INTERVIEWS: David Cronenberg talks about Howard Shore and Metric, the limo as metaphor and MORE

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The US release of the Cosmopolis Bluray/DVD has brought on a slew of new David Cronenberg interviews. This batch is from Details, The Playlist and IFC.

IFC: They have a feature called “Call-In Commentary ” where they ask directors to weigh in on their film trailers. The Cosmopolis trailer had some heat from folks because they felt it didn’t represent the film but I like what David says here and agree very much with his last sentence. Click HERE to watch the video and be sure to check out his commentary on the whole film in the Bluray/DVD special features.

The Playlist: They got to interview David Cronenberg and talk to him about his novel, Maps To The Stars and of course, Cosmopolis! An excerpt:

Howard Shore was instrumental in reaching out to Metric to do the score for “Cosmopolis.”
Among the many unique touches within Cronenberg’s dizzying “Comopolis,” was a score that included music from Canadian rock group Metric. And the director credits composer Howard Shore, who also worked on the film, for getting the band involved. “He is very collaborative and very inventive. When he mentioned Metric and thought that their music would be a really good fit, I thought it would go well with the movie,” Cronenberg said. “And I really depend on Howard and that collaboration because he really does know so many people in the business and his tastes are very broad and he really does have an appreciation for all types of music. You can always really depend on him to bring in really interesting elements into your score. And he did.”

David Cronenberg says Robert Pattinson surprises him as an actor, just like Viggo Mortensen.
Many wondered if how “Twilight” star Robert Pattinson and director David Cronenberg would mesh, particularly on a project as talky as “Cosmpolis,” which requires a confident and compelling leading man. But as it turns out, Cronenberg had a great time working with the young actor and has nothing but praise for the rising star.

“I really think he’s a terrific actor. He’s extremely inventive. He surprised me every day on ‘Cosmopolis’ with the nuances and things that he did which were unexpected. Of course I was very familiar with the dialogue and yet he would surprise me,” Cronenberg enthused. “And I thought, this is a guy who I would like to work with some more, which is how I felt with Viggo Mortensen. When you find an actor who surprises you everyday, you figure, he could do it some more with a completely different role in a completely different movie.”

Click HERE to read about David’s comments on his next film, Maps To The Stars. We’re going to be covering that film as well. For now, you can follow us on twitter:


RT @: David Cronenberg (…) Talks Working With Robert Pattinson, ‘Map To The Stars’ & More http://t.co/mQkQRAR0
@MapstotheStars
Maps To The Stars

Details: Another great interview with David Cronenberg and the author was pretty stoked about it :)


Remember a few weeks ago I said that I got to interview another of my “bucket list” fav directors of all time? It was DAVID CRONENBERG!!
@scottneumyer
Scott Neumyer

DETAILS: You directed Fast Company (1979), Crash (1996), and now Cosmopolis. What is it about sexy cars that keeps pulling you back in?

DAVID CRONENBERG: The car here is very metaphorical. It’s a time machine. It’s a time capsule. It’s a spaceship. And it’s a tomb in a way. It’s a mausoleum for [Cosmopolis character Eric Packer]. It really has metaphorical import more than car import for me.

DETAILS: Did spending most of the film inside the limo feel more like a limitation or a freedom?

DAVID CRONENBERG: I actually like shooting in confined spaces. I find that you get an automatic enhancement of intensity and it’s also a really interesting visual challenge. Prior to shooting, I showed my crew Lebanon, which is this Israeli movie that takes place entirely inside a tank and Das Boot, which takes place almost entirely in a submarine. Just to encourage them to feel not the limitations, but the creative possibilities.

DETAILS: There’s a very slick, high-tech fashion to the film. What was your inspiration for the look of Rob’s character?

DAVID CRONENBERG: It all comes from what the characters are supposed to be in the movie. They’re both very wealthy. They’re both very comfortable with their wealth. It’s interesting because some people have asked, “Is Rob’s fame a parallel to Packer?” And I say, “No, quite the contrary. Eric Packer is not famous at all. He doesn’t want his name in the paper.” He dresses well, but sort of conventionally. In fact, Rob said that he wanted the guy to be dressed in almost a non-descript way. It’s expensive clothes, but it’s not flashy.

