(Videos) Rob #Cosmopolis Interviews with Fox 411 & CBS News (NY Premiere) tnxs @Gossipgyal

 

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Update: #CosmopolisUS theaters opening on 9/7 @eOneFilmsUS

COSMOPOLIS US Theater List

COSMOPOLIS will be opening in the following locations on 9/7. Keep checking back for updates.

Railroad Square Cinema 3, Waterville, ME

Manor 4, Pittsburgh, PA

Fleur Cinema, Des Moines, IA

Dundee (Art), Omaha, NE

Main Art Theatre, Royal Oak, MI

Celebration Cinema Rivertown, Grandville, MI

Celebration Cinema 19, Lansing, MI

Moxie Cinema 2, Springfield, MO

Ragtag Cinema, Columbia, MO

Tivoli Theatre, University City, MO

Cine Theatre, Athens, GA

Downtown West Cinema 8, Knoxville, TN

Sundance Cinemas 8, Houston, TX

De Vargas Mall 6, Santa Fe, NM

Beach Boulevard 18, Jacksonville, FL

Gainesville Cinema 14, Gainesville, FL

Ridgeway 4, Memphis, TN

Theatres at Canal Place, New Orleans, LA

Circle Cinema, Tulsa, OK

Lyric Cinema Café 2, Fort Collins, CO

Chinese 6, Hollywood, CA

The Palm Theatre, San Luis Obispo, CA

Kahala Theatres 8, Honolulu, HI

Valley River Center Stadium 15, Eugene, OR

Opera Plaza Cinemas 4, San Francisco, CA

eOneFilmsUS

(Video) David Cronenberg Mention Rob in "Cosmopolis" at Lincoln Center Q&A tnxs @letmesigndotcom

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This Week's Social Media Power Rankings: Thank to Rob! (Gucci)

theatlanticwire  The social media sphere is an increasingly noisy place, especially for brands. But hiding somewhere in the static are strong signals from companies reaching their customers in innovative ways. The Social Business Index from Dachis Group provides a (free) real-time ranking of more than 30,000 global brands based on their social performance. Every week we're taking a tally of who's getting heard, what they're saying, and why it matters.

This week's Top 20 stayed solid for the most part. As you can see, Procter & Gamble seems to be slipping, and Facebook broke out of its tie with Electronic Arts last week. But outside of the top 20, here are this week's top movers:

PPR can thank one big Twilight star for its jump this week. You see, PPR owns Gucci brand, and it just so happens that one heartbroken Robert Pattinson wore a Gucci suit while at the premiere of his film this week. According to Marshad, "Gucci's post on Cosmopolis premiere (with Pattinson), garnered more than 30,000 Likes, 1,000 Shares, and nearly 600 Comments. " Never underestimate the power of RPatz.

(Video) Screenslam: Cronenberg & Rob talk the Atmosphere On Set COSMOPOLIS (Exclusive Featurette)

DAVID CRONENBERG & ROBERT PATTINSON COSMOPOLIS INTERVIEW (Exclusive Video) - Robert Pattinson stars in director David Cronenberg‘s adaptation of the 2003 Don DeLillonovel, Cosmopolis. The story of Eric Packer (Pattinson), a 28 year-old finance golden boy dreaming of living in a civilization ahead of this one. Riding across Manhattan in a stretch limo in order to get a haircut, his day devolves into an odyssey with a cast of characters that start to tear his world apart. Screenslam sat down with the director and star who spoke about the atmosphere on set, Robert as Eric Packer and why Robert took the role.

On the atmosphere on set:

“I’ve never really worked on something where a director has ultimate control, it looked like very little people were questioning decisions, where as my experience on every film set I’ve ever had is just an unending series of everyone questioning the director, everyone questioning everything about everything and with this there was a very confidant atmosphere on set.” - Robert Pattinson

On Robert as Eric Packer:

“I could tell that he (Pattinson) knew it was good and that he wanted to do it, but he was afraid of it afraid of it in the way actors are often afraid really, which is they don’t want to the one to screw it up because of they weren’t good enough or they’ll be on set and they’ll realize that they don’t understand it and  cant deliver it the way they want, but in Rob’s case he was the one.” - David Cronenberg

Watch the fill interview below:

Screenslam via RPlife
Added YT @Gossipgyal

#Cosmopolis (EOne Film) Dylan Wiley Mentions Rob With @EW

More than just 'Twilight': Robert Pattinson gains broader box office chops with 'Cosmopolis'
EW Robert Pattinson, after years of puckering his sparkling vampire lips and gaining female fans with every perky strand of his swoopy hair in theTwilight films, has finally graduated with alumni cred at the box office, showing he has what it takes to draw in moviegoers beyond the romantic realm of blood-lusty (and just lusty) Edward and Bella.

 Pattinson’s whoozy, philosophy-laden pairing with director David Cronenberg, Cosmopolis, racked up a solid $70,339 in three theaters this past Friday through Sunday, when it opened in tightly limited release domestically, according to box office tracker Hollywood.com. The film, about Pattinson as a disillusioned, overly sexed billionaire making his way across Manhattan to get a haircut, has made roughly $266,900 in North America, including theatrical screenings in Canada. Next weekend the film jumps into nationwide limited release in 60 theaters across the U.S., said Dylan Wiley, vice president of theatrical marketing and distribution for the movie’s distributor Entertainment One Films U.S.

