David Cronenberg’s Cosmopolis (staring Twilight star Robert Pattinson)
SATURDAY, MARCH 2
Cosmopolis, David Cronenberg, 2012, Canada, 109 min, 14A
Arriving in the wake of the Occupy movements and the recent financial collapse, David Cronenberg’s stylish and timely adaptation of Don DeLillo’s apocalyptic satire follows a billionaire financier (Robert Pattinson) as he creeps across an imploding New York City in a limo, his life of absurd luxury collapsing around him. It’s a scenario geared expressly toward Cronenberg’s sensibilities, playing out like Videodrom–or, as The New Yorker argued, Crash–transplanted to the endangered world of the one per cent. With Robert Pattinson, Paul giamatti, Juliette Binoche, Jay Baruchel.
Canada’s Top Ten 2012
Museum London is located at 421 Ridout St. North, in downtown London, Ontario
at the intersection of Dundas and Ridout Streets overlooking the Forks of the Thames River.
Where you familiar with Don DeLillo’s novel?
No. Nut I had read a few of his other novels. First I read the script that David Cronenberg sent me and then the novel. One is incredibly faithful to the other, in a way that it seems impossible, for a novel that seemed impossible to adapt. But even before reading the book, what I was most impressed was the tension without release and the fast rhythm of the script.
What caught your attention the most about the movie?
Cronenberg, obviously. I’ve acted in other movies and non of them reached the level of what I expected working with him would be. He did not disappoint… I knew that it would be very creative and that it would be an authentic experience. And I was also very attracted to the prose in the script, similar to a long poem. And a mysterious poem too. Usually, when you read a script, you know very quickly what is it about, where is it going, how will it end; even if there are unexpected or sophisticated twists, or plot inversions. But this time it was completely different, the more I read, the least I could imagive where was it going and I wanted to be part of it even more. It can no be boxed in any movie genre, it stands as it’s own.
When you read the script the first time, did you see yourself playing the part? Could you imagine how it would look visually?
Not at all. The first time I spoke with David, that is exactly what I told him, that I could not visualize it and he said that he thought it was good that I couldn’t. And at this point, we where not thinking much in anticipation, there was an evolution that was progressive, organic; starting with the text and then going into the many visual options to give form to the movie. It’s a life process. Even during the first week of filming, we would ask ourselves how would the movie look once it was done. It was fascinating, I felt like the movie made itself.