David continues to talk about Cosmopolis, Maps To The Stars and more so click HERE to read the whole interview!

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INTERVIEW: David Cronenberg talks in-depth with IGN about Cosmopolis, the Bluray/DVD special feature, Batman and MORE

David Cronenberg continues to give us great, in-depth info on Cosmopolis and mentions the awesome special feature included on the Bluray/DVD (available NOW! Check our sidebar for links.)

David Cronenberg Attends 'A Dangerous Method' Photocall in Madrid

IGN: Many people left Cosmopolis with questions, how do you feel that features like “Citizens of Cosmopolis” are going to illuminate things, or further the conversation?

David Cronenberg: I think the “making of” is actually longer than the movie, so it should do something along those lines. Obviously anyone who bought the DVD is interested enough in the movie to pursue it. I think one of the reasons that I like doing a really good “making of” is that we try very hard when we do that to not just make it a sort of fluff piece where everybody says, “it was great working with everybody,” but to really show what the process of making the movie was. As a result, for example, it’s great for film students and film enthusiasts because it’s as close as some people get to really being on a film set. And in this case it’s an unusual film set, obviously, because of the limo and so on. So we really took a lot of care to make sure that it was accurate, honest, straightforward and illuminating.

IGN: One of the things that the film is dealing with, thematically, is what the marketing materials refer to as “contemporary obsessions.” In other words: money, power and technology. In my mind our obsessions are the same as they’ve ever been, they just kind of have a different coat of paint. We’ve been obsessed with money, power and technology through the millennium, starting with fire, it’s just that it looks different, now. I’m wondering what your perception is, though. Do you think a technological obsession is specifically a contemporary concern? Or are these just human obsessions?

Cronenberg: I think that’s accurate, yeah. I mean it’s well known I think, if you’re an artist, that you have to be very particular in order to be universal. You have to be very specific, and Don Delillo chose the world of finance and this particular character and his sort of bubble/hermetically sealed existence in that world to really talk about the human condition in general. I think that’s the way it works. So, although you could see the movie and the book as being about finance on Wall Street, I think that’s just a jumping off spot to talk about more universal aspects of what it is to be a human being.

IGN: One of the things that feels universal in the movie is the idea of razing, or destroying things. There’s kind of a revolution going on as Robert Pattinson’s character, Eric Packer, is razing (intentionally or not) his company, and in effect his life – his marriage, his relationships and so on. For you, is that about doing what’s necessary for change? Kind of like burning the earth.

Cronenberg: Well it’s kind of a cliché that capitalism is creative destruction, but there’s some truth to that. I mean capitalism doesn’t exist outside of human society. There’s no natural equivalent to capitalism, really. Although people like to think of it as survival of the fittest, or this or that, in fact it’s a uniquely human invention. It’s kind of strange isn’t it? Because we invented money, but we can’t control it. You know you’d think that the world could also say: “Look, we’ve invented this, and things are going wrong, and we’re all suffering, so let’s just fix it, because we can.” It’s not the same thing as a natural disaster like a tsunami or an earthquake where we can’t control it. But it seems to take on a life of its own so that a financial disaster is like a tsunami. It’s really intriguing, and I think that the movie discusses that on a metaphorical level.

IGN: This particular character, Eric Packer, is forced into a confrontation with this other side to himself in the Paul Giamatti character, Benno Levin. They’re like two sides of a coin and Packer’s confrontation with Benno amounts to the final destruction of his ego and the life he had created for himself, and buried himself in. It feels like in order for him to have that confrontation that there has to be a level of violence between them. I’m wondering if that’s part of your overall interest in violence, the idea that the violent destruction of the ego is in some ways necessary for each of us as individuals.