“Rob, with this performance, has shown there is more to him than just Twilight,” Wiley tells EW.com. “This is a very serious actor playing a very serious role with a very serious filmmaker. 
While EW’s review — similar to other critical takes — panned the film itself as flat and robotic, it noted that Pattinson delivers his purposely emotionless role with “rhythmic confidence.” The New York Times said Pattinson “made a fine member of the Cronenbergian walking dead, with a glacial, blank beauty.”

Last year’s traveling circus romance Water for Elephants with Pattinson and blondie Reese Witherspoon ranked No. 3 at the box office in more than 2,800 theaters its opening weekend, making $16.8 million at the box office, a far cry from the latest Twilight installment, last year’sThe Twilight Saga: Breaking Dawn Part 1, which reaped $138 million during its opening weekend, in 4,061 theaters. But Pattinson didn’t fully carry Water for Elephants — Witherspoon did.

In Cosmopolis, he’s the main star, going toe-to-toe with the likes of heavy hitters Paul Giamatti and Juliette Binoche, with the oeuvre of Cronenberg (The Naked Lunch, Eastern Promises, A Dangerous Method) pounding behind him. As Wiley notes, Pattinson’s also in every single scene.

Plus his theater-going fans are growing older. That shrieking TwiHard tween with her tattered copy of Stephenie Meyer’s Twilight book in hand at 2008’s first film premiere? She’s older now, and maybe, just maybe, her tastes have skewed as well.

“The theatrical audience in general ages up every year. When you think about Rob’s fans, andTwilight’s fans, you think of 13-year-old girls. But Rob’s fans now are five years older,” says Wiley.

Box office experts also see some hope in Pattinson, a relatively shy, musically inclined intellectual sort, compared to other Twilight graduates (Taylor Lautner, anyone?).

“Perhaps of all the Twilight folks, he’s the one, with this movie, who has gained credibility,” says Paul Dergarabedian, president of the box office division of Hollywood.com. “His personal life has not been great, but his acting life is just beginning. I think Pattinson has a lot of gravitas, and that translates on screen.”

Mostly, to straddle the hurdles of both mega movie franchise fame and artsy indie flick gusto at the box office, he needs guys to go out and watch him too, not just women.

That may or may not happen with upcoming films such as the Werner Herzog-directed Queen of the Desert, in which he’ll play T.E. Lawrence — Lawrence of Arabia — alongside Naomi Watts. There’s always The Twilight Saga: Breaking Dawn Part 2, the franchise’s fifth and last installment, set to premiere in November.

“The challenge for Pattinson is winning over the male fans, who stayed away from the Twilightfilms,” says Dergarabedian. “I think he can do it… If he were to work with a [Quentin] Tarantino or [Steven] Spielberg, who have that kind of credibility themselves, he’ll gain credibility. He’s still pretty young, and has time to build his career. He may be able to bounce between the big budget films and independently minded films. Look at Jeremy Renner.”

(About) New David Cronenberg "Cosmopolis" Interview On Rob's Casting, Chemistry, Limo & More!

about David Cronenberg Cosmopolis Interview

I didn't read Don DeLillo's book but I'm assuming, just from watching the movie, that most readers would have thought it was unfilmable.

"Well, you know, in my landscape all novels are unfilmable, even the very simple ones, because the literary experience and the film experience are really much more different than I think most people realize.  So, for me, it's always been that my mantra is in order to be faithful to the book you have to betray the book. You have to accept that you're creating a new thing that will somehow maybe resonate with the tone or the feel of the texture of the novel.  But it will not be the novel, it will be different. And I realized that from when I did my first adaptation which was Stephen King's The Dead Zone, which many people felt was the first faithful, honest translation of a Stephen King novel - because there had been many up to that point. But, in fact, it's totally different from the novel but it somehow has the feel of the novel to people and therefore they accept it that way."

"I think if you read Cosmopolis, you will be struck by a couple things. One of them is that the dialogue is almost 100% taken from the book.  It's almost word-for-word. There were one or two scenes that I've left out but basically all of the dialogue is the same, and that's because it was the dialogue that really made me feel that this was a movie - the book. I loved Don DeLillo's dialogue. It's unique. It's so...in a way it's like Harold Pinter or David Mamet. You've got a tone that it is the way people speak, but at the same time it's very stylized.  That gives it a really heightened, very dramatic feel, and you know once you see the movie Cosmopolisand you read some of other Don DeLillo book - White Noise, let's say - you will hear the rhythms. You'll start to be reminded of Cosmopolis in any of his books because of that unique dialogue that he writes. So, there's that."

"And then, of course, in the book there's a lot of internal monologue that goes on within the head of this character, Eric Packer, and that is the stuff that you cannot translate into a movie. You often see what I consider to be quite a pathetic thing which is a voice-over reading of the novel to you like you're a kid at bedtime. While you are watching the movie somebody's reading you the novel, and to me that's always an admission of failure. You haven't accepted that the two things are different and you're not going to be able to do exactly the same thing."

There's also a really interesting flow of characters in and out of the movie. They're there for such a brief time, they make an impact, and then they're gone. There were quite a few I wanted to see more of. Is there anyone in particular you wished you could have kept in the film longer?

