Cosmopolis is nominated for an International Cinephile Society award
• Cosmopolis – David Cronenberg
• The Deep Blue Sea – Terence Davies
• Lincoln – Tony Kushner
• Oslo, August 31st – Joachim Trier, Eskil Vogt
• Rust and Bone – Jacques Audiard, Thomas Bidegain
Winners of the 10th ICS Awards will be announced on February 9, 2013.
Canada’s Top Ten celebrates and promotes contemporary Canadian cinema and is intended to raise public awareness of Canadian achievements in film.
|Friday January 11
|Saturday January 12
David Cronenberg will be at the Friday night screening of COSMOPOLIS but not the Saturday screening.
Here’s a short video of David Cronenberg and Robert Pattinson talking Cosmopolis and a little behind-the-scenes footage.
David Cronenberg’s interview with Movieline
The Blu-ray release of Cosmopolis is coming out in the heart of Oscar-campaign season. I get the sense it doesn’t bug you too much that this film isn’t being discussed more as a contender.
Yes. Every year I try to be as disconnected as possible. This year it’s been very easy because we haven’t been nominated for any awards. It’s not sour grapes, it’s not compensation; it’s a relief. It’s very easy to get caught up in it if you are nominated. The people who are releasing the movie get excited, they want you to do more, and you understand it because the awards can maybe get more people to see the film. This, on its face, is a good thing. However, it is all bullshit, it is all annoying and it is all very problematical. But it gives people stuff to write about, gives structure, we understand. But I won’t be watching any of the awards shows.
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From The London Film Review:
Click here to see the rest of the list.
Here are some old/new pics of Robert Pattinson in Cannes.
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From The Province:
Director Steven Spielberg’s political backroom history tale Lincoln and David Cronenberg’s New York limo odyssey Cosmopolis have emerged as this year’s front-runners as the Vancouver Film Critics Circle narrowed its short list for the year’s best international and Canadian movies.
Canadian director Cronenberg’s Cosmopolis leads the home-grown competition with four nominations: best Canadian film, best director, best actor for Robert Pattinson, and two best supporting actress nominations, for Sarah Gadon and Samantha Morton.
The Vancouver critics, drawn from radio, TV, newspaper and online outlets, hand out their awards Jan. 7.
Joining Pattinson as nominees for best actor in a Canadian film are: Melvil Poupaud for the gender-issues drama Laurence Anyways; Michael Rogers for the B.C.-filmed sci-fi drama Beyond the Black Rainbow.
Joining Cronenberg as nominees for best director of a Canadian film: Panos Cosmatos, Beyond the Black Rainbow; Sarah Polley, Stories We Tell.
Read the full article here.
Twilight vamp Robert Pattinson plays a bloodsucker of an altogether different kind – the Wall Street kind – in his new movie Cosmopolis, on Blu-ray and DVD New Year’s Day, and the film’s director David Cronenberg tells ETonline that he was actually quite impressed with what Rob brought to the table, and that after the baggage of casting — once you get to that point when you’re on set and cameras are rolling – “Twilight is irrelevant.”
“He surprised me every day with good stuff,” says Cronenberg. “I don’t do rehearsals, and I try not to shape the actor’s performance at first. I want to see what his intuition is going to deliver. And then if there’s a problem then I start to shape it, nudge it, manipulate it a little bit. I did very little of that with Rob.”
Based on the novel by Don DeLillo, Cosmopolis follows one day in the wild life of multi-billionaire asset manager Eric Packer, who travels aimlessly through the streets of New York City in his limousine while conducting investment trading from the back seat. As the day progresses, it devolves into an odyssey with a cast of characters that start to tear his world apart.
“He absolutely would say to you right now, ‘I had no idea what I was doing at any time,’ and he would mean it,” says the veteran director of Rob’s performance. “I think he really didn’t realize how good he was. … He was surprising himself, but he was surprising me by his accuracy. It was just dead on. I mean, by the end of it we were doing one take. Honestly the whole last scene, the whole last shot in the movie with him and Paul [Giamatti] — one take. And it’s a long take as well. And it’s very emotional, and very subtle. One take for both of them, it was so good. … In fact, we finished the shoot five days early, and a lot of that was due to Rob.”
Of course, when Cronenberg first cast Rob, he had to overcome what he calls Twilight “baggage,” explaining, “You often have to consider what we call baggage for an actor, and you have to decide whether it’s a problem or not. I hate the idea of it because I know I’m going to be on the set with the guy at three in the morning shooting in the streets of Toronto, and none of that stuff is relevant. We’re just two people trying to make the movie work. So his past performances, or his fame, or lack of it, or whatever the factor is, is at that point irrelevant. What’s relevant only is what we can do creatively with each other.