Cronenberg: It’s so interesting that you say that because in the movie I made before this, A Dangerous Method, the character played by Keira Knightley, Sabina Spielrein, one of her revelations was the destruction of the ego in sexuality and the sexual act, and the fear and the anxiety that that alone can cause. So, the protection of the ego can be quite a desperate undertaking. I think if you look at it, you’ll see that every day in your social life. With Eric, he comes to a point where he wants to disappear, he wants to dissolve. He wants to destroy the ego that he has created. And that means also destroying the life that he’s created for himself. That’s what he’s seeking. People were very shocked when he shoots Torval, his bodyguard in the film, and I think perhaps wondered why he would do such a thing. Torval, though he’s hired to protect him, is not just a bodyguard, he’s also a he represents the life that Eric has created for himself. He represents and embodies that, so the first thing he has to get rid of is Torval, if he’s going to get rid of his life. Because Torval nags him to be careful and protect himself, he’s really protective of the life that Eric has created. So you get this strange paradox where he has to destroy a person that he’s hired to keep himself safe.

Click HERE to keep reading this great interview! 

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VIDEO: Grab the Bluray/DVD for a fantastic feature film length extra + Cronenberg & Pattinson talk Cosmopolis

Cosmopolis is available on Bluray/DVD as well as OnDemand outlets (cable, iTunes, Amazon, Walmart). Be sure to pick up a copy of the Bluray/DVD just for the Citizens of Cosmopolis special feature. It’s the length of a feature film and gives an exceptional inside look into the making of Cosmopolis. The commentary is invaluable and all fans and cinephiles will love it!

Here’s a short video of David Cronenberg and Robert Pattinson talking Cosmopolis and a little behind-the-scenes footage.

Thanks Laurie!

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INTERVIEW: David Cronenberg talks Cosmopolis, Bluray extras, award campaigning, ‘Maps To The Stars’ and more!

Movieline has a great interview with David Cronenberg. We excerpted the bits about Cosmopolis and the final note on Maps To The Stars but visit Movieline to read the interview in its entirety.

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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.

End of the year lists, though — Cosmopolis did end up placing second in Cahiers du Cinema‘s top ten of the year.

Yes and on Sight and Sound‘s list, as well.

So the snooty-pants Euros are digging the movie. And, it’ll no doubt end up somewhere on my top 20, I think. [Note: it came in at #12.]

If I gave you money would you put it higher?

No. Well?

Depends how much money. C’mon, let’s talk. A hundred grand goes a long way.

Would you give me a hundred grand to write that Cosmopolis is the best movie of the year?

No! [Laughs.] But it’s a thought.

Let’s be honest — at this stage in your career, let’s say you met the most reputable critic in the world, you met him at a bar and he said, “Oh, man, I’m in a real money crunch right now, I will make Cosmopolis my #1 of the year for X amount of dollars,” do you consider it for a second?

No. But that’s because I’m too cheap. But… fact is, I have been on those lists, New York Times has been very positive on my last few movies, we got three great reviews from three critics at the New York Times for A Dangerous Method. But we still didn’t get…[laughs]…it didn’t…

Still nobody in the States sees your damn movies, it’s Europeans only!

That’s right. It doesn’t do much. But, listen, you like the validation, especially when they are intelligent people who write beautifully and when they applaud your movie it is terrific and gratifying. Pragmatically, it doesn’t do much. Better to get good reviews over bad, obviously, but we all know terrible movies that got terrible reviews that made a lot of money. There’s no one to one relationship. You just have to get very ’60s… just go with the flow.

Cosmopolis is coming to Blu-ray and – OW! Oh, crap, the cat just jumped on me.

I like cats.

Yeah, he’s adorable, but very heavy. Sorry, so… Cosmopolis on Blu-ray. Special deleted scenes on here?