"I think 'keep them wanting more' is probably a good rule of entertainment rather than, 'Okay, I've had enough of this guy, give him the hook.' [Laughing] So, I think the proportions are pretty good. I mean I love that aspect of it. The character Eric Packer, he has this environment that he's created. It's sort of a vacuum insulated from the outside world and he forces everybody to come into it, to him, and then he dispenses with them when he's finished with them. You know, it's kind of the rhythm of it. It's like a king and his court, that's why he has kind of a seat that's like a throne in the limo. And so I think that the brutality that he has, the fact that when he's finished with them they're gone and he's onto the next, is part of what he is. So if you feel a little longing for some of the characters, that's probably a good thing."

How close did you keep the relationship between Eric and his wife Elise in the film to the way it was written in DeLillo's book?

"It's strictly from the book, but there was in the book a very strange scene which some people have said to me, 'Why didn't you have that scene?,' in which there's a kind of weird reconciliation that he has with Elise. But it's a scene in which Eric comes across a movie being shot in the streets of New York at night in which there are, for whatever reason, about 150 completely naked extras lying around on the street. He goes in to join them, takes his clothes off, lies down to join them and finds that he's lying next to Elise who is one of the extras, and they have this kind of strange reconciliation. And at that point when I was reading the novel I thought, 'Okay, this is a fantasy of his. There is no way, first of all, that you could shoot this on screen and have it be remotely convincing because this is not the way the City of New York works or the way movies work. You're not gong to be able to do that.'"

"I left it out because I really felt it was a kind of fantasy of reconciliation of his and that it wasn't real. And however surreal the movie is, it has a certain consistent level of its own reality and this felt like it was somewhere else. So other than that, though, all the scenes with Elise and the dialogue that they have are as in the book. And yes, she is never in his limo; she's one he can never get. He can never trap her."

And speaking of the limo, the car is basically a character. How difficult was it for you to get that limo design right, considering how much of the film is set within its confines?

"Well it's not a matter of difficulty, it's a matter of fun. It's exciting. I actually find that I like shooting in confined spaces because you get an immediate ramping up of intensity and so on. It also forces you to become very inventive visually.  You're less likely to fall into cliches when you're stuck that way."

"I showed my crew a movie called Lebanon which takes place entirely inside an Israeli tank and also Das Boot which famously takes place mostly inside a German submarine in the World War, just to encourage them, to know what you can do in a confined space and still be dramatic and still be visually interesting. So, I like that."

"And, of course, we built a limo. It's part of Eric's thing where on the outside it looks like all the other limos, because he's not looking to court celebrity or anything like that; he wants to be anonymous - that gives him a lot of the power that he has in his business.  But on the inside, it's very special so it was really fun doing that."

"One thing that isn't in the book is you don't have that center seat that he has, that kind of throne-like seat. That's just my design. And also, given when the book was written [Don DeLillo] had a lot of screens sliding up and sliding down and so on. I felt we didn't need to do that in the era of the iPad and the iPhone and so on. Now you could have screens built into everything. I thought it was a more elegant design and less fussy."

In casting Robert Pattinson, it's kind of a double-edge sword, You have hisTwilight fans anxious to support him in whatever he chooses to do and then you have the people who dismiss him because he is 'that guy from Twilight'.

"Yeah. In a weird way, on the one hand of course I'm completely aware of all of those elements and also of course when you're making a movie that for an independent movie was relatively expensive, you have to have a leading character who is very charismatic and who can carry the weight and has the star quality and so on, because you're going to be looking at him. He's literally in every scene in the movie, and that's pretty unusual. I mean even in Tom Cruise movies, Tom is not in absolutely every scene of the movie - but Rob is. So he has to have that. But at the same time, you want to forget the movies, you know? You want to forget his movies and my movies because we're creating this completely new thing and you don't know what audience you're going to get. You can anticipate it, you can think about it, but really you don't know. So ultimately when you're making the movie you're saying, 'Okay, I'm here with these actors. They're wonderful actors, I cast them because they're terrific and they will bring great stuff to the script,' and then at that point you're just making a movie and you're not thinking about any other movie."

Needing an actor to carry the film by being in every scene, how did you figure out Robert Pattinson was the right guy to play Eric?

[Laughing] "Well, this is the magic of casting! I think as a director, it's part of your job. It's a really important part of your job.  I think a lot of people don't even realize that the director's involved in casting.  Some people say, 'Did you choose your actors?,' and I say, 'Yes. You're not a director if you don't.'"

"Of course, you're juggling many things, like I say. You're juggling, for example, their passports. This is a Canada / France co-production and we were limited to one American actor. Most people of course don't know that - nor should they. Paul Giamatti is the only American in this movie even though it takes place in New York City. So from that kind of aspect to just finding the right guy...of course he's got to be the right age, there are a lot of things that are just basic. And then after that, though, there are no rules. You as a director just have to intuit that this actor will be able to carry off this role."

"We often talk about chemistry, for example, in movies between actors, let's say.  When I was doing A Dangerous Method, Keira Knightley and Michael Fassbender - how do I know they have chemistry together because I had never seen them in a movie together? They've never been in one; they've never met each other. I don't see them together until I'm actually directing them, so I have to be this kind of dating master who can anticipate that this couple will be good together. It's a strange kind of thing.  So you give yourself credit when it works, and you have to berate yourself when somehow it hasn't worked. That's basically where you're left."

