Here’s a new interview of Rob with Rai News – Italy (dubbed but you can hear it some):
Translation
I: Is it weird for you to be here in Cannes with Kristen Stewart, who is in another movie? R: Even my friend is here and it’s really weird; this is the year when Twilight ends and both me and Kristen and my best friend Tom are here in Cannes.
I: Robert pattinson, in this movie you are a vampire of finance. Can we analyze this role in this key? R: I mean, kind of. I actually never considered it to be a movie about banks or Wall street. I don’t think Eric sees himself as a person working in the finance world. I think he believes he made money thanks to finance but what he actually likes are numbers; so i don’t think the movie is necessarily about the conclusion of capitalism, not at all. I don’t even know what it is about.
Here’s a video review by Les in Rocks (in French) about Cosmopolis. We’ll add the translation as soon as we get it.
La première chose qui marque dans ”Cosmopolis”, c’est sa densité. C’est un film dense, très complexe, fouillis, une sorte de gros morceau à avaler qui fait que l’on ne l’apprécie que dans les heures qui suivent la projection.Sachant que David Cronenberg est l’un des 5 plus grands cinéaste au monde, on peut dire que ”Cosmopolis” n’est pas l’un de ses plus grands films, mais que, en revanche à Cannes, c’est l’un des 4 ou 5 grands films qui dominent toutes les compétitions.
Le film est vraiment passionnant pendant la première heure quand il garde comme ça cette esprit totalement abstrait.
L’autre fait seyant du film, c’est Robert Pattinson.
David joue d’une façon très maligne avec le passé de cinéma de ses acteurs. Il joue vraiment avec la personnalité de Juliette Binoche, il joue avec le passé vampirique de Robert Pattinson.
Pour moi c’est d’abord un film de Robert Pattinson.
Ce qui est drôle, c’est qu’il ne joue plus un vampire mais un humain et il est un vampire beaucoup plus inquiétant que dans Twilight. Où l’idée était d’humanisé la figure des vampire.
C’est l’un des grands films formaliste de la compétition avec ”Holy Motors”.
On sent de la lumière chez Cronenberg, du cadre, de la matière même, enfin tout ce qui est dans cette limousine, on a envie de le toucher comme souvent dans les films de Cronenberg. Et il y a vraiment un rapport avec la texture des choses.
Y’a un truc assez génial, c’est qu’à la fin du film de Cronenberg, on demande que font les limousines la nuit quand on ne les conduit pas, et finalement c’est Leo Carax qui a donné la réponse dans son propre film montrant le garage des limousines.
Translation :
The first thing which surprise in” Cosmopolis”, it’s its density. It’s a compact film, a very complex, messy sort of big piece to swallow that make us appreciate it more only a few hours following the screening.
Knowing that David Cronenberg is one of the 5 biggest filmmakers in the world, we can say that ” Cosmopolis” is not one of his greatest films, but, in contrast to Cannes, is the one of 4 or 5 great films that dominates the entire competition.
The film is really exciting during the first hour when he keeps this spirit totally abstract.
The other important point of the film, it’s Robert Pattinson.
David plays with the cinema’s past of his actors in aa very clever way. He really plays with the personality of Juliette Binoche and he plays with the vampire past of Robert Pattinson.
For me it is primarily a film of Robert Pattinson.
The funny thing is that he no longer plays a vampire but a human and in this movie he’s a far more disturbing vampire than in Twilight. Where the idea was humanized figure of the vampire.
This is one of the greatest formalist films of the competition with ”Holy Motors”.
We feel the light in Cronenberg, the surroundings are important, and everything that is in the limo, you want to touch it as often as possible in Cronenberg’s films. And there’s really a connection with the texture of things.
There’s a pretty awesome scene at the end of Cronenberg’s film, we question ourselves where the limousines are at night when you do not drive, and ultimately it is Leo Carax who gave the answer in his own film showing the garage for limousines.
Rob: I remember the first conversation we had was on the phone cause I had to wait a week before I said yes ’cause I was, I didn’t … Normally you have to … actors are good at bullshiting, no matter what the script is, you’ve got something to say about it. You even have to admit if you hate it but you have something to say. And with this one, I just couldn’t … I was like, I know there was … I know it’s about something but I don’t know what it was about. But David just said, you know, he doesn’t know what it was about either but there’s just something interesting there.
Rob: I guess slightly more obscure things. I mean especially with the fact that this one had a strange script already and it’s in competition in Cannes. There’s no logic to the world. David: There is none.
Rob: What I liked about it in the first place was the cadence of the lyricism of the writing. I think that’s what I enjoyed playing about it ’cause you couldn’t really approach it like a normal part, it was like, you’re approaching it like it was a song or something.
Rob: It was one of the strangest things when we were shooting, we had one scene by the train station, the first shot of the movie, and we’ve been inside the limo during the whole shoot and suddenly I have to get out and there was like … Twilight fans and stuff and I was .. I’ve never been more nervous in my entire life. That was … it was terrifying. source | via | source | youtube | via | via | via
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