I’m usually reluctant to include deleted scenes. They’re deleted for a reason. I like the the magic. On A History of Violence I included one or two because they were unusual, but that’s the only time I’ve done that. On the other hand, I really appreciate a good “making of” documentary. I find that film students and film fans who might otherwise never get on a film set might really see something if you, the creator, are honest. Of course, I’m not doing the “making of” myself — I’m too busy making the movie — but I do encourage the reality principle. I don’t want the “making of” to just be a promotional spot. Similarly, when I do a commentary, as I’ve done for Cosmopolis, I don’t bullshit. I don’t just say how wonderful is to work with or how much fun we had at the wrap party. I talk about the making of that particular moment we’re looking at.

Cosmopolis is all green or blue screen and interiors designed to look like exteriors, correct?

Yes. There were hybrid sets with street furniture, then beyond that was all green screen. It’s amazing how convincing it is. For me, the best special effects are the ones that are invisible. I’ve created creatures, like for eXistenZ and other films, but mostly special effects are a wonderful tool for invisible things like that are very convincing that you couldn’t have done before.

Is your next project ready to go?

Finishing my novel right now, and I hope to be shooting Maps of the Stars in May, written by Bruce Wagner. However, it is an indie project which means, therefore, that it could fall apart.

Well, the novel is just you and the page, so you’ll have no easy excuses there.

That’s it. I’m hoping it is published at the end of next year.

Click HERE to read the entire interview.

We are gathering a list of Cosmopolis rankings for 2012 HERE.

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Cosmopolis is making a statement! Compilation of the ‘Best Of 2012′ lists!

Cosmopolis is available NOW! Buy HERE and look for instant download links at the top of the sidebar. 

UPDATE: New lists added all the time. Scroll down and look for (new) to see if you missed any.

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The film made appearances on MANY Best Of lists for 2012. We’ve been posting them but wanted to provide a cumulative post that we’ll sticky to the top of the blog. If you see any that are not included, drop us a tweet, email or leave it in the comments.

Congrats to David Cronenberg, Robert Pattinson, Don DeLillo, Paulo Branco, Martin Katz, Sarah Gadon, Paul Giamatti, Juliette Binoche, Kevin Durand, Emily Hampshire, Samantha Morton, Jay Baruchel, Mathieu Amalric, Patricia McKenzie, Gouchy Boy, K’naan, Howard Shore, Metric, and all the remaining crew and fans of Cosmopolis!

