Showing posts with label cosmopolis toronto promo. Show all posts
Showing posts with label cosmopolis toronto promo. Show all posts
Thursday, July 19, 2012
More Than 90 Fan Pictures Of Rob From 'Cosmopolis' Promo
I promised the last (for now) fan pictures post from Cosmopolis promo and here it is. Better late than never :) Great pictures from Paris, London, Berlin and Toronto
Tuesday, June 12, 2012
Sunday, June 10, 2012
Compilation of New Fan Pictures From Toronto - More Than 120 Pictures
Since things are a little calmer now, we're going to start to post fanpics compilation posts with all the new pictures we found and haven't posted yet.
Starting with Toronto - more than 120 pictures - videos at the bottom
Starting with Toronto - more than 120 pictures - videos at the bottom
Saturday, June 9, 2012
New Rob Interview with Sucré Salé (Quebec) - Talks about his sex scene with Juliette
There's also an interview with Paul Giamatti where he talks about his impression of Rob when they first met.
Friday, June 8, 2012
New Rob and David Interview with CTV News - Toronto Press Junket
"Twilight" star Robert Pattinson may seem like nothing more than a teen heartthrob to his critics. But his detractors may change their minds after watching his risky performance in the new David Cronenberg film, "Cosmopolis."
In Canadian theatres on Friday, Pattinson headlines this masterful and, at times, chilling adaptation of Don DeLillo's 2003 novel, "Cosmopolis."
True to DeLillo's satirical work, the British actor plays billionaire Eric Packer, a young fund manager who experiences a meltdown one day as he cruises through Manhattan in the back of a stretch limo. As Packer's trip to the hairdresser unfolds, he glides in and out of the lives of strangers, businesses associates and his wife Elise (played by Sarah Gadon).
Inside this strange world on wheels, Packer can access everything he needs: food, data about the stock market, sex, booze and a toilet. He even gets a check-up in the back of the limo from his doctor, who tells Packer, "You have an asymmetrical prostate."
Above these fantastical occurrences, however, Packer's journey forces him to have an epiphany of sorts when his fortunes turn to ashes and his personal life goes up in smoke thanks to forces he failed to anticipate.
Since the film's premiere at the 2012 Cannes Film Festival, Pattinson has confessed to reporters that he felt confused by DeLillo's novel, and was also unsure how to bring the complicated character to life on screen.
"I sent [the book] to my best friend and I sent it to my parents," Pattinson recently told CTV's Canada AM.
"My parents completely misunderstood it," he said, with a grin.
Pattinson's best friend was also perplexed, especially in terms of how Cronenberg would ever translate DeLillo's challenging book to the big screen.
"This is completely impossible," were the man's words to Pattinson.
Despite these uncertainties, 26-year-old Pattinson accepted the role that Irish actor Colin Farrell had reportedly been lined up to play.
Pattinson's career move was risky, but his taking a chance to work with Cronenberg could prove to be the smartest move of his career.
"I thought the script read a little bit differently than the book," Pattinson told Canada AM.
"The book is quite short, but not that easy a read. The script read really fast and had a much higher energy to it. I kind of thought I should go for the higher-energy version of the character," Pattinson said with director Cronenberg by his side.
The taped interview was done earlier in June, when Pattinson and Cronenberg made a stop in Toronto to promote their new film. During that time, the pair talked candidly about translating DeLillo's book to the screen.
It would have been easy, they said, to portray Eric Packer as a chilling, demented version of Facebook founder Mark Zuckerberg. But the key, according to Pattinson, was finding the right unique voice.
"I tried to look at hedge fund managers, but this part was a totally different thing," Pattinson said.
"It's not about money or greed for him. He doesn't have to prove himself. A lot of these hedge fund guys are so insecure. That's where that unbelievable energy comes from."
In contrast, Pattinson internalized his efforts to command moviegoers' attentions.
"I mainly just thought about the voice. That was the most important thing. The rhythm was very specific in the book and the script."
Pattinson also studied the vocal patterns of American politician Howard Dean and serial killer Jeffrey Dahmer to perfect his delivery and find the right edge this new role.
Cronenberg, however, found his crucial key to shooting "Cosmopolis" in Pattinson's own uneasiness with DeLillo's work.
"I try not to think about casting. I don't want my understanding of an actor and what he's done to shape the character. I want the character to come first," said Cronenberg.
He nevertheless kept certain basics in mind when he chose Pattinson to portray his lead.
"You have to think about how old the character is. Can he do a New York accent? Even a lot of American actors can't do a convincing New York accent," said Cronenberg.
These simple basics, and others, also applied as Cronenberg cast co-stars Jay Baruchel, Paul Giamatti, Kevin Duran, Juliette Binoche, Samantha Morton, Sarah Gadon and Mathieu Amalric
Thursday, June 7, 2012
Full Episode - Rob and Cosmopolis Cast on George Stroumboulopoulos Tonight show
Rob's part starts at 11:33
Source | Youtube | Dailymotion
New Picture of Rob and George Stroumboulopoulos
Airs tonight at 11:05 on CBC. We'll post videos of the interview as soon as they're available
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Source
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David Cronenberg Talks About Rob and 'Cosmopolis' With CBCRadio
Jokes about suffering from separation anxiety because he's not with Rob anymore, talks about casting Rob, Cannes and more.