It strikes me with Cosmopolis that the chemistry actually needed to come between you and Robert more so than between Rob and any of his co-stars.

"There's truth in that too. That is the unspoken thing is the chemistry between the director and the actors is the key. And at a certain point I think Rob would...you know, he's a serious actor and he didn't want to be the one who was going to blow this movie. He was kind of thinking, 'Well, I'll be alone in that limo because I won't have one person who is always playing opposite me. It's really a one-man show with a lot of day players coming in.' And I said, 'No, you won't be alone because I'll be there. I'll be with you every moment.' And so that is a real element."

Do you think that you view the character of Eric the same way that author DeLillo did? Or do you think that you two don't necessarily agree on how an audience should look at him?

"I think we actually illuminate things for each other. I've been on the road doing publicity with Don in several countries and I think he was pretty intrigued by seeing what would happen. Because, after all, once you put Rob Pattinson in that role, that's a very specific thing. You've got a particular face and a particular voice and a body, and that's something that the novel can not have. That's one of the things that movies can do that novels can not do, and so it immediately shapes the character in a way that he wasn't shaped in the novel.  So, there are differences, I think, but it's not a major split or divergence.  It's just really shading and shaping things. It's just really hearing the dialogue spoken, which was something that when I read the novel, I thought, 'Yeah, I really want to hear this spoken by really great actors.' Just doing that immediately changes your reaction to the characters and to the words. So there is a difference, definitely."

You said earlier there were one or two scenes from the book that couldn't make it into the movie and you described the movie being shot with naked extras on the streets of New York. Was there anything else you wanted to get into the film but it just would not work?

"I can be pretty brutal in an adaptation. I think, as I say, you have to be, so it's not that I wanted to. One of the other major things was that in the novel, very early on we start reading the journal of Benno Levin, that's the character that Paul Giamatti plays.  He actually writes a journal and we are in his head and we're reading his journal.  And when I met Don in Portugal for the first time, he said, 'I was wondering how you were going to handle Benno's journal and I see you handled it by leaving it out.' I said, 'Well yeah.'" [laughing]

"What I give you is I give you Paul Giamatti instead. I give you his voice and his eyes and his face and the way he moves and his hair and so on. And that's the tradeoff because you can't do a journal in a movie, you know? It deforms it. I mean I basically would have to have somebody reading the journal voice-over, probably Paul, but suddenly you're being read to like a kid. Immediately, it wasn't a question of I wanted to do it, I knew I couldn't do it and so I just didn't worry about it because I felt the last 22 minute scene was just Paul and Rob, and I figured that I'm giving you Paul Giamatti and his performance. That's enough of Benno, you don't need the journal in the movie." Read More at source

(Video) Rob and Cronenberg Interview With Fox - Talks Cosmopolis, His Career

YT| FoxNews Via @lifeloveartfilm | RPLife

Robert Pattinson And Cronenberg talk 'Cosmopolis', Fans With The Republic

azcentral The phone call began with Pattinson and Cronenberg laughing.

Question: Sounds like you two aren't having any trouble having fun.

Pattinson: We rollick and frolic. We have no problem.

Q: And Robert, you haven't been in the news enough lately.

Pattinson: Heh.Q: Your character is a disconnected guy trying to connect. Or maybe it's the other way around. How do you play that?

Pattinson: I think he's just very, very self-obsessed. It's going deeper and deeper into self-obsession until it kind of implodes. It's also just the words. Everything is done for me. I sort of instinctively felt like I knew what to do from the beginning because the script was so good.

Q: Is it tricky to direct someone having a prostate exam (as Packer does in the film)?

Cronenberg: For me? Oh, no problem.

Q: Robert, I assume you're rich. But Packer is incredibly rich. Is there a freedom to that?

A: I think it's actually quite a difficult way to live. I've met a few people who have fictional money (laughing). If you have any interest in the world, it's very difficult to see. Your eyes are totally different to most people. Money really does change people. You have to make an effort to be normal, I think.

Q: Did you go through that when you became successful?

Pattinson: It's different. Dealing with fame is different. Everyone gets stuff thrown at them in life, and you have to figure out how to deal with it.

Q: There's a ton of publicity surrounding you now, good and bad. Presumably you're in a bubble while shooting the film, so not as many people are keeping up.

Cronenberg: In fact, a lot of the "Twilight" fans were keeping up. They made websites, and they had spy-cams. But all of that was really quite sweet. It was quite gentle and quite affectionate, and you had these young girls who had never read anything but "Harry Potter" and "Twilight" before (but) were reading "Cosmopolis," they were reading Don DeLillo and writing about it on their blogs.

Q: Robert, "Twilight" is winding down. What has that been like?

Pattinson: Pretty crazy (laughing). No one ever believes me, but no one involved with the first movie had any idea that it was going to turn out to be what it was going to be. We didn't even know if we were going to make the sequels. You go on this runaway train that I was entirely unprepared for. And at the same time, I was kind of figuring out whether I wanted to be an actor or not, which is kind of interesting. You're in your 20s, you're trying to figure out what you want to do with your life.