BEST FILM RANKINGS

  • The Cinephiliacs/Peter Labuza: Number 1 film of 2012!
  • Cinemart: Number 1 Film of 2012!
  • City Connect: Number 1 Film of 2012! “I know this is going to raise a few eyebrows, but I can explain. Yes, the dialogue is strange – that’s why it’s the best written movie of the year. And yes, it makes no attempt to emotionally engage with the audience – but that’s the point. Cronenberg is presenting to us an uncomfortably realistic vision of the future, where capitalism leaves us as emotionless unsatisfied vampires. It’s proved to be a little too distant and unattached for some people, but for me it was a work of sheer brilliance.”
  • Art Forum/Amy Taubin: Number 1 film of 2012!
  • San Francisco Bay Guardian: Number 1 film of 2012!
  • Cahiers Du Cinema: 2nd out of 10
  • The Password is a Swordfish: 2nd out of 10
  • Huffington Post: 2nd out of 10
  • Out 1: 2nd out of 13
  • The Film Stage: 3rd out of 10 
  • Philadelphia Weekly: 3rd out of 10
  • Film Capsule: 3rd out of 10 – “Cosmopolis is a slow, maddening descent into the hollow center of modern America, a vain search for meaning in an age of endless, pulsating data, and a trip across town to get a haircut. In other words, Don DeLillo’s heady novel is perfect material for director David Cronenberg, who has long proven adept and unusually insightful at making our technological fetishes grotesquely literal.”
  • (newThis is Culture: 4th out of 5
  • L Magazine: 4th out of 25
  • Film News (UK): 4th out of 10
  • Phil on Film: 6th out of 10 
  • Some Came Running: 6th out of 25
  • MSN Movies: 6th out of 10
  • Achilles & the Tortoise: 6th out of 10 
  • The Alamo Drafthouse Programmers: 7th out of 10 – “In my experience, the audience laughed uncomfortably throughout, or walked out of the theater during, scenes that to me read as wholly sincere, unable to process its heady mix of intellectual demagoguing, primal attraction, and oddly uncinematic staging. There are moments in this narrative where nobody talks, where the walls of the white limo block out any outside sound whatsoever — in other words, moments of total silence. Robert Pattinson’s character and the story that surrounds him exist in a world within and yet without the real world — a kind of nothing space or vacuum that glides effortlessly through New York City for the most trivial of reasons — a simple haircut. I felt initially ambivalent towards this film, but could not stop thinking about it days and weeks afterward. Ultimately, I gave in to what felt right and decided I was in love with it.”
  • Smells Life Screen Spirit: 7th out of 10
  • Movie Mezzanine: 7th out of 50
  • White City Cinema: 8th out of 10 
  • Sight & Sound: 8th out of 10
  • The Bloodshot Eye: 8th out of 20
  • Movie City News: 9th out of 10
  • Arizona Newszap: 9th out of 10 – “Cronenberg is nothing if not consistently innovative, in terms of form and content. With Cosmopolis, we get him at his best in both.”
  • Movie Maker: 9th out of 12
  • Processed Grass: 9th out of 66 - “There’s this tense dichotomy between this safe space and an outer world in turmoil, that makes the collision of the two, both physically and found in Pattinson’s performance, all the more intense.”
  • The Gerogie Show: 10th out of 10
  • Chicago Reader: 10th out of 10
  • Cinemablend: 10th out of 10
  • Yuppee Mag: 10th out of 10
  • Time Out New York: 10th out of 10
  • Compulsory Internet Presence: 10th out of 10 – “A grand, weird, bold effort even by Cronenberg’s standards, this film is an absolutely mesmerizing adaptation of Don DeLillo’s novel.  I could speak here about how timely the film is with its unsparing critique of capitalist society.  Or how Robert Pattinson delivers an astonishingly assured performance that hopefully portends a career full of them.  Or how the score – a collaboration between Howard Shore and the band Metric – sustains and enhances the general mood of dread hanging over the entire film. But really, perhaps the best thing about this film is how it feels like the work of a completely vibrant, reinvigorated filmmaker.  I was not at all expecting a film this vital and meticulously crafted on the heels of his most recent effort – 2010’s A Dangerous Method - but here we are with what might be Cronenberg’s strongest and most unique effort since 1996’s Crash.  I want to shout it from the rooftops.  This film is a treasure.”
  • In Review Online: 10th out of 20
  • Screen Crush: 12th out of 20 
  • Slant Magazine: 13th out of 25
  • NY Film Society: 15th out of 20
  • Film Comment: 15th out of 50
  • The Village Voice: 16th 
  • Indiewire Critics Poll: 18th out of 50
  • Sound on Sight: 20th out of 40 
  • Criterion Corner: 24th out of 25
  • Total Film: 37th out of 50
  • Buzzine: 1 of the top 5 Indie movies
  • The Password is Swordfish: 1 of 2 favorites for 2012
  • Dread Central: Named Cosmopolis among the top 5 Best of 2012
  • Shoot the Critic: 1 of 6 in no order – “Robert Pattinson steps up to the challenge of playing the twisted, self-doubting, masochistic, and sexually insatiable protagonist. He has lots of sex, philosophizes on life, gets lectured on art and theory, faces death, kills, and gets half a hair-cut – among other activities, all shot in a typically artificial yet beautiful Cronenberg way.”
  • CineTalk: 1 of 10 in no order
  • Chicagoist: 1 of 10 in no order
  • TIFF: 1 of 10 best Canadian films of 2012