“On the other hand, when you’re financing a movie you have to have lead actors who have some weight and some substance and will attract investors so that you can get your movie financed, so it’s a weird situation,” he continues. “Aside from the fact that yes, he was an exciting and interesting, surprising choice in terms of how investors viewed it — and it worked because we got the financing for the movie — after that Twilight is irrelevant, you know?”
What mattered most to Cronenberg was that his lead could carry the scene and had the proper charisma: “It starts very simply with is he the right age, does he have the right look, does he have the right presence onscreen?” he says. “He is in absolutely every scene in the movie, and that’s really quite rare. Even in a movie with Tom Cruise, you don’t see Tom in every scene. But in this case you do, and so he has to have some charisma. You have to want to watch him for that long and that intensely, because I knew I was going to be crawling all over his face with the camera.”
Of course, it wouldn’t be a David Cronenberg film without a little oral or anal fixation – themes prominently placed in such films of his as Naked Lunch, Dead Ringers and Videodrome – and there’s an especially amusing scene during Cosmopolis in which Rob gets examined by a doctor in his limo and discovers that he has an “asymmetrical prostate.”
“Orifices are the entry and exit of our bodies, and that really talks about identity and where the boundaries of an individual identity end and where the environment begins,” says a straight-faced Cronenberg, adding with a laugh, “I could do an academic analysis of my own movies, but that wouldn’t help me create [my new] movies. … You could do that analysis and make those connections amongst the movies, and you’d be correct.”
Source / via
A lot has been said about your unconventional choice of Robert Pattinson for the lead role.
The thing I liked about Rob Pattinson as an actor is that he’s a serious actor. And you could lose sight of that, because he’s had this big popular success with the Twilight movies, but he is not afraid to play a character who is difficult to like, you know, because some actors are afraid to do that, because they feel it is too personal, that they themselves will not be liked by their audience, and so on. But a real actor is not afraid to play an unsympathetic character, and Rob is a real actor.
Also, I think to be an actor, you need intelligence, first of all. For example, Rob immediately realised that the script was quite funny, and most people don’t get that. Then you want sensitivity to the subtleties of the movie, in terms of what is going on in the movie, the dialogue and so on. And Rob, personally, is very knowledgeable about cinema.
(chuckles) I don’t think his Twilight fans realise this about him, but he’s really an aficionado about art cinema. I mean, on the set I’d find him talking to Juliette Binoche about obscure French cinema, (chuckles) so you know, he brings a real depth of understanding of the history and art of cinema and all of those things mean that you have a lot of power and a lot of responsiveness from your actor as a director. It’s like driving the Ferrari instead of driving, you know, a Volkwagen Beetle. And you get that with Rob. I must also add, he’s very down to earth and very easy to work with. He’s not diva at all, you know. He’s really a sweetheart.
Read David’s full interview at the source | Via | via RPLife
Cosmopolis makes Sight and Sound’s Best of 2012 List
Decided by a poll of around 100 critics, Paul Thomas Anderson’s “The Master” has topped Sight & Sound’s Best Of 2012. American cinema made a particularly strong showing, with Benh Zeitlin’s “Beasts Of The Southern Wild” and Wes Anderson’s “Moonrise Kingdom” also making the grade. Leos Carax, Miguel Gomes and David Cronenberg continue to get international love as “Holy Motors,” “Tabu” and “Cosmopolis” all find slots
here, as they did on the Cahiers Du Cinema list. The lone UK film is “Berberian Sound Studio” which is a nice boost for the little thriller.
Do you like this selection? Check out the full slate below courtesy of Film Detail.
“Sight & Sound” Best Of 2012
1. The Master (Paul Thomas Anderson, USA) (review)
2. Tabu (Miguel Gomes, Portugal/Germany/France) (review)
3. Amour (Michael Haneke, France/Germany/Austria) (review)
4. Holy Motors (Leos Carax, France/Germany) (review)
5. Beasts of the Southern Wild (Benh Zeitlin, USA) (review)
= Berberian Sound Studio (Peter Strickland, UK/Germany) (review)
7. Moonrise Kingdom (Wes Anderson, USA) (review)
8. Beyond the Hills (Christian Mungiu, Romania/France/Belgium) (review)
= Cosmopolis (David Cronenberg, Canada/France/Portugal/Italy) (review)
= Once Upon a Time in Anatolia (Nuri Bilge Ceylan, Turkey/Bosnia & Herzegovina) (review)
= This is Not A Film (Jafar Pahani & Mojtaba Mirtahmaseb, Iran) (review)
Source | Via