Q: What about the fame aspect of it? Isn't that kind of a weird way of life? You can't even walk across the street without someone taking a picture.

Pattinson: Yeah. It's just how you deal with it. Everyone has to figure out how they want to live. It's a challenge.

Cronenberg: I can say that Rob was definitely able to walk across the street in Toronto (where "Cosmopolis" was shot) and no one noticed. And he could go to a bar and he could go to a restaurant. Really, part of it has to do with where you are and how much you're publicizing yourself. If you're Lindsay Lohan and you're making sure that everybody knows where you are at all times, then you know what the consequences will be. But if somebody doesn't want that, there are ways you can do that.

 

The Weekend Estimates For "Cosmopolis" Are Great

Boxoffice

Revised official domestic weekend estimate: $72,327 for COSMOPOLIS from 3 locations. Location avg. = $24,109.

ERCboxoffice

ROBsessedBlog
Update:
latimes The "Twilight" star's latest film, "Cosmopolis," opened in limited release this weekend and took in $72,327, according to an estimate from distributor Entertainment One Films. Playing in three theaters, that amounted to a per-location average of $24,109 -- a decent figure, but one far behind some of the year's more successful releases. By comparison, Wes Anderson's "Moonrise Kingdom"took in an average of $130,749 in the four theaters it launched in back in May.
NikkiFinke Cosmopolis launched its run in the U.S. and qualified as a master of the specialty universe – at least this weekend. After a blitz of media coverage worthy of a studio blockbuster, the David Cronenberg-directed, Robert Pattinson-starrer averaged a fairly impressive $24K-plus in three locations Stateside. The Cannes opener somehow failed to impress Canadian audiences when it opened in early summer (distributor Entertainment One reported its North American cume at $268,900, which includes Canada). Next week, eOne will add 20 markets in the U.S. followed by more at the end of the month.

(Video) David Cronenberg Talks About ‘Cosmopolis’ and Rob at "the Museum of the Moving Art" tnxs @letmesigndotcom

* At the museum of the Moving Art, Thursday night (NYC)

thanks  letmesign

#Cosmopolis Interview: Rob & Cronenberg a well-suited pair (Boston Globe)

Boston Globe: Robert Pattinson, David Cronenberg a well-suited pair

bostonglobe Cult hero filmmaker David Cronenberg and “Twilight” leading man Robert Pattinson rang the opening bell at the New York Stock Exchange last week to promote their new psychological thriller, “Cosmopolis.” Both men agree that their visit was a bit strange. After all, “Cosmopolis,” based on the book by Don DeLillo, is a capitalist critique that, while having been published in 2003, speaks to the Occupy Wall Street movement and creates a disturbing portrait of the emptiness of the 1 percent.

The English actor and the Canadian director, who called us shortly after Pattinson made a much-hyped appearance on “Good Morning America,” admitted that their “Cosmopolis” experience has been odd at times and, much like their film, uncomfortable with a bit of irony. There’s the strangeness of the movie itself. Then there are the “Twilight” fans who love Pattinson enough to expose themselves to an R-rated film about the economy that involves an eccentric millionaire getting a proctology exam in the back of a limo. Adding to the weirdness is Pattinson’s involvement in a very public cheating scandal; his longtime girlfriend Kristen Stewart recently apologized for being unfaithful with Rupert Sanders, the director of “Snow White and the Huntsman.” After Stewart went public, Pattinson disappeared for weeks, was rumored to be hiding out at Reese Witherspoon’s house, then resurfaced, to the delight of the paparazzi, to promote “Cosmopolis” on the red carpet and elsewhere.

It’s been a strange trip, but Cronenberg and Pattinson seem wonderfully comfortable — at least with each other — amid all the awkwardness.

Q. You both have said that you filmed this movie in chronological order, and I know that with many movies, the last scenes are shot first. Was that a luxury — to film from start to finish?

Cronenberg: One of the trickiest things that I had to learn as a director was exactly that. I mean, suddenly you’re forced to shoot the last scene of the movie first. And it’s hard for the actors because they don’t know who they are yet and they’re doing their death scene. As an actor myself, I was in Clive Barker’s movie “Nightbreed,” and the first thing we shoot was my character getting killed. And I said a typical actor thing. I said, “How can I know how to die when I haven’t lived yet?” So it is kind of a luxury. I think Rob can talk about that.

Pattinson: I agree. (Laughs) I don’t think I can add to that.

Q. You have both been very candid in interviews about the fact that you didn’t necessarily know how this novel would translate to film and what it meant to you. Do you have a different interpretation of the text now that you’re finished with the film?

Pattinson: Well, I like it. I don’t think that confusion is necessarily a bad thing. We’ve done hundreds of interviews now and I still find myself coming up with new things to say.

Cronenberg: Those statements that we made, which were very candid, can be misinterpreted as meaning we were inept, incompetent. But not at all. You know, I don’t do storyboards, for example. I don’t really know what I’m going to do at every set up and every shot. It’s all very spontaneous and of-the-moment, even what lens to use. That’s what we’re talking about. We don’t have it all mapped out. We’re trusting the script and trusting the dialogue that is all 100 percent Don DeLillo’s and taken from the novel directly. We know that if we respond directly to that . . . the movie will have its coherence.