OVERLOOKED RANKINGS

EXTRA RANKINGS

  • (newPhiladelphia Weekly: Who Should Have Won Overall – Best Adapted Screenplay – “David Cronenberg David Cronenberg’s script for Cosmopolis makes great a so-so Don DeLillo novel, although its real power emerged when the actors came to speak their lines. Who knew Robert Pattinson was put on earth to deliver overly-stylized DeLillo dialogue?”
  • (newPhiladelphia Weekly: Who Should Have Won Overall – Best Actor – Robert Pattinson “And I can’t believe I’m saying this, but Robert Pattinson wuz robbed—for Cosmopolis, not Breaking Dawn 2.
”
  • Vancouver Critics Awards: Best Supporting Actress – Sarah Gadon
  • The Film Stage: One of the Best Ensembles of 2012
  • The Password is a Swordfish: 2nd on a list of Best Screenplays – David Cronenberg
  • Processed Grass: 4th out of 5 Top Actors - “[Pattinson] delivers a pitch perfect performance in the role of a detached financial wunderkind. There’s a confidence and tragedy to Pattinson’s work here, but it’s toward the end, as the film’s world spirals out of control, that allows Pattinson to show why he belongs on this list and keeps his name as one to continue to monitor moving forward.”
  • The Password is a Swordfish: 5th on a list of Best Actors – Robert Pattinson
  • The Village Voice: 6th on a list of Best Directors of 2012 – David Cronenberg
  • The Password is a Swordfish: 7th on a list of Best Directors – David Cronenberg
  • Indiewire Critics Poll: 8th out of 50 Best Ensemble 
  • 24fps: David Cronenberg named Best Director and Pattinson, Best Actor
  • Indiewire Critics Poll: 20th out of 50 Best Director – David Cronenberg
  • The Village Voice: 13th on a list of Best Actors of 2012 – Robert Pattinson
  • Indiewire Critics Poll: 40th out of 50 Best Performance – Robert Pattinson
  • Indiewire Critics Poll: 39th and 46th out of 50 Best Supporting Performances – Paul Giamatti & Sarah Gadon
  • Indiewire: One of Favorite Unconventional Performances – Kevin Durand
  • Indiewire Critics Poll: 14th out of 50 Best Screenplay – David Cronenberg
  • Film School Rejects: 3 out of 12 best movie soundtracks and scores of 2012
  • Indiewire Critics Poll: 15th out of 50 Best Original Score or Soundtrack
  • The Village Voice: Paul Giamatti among a list of Best Supporting Actors
  • The Village Voice: Sarah Gadon, Samantha Morton, Emily Hampshire and Juliette Binoche among a list of Best Supporting Actresses
  • The Village Voice: Cosmopolis among a list of Best Screenplays
  • Vancouver Critics Awards: Nominated – Best Canadian film, best director, best actor for Robert Pattinson, and two best supporting actress nominations, for Sarah Gadon and Samantha Morton.
  • Online Film Critics Society: Cosmopolis nominated for Best Adapted Screenplay
  • Canadian Screen Awards: Nominated for Adapted Screenply, Score, Original Song
  • International Cinephile Society: Cosmopolis nominated for Best Adapted Screenplay
  • Flavorwire: 27 out of 30 for best movie poster 2012
  • FilmFest: Audience vote 1 of the 10 best of 2012
  • IFC: Unforgettable Movie Moments of 2012
  • Icon Film Distribution: Top 10 Actors of 2012 – Robert Pattinson for Cosmopolis
  • CriticsTop10: 25th out of 50 films making Best Of lists
  • Vulture: Critics list of cultural events of 2012 - Seitz: “David Cronenberg’s Cosmopolis seems pretty much perfect to me. I saw it a couple of months ago, and not a day has gone by that I haven’t thought about it.”
  • Cinema Scope: Top 10 of 2012 – Honorable mention
  • (newSaturn Awards - Best DVD/BluRay releast nomination
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Posted in Best of..., Cosmopolis, David Cronenberg, Don DeLillo, Emily Hampshire, Jay Baruchel, Juliette Binoche, Kevin Durand, Mathieu Amalric, Patricia McKenzie, Paul Giamatti, Paulo Branco, Robert Pattinson, Samantha Morton, Sarah Gadon, Score and Soundtrack | Tagged , , , | 8 Comments

Scans and interview: Robert Pattinson talks Cosmopolis and Cannes with Blackbook Magazine

Here’s a treat to start the weekend off right. New Robert Pattinson interview in Blackbook Magazine, well Rob and his heart. Rob is interviewed by his heart. I know, very strange but very cool. This is an excerpt but I highly recommend heading to Robsessed to read the full interview.

