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.
Some rumors are so good, that they even get the movie stars involved believing. Even if it’s only for a few minutes.
Robert Pattinson woke up Saturday morning at the Cannes Film Festival, the morning after his triumphant premiere in Cosmopolis, and saw internet reports that he was being considered for Catching Fire, the sequel to the The Hunger Games.
“I woke up this morning and saw all these things about me being cast in The Hunger Games,” Pattinson tells USA TODAY. “I was kind of curious for a second. So I called my agent.”
The response?
“My agent was like, ‘No,’ ” Pattinson reports.
“(My agent) was like no one’s going to offer you that part,” Pattinson says, breaking into a laugh. “I was like, thanks for the reassurance.”
But Pattinson was riding a high after his new film Cosmopolis (due out in the U.S. in August) received a standing ovation in Cannes with girlfriend Kristen Stewart in attendance.
Even that was stressful. The ovation came after director David Cronenberg warned him that the Cannes audience can be harsh.
“David tells me the night before, ‘I’m fully expecting some boos,’ ” says Pattinson. “I was literally like, ‘Why are you telling me this?’ ”
“I literally didn’t watch one second of the movie, I was waiting for people to walk out,” says Pattinson. “I was expecting a fight.”
It was only hours afterwards that Pattinson was able to wind down at the film’s afterparty.
“It took a full three hours of continued panic,” says Pattinson. “Full adrenaline. It was just too weird.”
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.
Robert Pattinson
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Robert Pattinson
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