Q. You just rang the opening bell at the New York Stock Exchange. What was that like? And what do you think the people there would think of this movie if they saw it?

Cronenberg: All through the halls of the stock exchange they have these monitors built into the walls, and they were all showing clips of “Cosmopolis.” All of the people there who were marshaling us were incredibly excited about the movie and really wanted to see it. And they were incredibly friendly and sweet, and I was suddenly thinking, “This is the wonderful, friendly face of capitalism. I don’t know why I’ve been fighting it for so long. I think I’m going to buy some stock.” [Pattinson laughs.] And the stock exchange is about marketing. To link the starting of the day with some product that’s being marketed was a no-brainer. And the fact that it might be rather ironic that we were opening the stock exchange; I don’t think it occurred to them.

Q. Mr. Pattinson, what did you think of the visit?

Pattinson: I’m so clueless about anything to do with that world. I was kind of just terrified that I was somehow going to mess it up. And also to see people’s enthusiasm. It’s so alien. Even people’s attitudes there. It seems so alien to me. I mean, I’ve met traders before, but in their own environment — everyone’s extremely happy, which is not what I expected. It doesn’t seem stressful at all. They were all excited about seeing who was going to ring the bell this morning. They had the American gymnastics team closing it that day. It looks like a really fun place to work.

Q. You guys seem like you like each other a lot. You seem so close during this publicity tour. I was thinking, when I looked at pictures from the stock exchange visit, that you actually look like relatives.

[Cronenberg and Pattinson laugh.]

Cronenberg: We get along pretty well and we were kind of wearing the same suit. They were Gucci suits that were connected with the movie — the character wears them — and so, we were Tweedledum and Tweedledee at that point.

Q. Mr. Cronenberg, where do you most enjoy promoting your films? You don’t have to say America.

Cronenberg: I have a huge enthusiastic fan base in France. My first films were horror films and genre films, and in France they never had any prejudice against them, whereas in North America, in the old days when I started especially, there was prejudice against them. They weren’t taken seriously as good cinema. So I suppose I feel more comfortable, weirdly enough, in France releasing a film. The level of discourse there is very intelligent, very intellectual, sometimes humorously so, but I like playing that game there.

Q. Mr. Pattinson, how have you taken to the Cronenberg fan base? I imagine that it’s strange to see “Twilight” fans with people who love David Cronenberg movies.

Pattinson: Absolutely. We were in London and we did a Q&A and it was two very diverse groups of people who suddenly came into contact with each other for I think probably the first time. And, I don’t know . . . David’s horror film fans . . . and general “Twilight” female fans . . . are actually quite a good pairing. I think both of them didn’t see anything in each other first of all, but they’re quite a good, odd couple. When you see a bearded guy with long hair, who absolutely will weep [for Cronenberg] . . . and then a “Twilight” fan who will weep at that, they actually look like a couple.

Q. Mr. Pattinson, I have to ask, in reference to all of the talk show hosts who are asking you personal questions right now: I’m always fascinated by the ability of celebrities to just disappear during a controversy. How do you do that? Is there a tunneling system? Where do you go to hide when you’re so watched?

Pattinson: There is a netherworld where celebrities go. They’re the only ones that have access to it. A mysterious little network of boroughs. (Giggles.) 

via rpattzdaily 

#Cosmopolis Interview David Cronenberg On Rob Casting And More

Of course everybody wants to ask you about your star, who unfortunately has decided not to join us today. I guess he has his reasons. How and why did you wind up casting Robert Pattinson?
Well, it begins in a very pragmatic way. You get a list of 10 people from various producers and agents, and you start with the basics. How old is this character, and how old is the actor? This character is young, his age is given as 28. So that’s where you start. Does he feel like the right guy? Eric talks about working out a lot and is very physical, so you’re not going to cast someone who’s overweight. It’s simple stuff like that to begin with. And then you get to the pragmatics: How big is your budget and what kind of star power do you need to get the movie financed?

And here’s something people don’t think about, which is the passport of the actor. This is a Canada-France co-production, so you’re really restricted in the number of Americans you can use. There’s only one American in this movie, even though it’s set in New York, and that’s Paul. So the fact that Rob is British helps, because he can fit into the co-production thing. So that’s the long way round, and ultimately you get to: Does the guy have the chops and charisma to hold the movie together? Because this character is in every scene of the movie, without exception, and that’s very unusual, even for a star.

So I looked at everything I could find that Rob had done, including “Little Ashes,” where he plays the young Salvador Dali, and I thought, yeah, he could really do this. And I think he’s actually extraordinary. It’s ultimately intuition on my part, and casting is a huge part of directing that’s very invisible. Making-of documentaries don’t usually cover the casting process, but for a director it’s a hugely important part of your art. Juggling all those other balls that I was just talking about, and still coming up with the right guy.

I realize I’d be better off asking him that question, but do you think Rob is eager to change his image after “Twilight,” and push into doing different kinds of characters? After this role, and playing a sadistic sociopath in “Bel Ami,” it certainly looks that way.
Well, I know from doing interviews with him in Europe that he’s not really thinking in terms of his career. He gets offered a lot of stuff, and it’s usually very conventional, boring stuff. He’s always been interested in doing unusual stuff. He’ll tell you that when they started with “Twilight,” he thought it was kind of an indie film. Which it sort of was, you know! It had Catherine Hardwicke as the original director, and it was an unusual, off-kilter vampire story. Nobody knew that it would be the kind of mainstream success that it became.