Our latest film, Cosmopolis, also takes place largely in the back of a car, albeit a very long one. David Cronenberg directed it. Rob plays Eric Packer, an exceedingly bored, borderline autistic billionaire who traverses Manhattan latitudinally from east to west in a specially designed limousine. During this commute he loses many of his billions in ill-advised currency speculation on the yen while the world descends into chaos around him. This chaos, of course, is largely due to his ill-advised currency speculation. He spends a lot of time watching his face, still in reflection, and the chaos is causes, gliding by in silence. (The car has been “Prousted,” with cork. Google to understand the reference.) In the end he is either shot to death or not shot to death by a disgruntled former employee played by Paul Giamatti. Whether he is or isn’t doesn’t matter a whole lot. Eric doesn’t really care since he has a hard time connecting to the world beyond numbers. He does, however, have lots of sex. Some of it is with Juliette Binoche. That scene got me going when we filmed it, but less from thrusting than from laughing. “Juliette kept on hitting her head on the top of the car,” recalls Rob. I can feel the rush of endorphins as he breaks into a wide smile that instantly turns him from a brooding heartthrob into another nice English lad you’d meet down at the pub. For that reason, he rarely breaks into it. Smiling isn’t on brand.

The film is based on a book by Don DeLillo, so it’s confusing. The first line is like all those that flow from it, both profound and absurd. “We want a haircut,” says Eric, stepping from an office building. Confusion, though, we like. “I’m easy to please,” Rob says. “When I don’t understand something, I’m immediately interested.” Confusion piques me. So does confrontation. When Cosmopolis premiered at Cannes in May, I beat the hardest I have in a long time. “I was kind of shitting myself,” says Rob. Having spoken to his colon, I’ve concluded this is a bit of hyperbole. Nonetheless, it was exciting. There’s a caesura between when the credits finish rolling and when the lights go up, a moment of silent grace, punctuated only by my deafening thrum. This is the instant before which the audience either claps or boos, when our post-Twilight career was, like a Shrodinger’s cat, simultaneously both alive and dead. And in that moment, I pittered, pattered, and battered in Pattinson’s chest a million times a minutes. “I lost my mind,” Rob says. “I was preparing myself to fight with 1,500 people. I was so amped up.” The stakes were high for him. He had fallen into Twilight by what he calls “luck.” And, since he had signed a contract, he was carried by the tide. You might say he was chauffeured, or at least driven. “I was just kind of running around with my pants down and my shoelaces untied and, amazingly, not falling. Until this. I thought, ‘Oh fuck!’ Most people get 15 years of doing movies nobody sees. Now I’m at Cannes.”

In that moment, before the wave of equation of our career collapsed into actuality, it’s worthwhile to note that Rob’s very callowness is, in part, what landed him the role of Edward Cullen. As the authors of the essay “Twilight and the Production fo the 21st Century Teen Idol” notem that was kinda the point. “[The studio’s] marketing strategy is to develop Pattinson’s celebrity as a commodity, produced and marketed by media and publicity industries. The commodification took the form of fusing Edward’s appeal to Pattinson’s celebrity… The actor’s lack of public recognition was used by [the studio] to fuse the real people to the Twilight characters they were hired to portray, thus making them celebrities.” So, that moment after the final credit rolled at Cannes and before judgment had been passed was the moment of painful divorce between Edward Cullen’s bloodless heart and me, Rob’s beating one. I had no idea how long credits were. There was a pause and then a clap, a clap unleashing a torrent of claps until the entire auditorium was applauding. Were they applauding us? Were they applauding David? Were they applauding Paul? I didn’t care. One thing was certain: they were not applauding Edward.

