From June issue of Russian Phychologies. Translation by Christine:
Cronenberg’s latest films from the point of view of thought and influence could not compare with his “Crash” “The Fly” and “Dead Zone” but in Cosmopolis the “action Psychologist” shows his previous might. In the screen adaptation of the novel by Don DeLillo-a post modernist novelist (or American umberto eco) he creates the image of modern world- the world with every technological comfort but which is full of violence. Protesting against universal functionality/purposefulness is a young billionaire-never leaving Manhattan, in just 24 hours he loses all his material and social assets and acquires a real “self”. And wonderful actor -Pattinson, whose talent showed even playing a young vampire, creates the image of a whole generation of baby boom children-young people feeling they should be billionaires just by the right of birth in the environment of “Golden Billion”. Cosmopolis– , expressive, gloomy/impenetrable without illusions -it mostly reminds us of Edvard Munch’s painting “The Scream” and you should agree that not often do we feel like comparing modern films with real pieces of art.
At the bottom of the article shows four stars equaling brilliant/excellent and Cosmopolis received 4 stars.
Cannes, May 21, 2012 – FilmNation Entertainment has acquired the majority of worldwide rights to The Rover from Animal Kingdom writer-director David Michôd (Hesher). Michôd has written the script based on a story he conceived with Joel Edgerton (Zero Dark Thirty, The Great Gatsby).
This deal marks FilmNation’s migration into the acquisition space after ramping up their film investments and development slate. In addition to a full-fledged international sales arm, the banner now effectively develops, finances, and produces projects in-house as well as acquiring filmmaker driven content.
The Rover is set in the Australian desert in a dangerous and dysfunctional near future. Eric has left everything and every semblance of human kindness behind him. When his last possession, his car, is stolen by a gang of dangerous criminals, Eric sets off to track them down and is forced along the way to enlist the help of Reynolds, the naïve simpleton member of the gang left behind in the bloody chaos of the gang’s most recent escape.
Eric Maddox talks about approving the decision of casting Rob, meeting Rob for 14 hours earlier this month, how committed he is to the project, scouting locations in Iraq and more.
At 11:10 talks about having the final decision on Rob’s casting and 22:38 talks about meeting Rob and more about the movie
The Telegraph on-line posted this article that mentions Robert Pattinson
In the 30 years since Colin Welland collected an Oscar for Chariots of Fire and famously declared: “The British are coming!” there have been plenty of false dawns.
British actors flocked to Hollywood only to find themselves cast repeatedly as villains, fops and toffs. But this year’s Cannes Film Festival proves that US studios have finally fallen for the charms of the British leading man.
The three major US films in competition all have British actors playing American leads.
Tom Hardy is the star of Lawless, a Prohibition-era gangster film in which he plays the toughest of three bootlegging brothers in rural Virginia.
Robert Pattinson, he of the teen Twilight franchise, plays the lead in another literary adaptation, Don DeLillo’s Cosmopolis, as a billionaire Manhattanite.
And the long-awaited adaptation of Jack Kerouac’s On The Road, that most quintessential of American novels, stars Yorkshire’s Sam Riley as Sal Paradise.
It is a state of affairs mirrored in US television, where British actors are slipping seamlessly into US lead roles, from Hugh Laurie in House to Damian Lewis and David Harewood in Homeland.
Industry watchers say we have entered a golden age for Brits in Hollywood.
“It’s what I call ‘Hugh Laurie Syndrome,” said Tim Gray, editor of trade bible Variety.
“When Laurie appeared in House, Americans said, ‘Who is this actor? I love him, he’s great’. Then we found out he’s British, and it’s like a magician has pulled a trick on you. People like to be fooled sometimes.
“In films, it started with Christian Bale in Batman, who showed that British actors can be better at playing Americans than Americans themselves.
“And now it really is a trend. Hollywood people are very imitative, very superstitious. If something is successful, then let’s repeat it.
“Also, there are a lot of good actors in the world. If you go to any gym in LA, you walk in and there’s 10 really great-looking actors working out. Go to an audition and there’s 20 great-looking actors sitting there. So if you’re looking for somebody with something different, British actors stand out. And there is that element of snob appeal: ‘He’s not only talented but he’s a Brit.’”
The new wave of British actors have also mastered flawless American accents.
Gray said: “In the 1970s, the British would push it a little too hard, they over-enunciated and would say, ‘You stoopid person’.
“Now they are really good. It’s partly the training, and partly because British actors I talk to say they grew up watching US films and TV shows.
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