In a way, “Cosmopolis” is a lot closer to his heart than “Twilight,” you know. When he read it, he told me that he was also struck by the dialogue. He thought it was incredibly fresh and new and surprising and engaging, and he immediately wanted to do it. He was afraid, because I think he still hasn’t come to terms with the fact that he’s actually an actor! He didn’t grow up thinking he wanted to be an actor. As with many actors, and not just young, inexperienced ones, he wasn’t sure he was good enough! He wasn’t sure he was the right guy, and he didn’t want to be the guy who would bring down this terrific project. So my job, at that point, was to convince him that he was indeed the right guy. That took me about 10 days, I suppose.

Are you telling me that you have actually watched the “Twilight” movies? That’s a bit hard to imagine.
Yeah — or no, I watched about one and a half of them. I’m interested in everything, frankly. I’m not a snob, you know. I really am curious about everything. If something’s hugely popular, it doesn’t automatically mean I’m going to look at it, but sometimes I’m curious as to why something is really popular, let’s say. In the case of “Twilight,” I was watching it for Rob, that was the thing. It’s not like – I mean, I hadn’t seen them before that.

Read Cronenberg's full interview at the source via RPLife

ICYMI Now In Official YT (HD) "Why Rob was Afraid of Cosmopolis" ET Interview

etonline.com

Rob and Cronenberg talk about Cosmopolis with The Miami Herald

 

David Cronenberg remembers the time Oliver Stone asked him, “David, does it bother you to be such a marginal filmmaker?”

To which Cronenberg, one of Canada’s most admired and famous directors, replied, “Well, Oliver, it depends. How big of an audience do you need?”

Therein lies the secret to Cronenberg’s success. Cosmopolis, his new movie opening Friday, is an adaptation of Don DeLillo’s novel about a young billionaire named Eric Packer who spends a day in his limo riding around New York City in search of a haircut.

There is practically no traditional plot in Cosmopolis. More than half the movie takes place inside the limo, where Eric has meetings with his staff, gets a checkup from his doctor (“Your prostate is asymmetrical”) and even has sex. Although Eric is played by Robert Pattinson, the hugely popular star of the Twilight series, Cosmopolis is a tough sell for the multiplex crowd — a rigorous, challenging and oddly hypnotic movie filled with dense, jargon-heavy dialogue.

At 69, Cronenberg continues to make his heady movies the hard way.

“When you’re a filmmaker, you spend a year and a half of your life — maybe more — putting these things together: You have to get your financing in place and you go after actors who will reject you,” he says. “It’s a difficult process. So the movie has to really excite and intrigue me and make me feel like I’m going to discover something by making it,” he says.

“Naturally, you have to tailor the budget to suit the subject matter. No one is going to spend $200 million on Cosmopolis. But if you’re realistic about expectations and the size of your audience, and you’re willing to work for not that much money, you can come up with very interesting things.”

Cosmopolis’ $20 million price tag still seems high for such an outside-the-box movie, but Cronenberg offset the risk to financiers by casting Pattinson, who appears in every scene. (Colin Farrell was originally set to play Eric, but had to back out due to scheduling conflicts.)

“I got the script out of the blue and was offered the role, which was a little shocking,”Pattinson says. “Usually, the movies I am offered straight-up are terrible. This script felt so original, it was almost gleaming.

“I knew there was a movie to be made here. I was just worried that I might not be the one to pull it off. I kept thinking ‘There are tons of people better than me for this job!’ It took me a while to make peace with that.”

Cosmopolis offered Pattinson the opportunity to try a kind of minimalist acting he hadn’t done before. Eric Packer is a detached, aloof man who rarely expresses what he’s feeling. On the page, DeLillo makes us privy to his thoughts and interior monologue; on screen, Pattinson uses small gestures, the faintest trace of a smile or a frown and the hardening of a stare to convey his inner state.

“At the start of the movie, I am wearing this dark, blank suit,” he says. “I am wearing completely blacked-out sunglasses and I’m standing still, not moving. Every tool actors use for their performance has been taken away from me,” he says.

“But I felt secure because I knew David was watching me — really watching me — and that gives you confidence. Most of the time on movie sets, I question whether the director is even paying attention to what I’m doing.”

Pattinson’s legion of Twilight fans will be befuddled by this coldly fascinating movie, but Cronenberg has built a sufficient following to ensure an audience for the strange brew.

Not everyone will like it, of course. There isn’t a Cronenberg fan on the planet who could honestly say he loves all of the director’s movies. And that’s a testament to the risks he’s taken from the beginning of his 37-year career.
(...)

For Cronenberg, too, the inspiration to adapt Cosmopolis sprang not from grand themes but subtle detail.

“I was simply taken by the dialogue. It’s a bit like David Mamet or Harold Pinter, because it’s realistic on one level — it sounds like the way people speak — but it’s also very stylized. When I transcribed it into screenplay form, it gave the movie an incredible cohesion and resonance. That’s when I asked myself, ‘Is this a movie?’ And I thought, ‘Yes. It’s a really interesting movie.’ ”

Nearly all of the dialogue is lifted from the book, which meant the actors had to sound natural while saying lines like, “We’re all young and smart and were raised by wolves. But the phenomenon of reputation is a delicate thing. A person rises on a word and falls on a syllable.”