Great new photos. Click to make them bigger. Got a favourite?

scans via transcript thanks to Robstenation

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Cosmopolis US site is up! New stills and behind-the-scenes images

Most of the info we know but the site has About, News, Clips and Gallery sections. The Gallery contains 3 new images and the synoposis for the film is the following:

From director David Cronenberg (A HISTORY OF VIOLENCE, DEAD RINGERS, THE FLY, EASTERN PROMISES) and based on the prophetic novel by Don DeLillo, comes COSMOPOLIS, a contemporary thriller that turns into a wild, hypnotic odyssey through our new millennium’s obsessions with power, money, control, information, technology, violence, sex, mortality, revolution, destruction and ultimately, redemption.  Unfolding in a single cataclysmic day, the story follows Eric Packer (Robert Pattinson) – a 28-year old financial whiz kid and billionaire asset manager – as he heads out in his tricked-out stretch limo to get a haircut from his father’s old barber, while remotely wagering his company’s massive fortune on a bet against the Chinese Yuan.  Packer’s luxe trip across the city quickly becomes dizzyingly hellish as he encounters explosive city riots, a parade of provocative visitors, and is thrust into a myriad of intimate encounters.  Having started the day with everything, believing he is the future, Packer’s perfectly ordered, doubt-free world is about to implode.

Produced by Paulo Branco and Martin Katz, COSMOPOLIS also stars Juliette Binoche, Sarah Gadon,  Mathieu Amalric, Jay Baruchel, Kevin Durand, K’Naan, Emily Hampshire with Samantha Morton and Paul Giamatti.

Click HERE to go to cosmopolis-movie.com

If you’d like to see more stills, click HERE to visit our gallery.

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AUSTRALIA: Cosmopolis theatrical release gets moved up! Save the date for August 2, 2012

Yay for Australia!

Originally slated for August 30th, Cosmopolis theatrical release now is moved up to August 2nd! Check your local listings and buy your tickets!

Click HERE to view other theatrical and DVD release dates. The soundtrack is also available on Amazon and iTunes. Links for book, DVD/Bluray, and soundtrack purchase on the sidebar.

 

Thank you, AG, for the heads up!

Source | Source

 

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VIDEO: Fandango talks Cosmopolis with Robert Pattinson at Comic Con

Fandango got a chance to interview Robert Pattinson on the red carpet before his press conference at Comic Con for Breaking Dawn Part 2. They spent most of their time talking about Cosmopolis!

It is strange that the film hasn’t come out in the States yet (Rob should distribute the film himself with his copy) and promo does feel like it’s already happened. We’ve had numerous reviews and know all too well about the “love it or hate it” reactions to the film. Like Rob, we didn’t know people actually walk out of theaters anymore for a film that’s hardly controversial. It’s just a workout for the mind, people. But I suppose some just don’t have the stamina for this workout. ;)

Another great moment during Comic Con came from a discussion MTV reporter, Joshua Horowitz had with a colleague on their livestream. They had this to say:


Reporter, Josh Horowitz praising Rob and David working together in Cosmopolis #MTV #SDCC
@cosmopolisfilm
COSMOPOLIS


“When you have the Cronenberg seal of approval, that’s good stuff.” ~MTV about Robert Pattinson
@cosmopolisfilm
COSMOPOLIS


Josh plugs Cosmopolis again on MTV livestream :D
@cosmopolisfilm
COSMOPOLIS

Can’t wait for more reviews and promo to kick up for the States. It’s nice to see media outlets plugging the film and being excited since the release of the American trailer.

 

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US Promo Gets in the Limo! New Trailer for Cosmopolis + New official website

The limo finally makes its way through America!

UPDATE: Added HD YouTube!

Apple launched the American trailer for Cosmopolis today as well as revealed a new official website for the film: cosmopolis-movie.com

The trailer features new scenes so check it out! Click HERE to watch on Apple!

We want you guys to gather limo passengers to go out and support the film. We’ll be waxing up the limo and getting our gears in shape during the weeks leading up to the limited release. There will be more reviews and interviews for us and plenty of time for you to organize your limo parties for Cosmopolis. Get in the limo! :)

US poster

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