For Pattinson, the unusual cadences and word choices felt liberating.

“I felt a physical connection with the writing — I thought it was so good — and I wanted to read it aloud as soon as I got the script, just to see how it sounded. It is so perfectly written. I loved the fact that I didn’t need to put my personal stamp on it as an actor. I just had to perform it in the truest way possible.”

Read the full article at The Miami Herald for more of Cronenberg's comments about Cosmopolis and his career.Thanks RPlife

#Cosmopolis Cronenberg On Rob: "He was terrific and not predictable and dead-on accurate"

indiewire Anne Thompson: Why did you cast "Twilight" star Robert Pattinson as your ice-cold 28-year-old Master of the Universe?
David Cronenberg: Of course you begin with the basics. Is he the right age for the character? Does he feel convincing as a screen presence? Obviously you need someone with charisma to hold the audience for the entire movie. He's in every scene without exception, that's unusual. You want someone proven, who people want to watch, who will never be boring. I knew I would be crawling all over his face for the entire movie, so I wanted someone whose face is constantly changing, through all the angles. And he had to have chops for tricky dialogue. The art of casting is to intuit, to see from what he's done before that he could do this.

Was there a particular performance that gave you confidence
I saw him in "Little Ashes" as the young Salvador Dali. He does a Spanish accent, he was not afraid to play a character of ambiguous sexuality and eccentricity. That probably of all the things I saw made me think he was the right guy.

Did you cast Pattinson with a certain likeability factor in mind, so that audiences would like him in spite of the character he is playing? Feel some vulnerablity?
I really don't care. I want the lead character in a movie to be interesting, fascinating and complex, but to be likeable to me is way down the list. It's not on the list, because it is a simplistic thing for the lead character to must be likable. He has to be watchable, that's the key, and fascinating, and likeable if it works for the project, fine, let him be likeable. If not I don't worry about it.

There are actors who do not want to play unlikeable characters, afraid it will damage their credibility as stars or effect them personally. Actors who are more interested in being actors than stars, like Viggo Mortensen, don't worry about being likeable or not on screen.

How did Pattinson surprise you? 
He literally surprised me every day, as he read dialogue and interacted with the other actors. We were throwing different factors at him almost very day because of the stucture of the screenplay. He really has extended scenes. With one actor at the end, Paul Giamatti, he really let it fly, in that he didn't cling to a preconceived idea of what he should be doing. He reacted spontaneously to other actors as they surprised him and he surprised them. He was terrific and not predictable and dead-on accurate.

How many takes do you do?
One or two. The whole last shot was a long take with Giamatti, three minutes in that last 22-minute scene. Read more at source

Thanks RobsessedBlog

(Video) Robert Pattinson And David Cronenberg On 'Cosmopolis' With ET

via breakingdawnmovie.org source

Denise Cronenberg On Rob's Style in 'Cosmopolis' and Off-Camera

Was the suit Robert Pattinson wore in the film custom designed or can mere civilians get their hands on it, too?

The suit Eric wears in the film is by Gucci: the Signoria, two-button notch lapel, in black. It is definitely available to mere civilians.

It’s a great suit. When you picked it, how did you know this was the suit?

Clothes make the man. The suit, the white shirt and slim black tie, the shoes and belt (all by Gucci) helped Rob become Eric. Once Rob put the clothes on, I could feel the character, and looking at him completely dressed in the fitting, I knew I had made the right choice. And it doesn’t hurt that he wears suits beautifully.

Twenty-five years of dressing actors also helped in the decision. I actually knew it was the right suit just looking at it even before the fitting with Rob. The cut and fabric were beautiful, which is why I chose it.

Men’s style editors love to talk about wearing a suit three or four different ways; Rob’s teaching a master class on that in the film. How does each evolution (fully suited, sans tie, just the trousers and shirt) relate to Eric’s progression over the day?

After reading the script and talking to the director, it was clear that Eric wore the suit well pressed and impeccably styled in the beginning. But as his life started to unravel, his clothes would too.

I always leave room for the actor to decide just how far his shirt should be unbuttoned, or how he feels about a tie or no tie, a jacket or no jacket—whatever would help him play the scene. We (David, Rob, and I) decided Eric should never be too much of a mess.

We would have tried to take the wardrobe home after shooting wrapped. Does that ever happen? 

Yes, people do take, or try to take, clothing home during and after a film. Rob did take one of his suits home (we had seven of them), but I asked him if he would like one. He has so many suits personally that he really doesn’t need any more.

You did one hell of a job dressing Rob for the film. What advice would you give him, if any, for dressing for the red carpet?

It’s not difficult to dress Rob and make him look terrific. He wears suits so well, and Gucci fits him so well. My advice to him is to keep doing exactly what he has been doing—wearing Gucci. You can’t go wrong.

And how about for daily life?

Rob's off-camera look is very relaxed, and it’s his personal taste. There’s also an element of trying to hide, with something like a baseball cap, but really, it’s comfortable. That’s who he is.

Read the full interview at Gilt.com | Robert Pattinson’s Style, on sale now on Gilt MAN.
Thanks RPLife

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