Click on the picture to listen or on the player below (under the cut - autoplay). Starts at 2:25
Click on the picture to listen or on the player below (under the cut - autoplay). Starts at 2:25
Rob and Cronenberg Talk Cosmopolis And Working Together Again - Now Toronto Interview
Robert Pattinson wasn’t expecting to star in Cosmopolis. In point of fact, he didn’t think a director like David Cronenberg would even consider him for the project.
“I never really took myself seriously as an actor before,” he says, barely awake the morning after the movie’s gala Toronto premiere. “And [then] you get cast in a movie like this, and it gets to Cannes and it’s not a total disaster, and I haven’t brought down David’s entire career…”
Cronenberg’s eyes crinkle. “We’ll see,” the director says. “That’s still in the future.”
On the verge of burning out after shooting the two-part Twilight finale, Breaking Dawn, Pattinson had been thinking seriously about pulling back from movies.
“I was fully intending on hiding for a couple of years,” Pattinson says. “I only wanted to do small parts. The time is gone – for me, especially – when you could learn on the job. I mean, even the idea of going to a repertory company or something – everybody’s going to be filming it on their phone, and it’s exactly the same thing in movies pretty much. So I wanted to try to do small parts in movies I thought I could learn something from. But then this came up.”
“This” was the role of Eric Packer, a billionaire financial wizard who experiences a professional and personal collapse over one very long car ride across Manhattan in Cronenberg’s adaptation of Don DeLillo’s allegorical novel. The way Cronenberg structured the movie – shooting in sequence, often sealing Pattinson and his co-stars into a limousine and directing them remotely – pushed Pattinson to a kind of creative epiphany.
“It takes away a lot of the problems of self-consciousness,” he says. “I did a movie where a lot of it was underwater” (that’d be Harry Potter And The Goblet Of Fire, which put him on the map as doomed golden boy Cedric Diggory), “and it kind of felt a little bit like that. You feel like you have very little to prove when you’re in such a tiny space. There’s very little of the outside world coming in, so it’s pretty simple.”
Cronenberg so enjoyed putting Pattinson through Packer’s paces that he’s eager to repeat the experience, possibly with another member of his repertory company.
“You meet people that you work with and you feel you’d really like to work with them again,” he says. “I felt that way about Rob, and I felt that way, obviously, about Viggo [Mortensen]. And then I started to think, ‘Wow, Rob and Viggo in the same movie would be terrific,’ because I know they’d get along, but I also think creatively, onscreen, it’d be fantastic. But I don’t have a project, exactly; we have some possibilities. So we’re talking about it. It’s possible it’ll never happen, because it’s just so hard to get things made, really – especially anything interesting. That’s sort of where I am, making movies that are hard to get made.”
In all seriousness, though, the two do expect to collaborate on another picture.
“We feel that fate will bring us together again,” says Cronenberg.
“I’m setting up a PayPal account,” Pattinson laughs.
“Yes, that’s right,” Cronenberg says. “We’re crowdsourcing. Please, if you’ve got any money on you right now, just put it on the table.”
Source | Via
Wednesday, June 6, 2012
New Rob and David Cronenberg Interview With The Vancouver Sun
TORONTO — Celebrated Canadian director David Cronenberg and Twilight star Robert Pattinson are hardly anti-establishment radicals.
But you would never know it from their film collaboration, Cosmopolis, which opens in theatres across Canada June 8.
Cosmopolis has already had its splashy premiere at the recent Cannes Film Festival, but the Toronto-based Cronenberg and the London-raised Pattinson are happy to be back in the city where they shot the film just last year.
Looking casual in slacks and shirts at a downtown Toronto hotel, the dapper filmmaker and handsome baseball cap-wearing leading man are making themselves available to promote the film, which exposes modern-day obsessions with greed and power.
But Cronenberg said that Cosmopolis is less an excuse for socio-political diatribes and more about an opportunity to present a fresh story. And yes, the 69-year-old understands that the film hits screens as anti-capitalist protests abound worldwide.
The movie, based on the 2003 Don DeLillo novel, tracks the bizarre day in the life of young Manhattan billionaire investor Eric Packer (Pattinson).
“I wrote the script almost three years ago,” said the director. Still, he’s fine with the fact Cosmopolis might be associated with current events.
“The whole structure of the book was very rich in social meaning, and comment,” noted Cronenberg, who reflected the theme in his screenplay. “And any good piece of art has universal meaning and complexity, and it is provocative on many levels.”
That includes the movie’s simplistic yet subversive storyline, which has Pattinson’s narcissistic billionaire travelling across town in his fancy white stretch limousine to get a haircut, even while his massive monetary portfolio collapses around him.
During his limo trip, he takes meetings, and takes stock of his isolated life as a visit by the U.S. president snarls New York traffic, and anti-Wall Street demonstrators attack his vehicle en route.
The role is Pattinson’s most demanding, so far. But he knew that reality when he signed up for it.
“I’m in pretty much every scene in the movie,” he said. “It was terrifying for me until I started doing the movie.”
Apparently, Cronenberg helped him through some of the more difficult moments, but the actor soon realized extra effort was required because he would be expected to do the dialogue exactly as written.
“I quite liked mechanically learning lines,” Pattinson said. “I spent every night of the shoot going over them.”
It’s no fluke that the Packer part is a notable transitional role away from his dreamy vampire Edward. Pattinson will end his five year relationship with the Twilight series, and Edward, after the release of The Twilight Saga: Breaking Dawn — Part 2 on Nov. 16.
Certainly, the avant-garde tone of Cosmopolis and the cynical outlook of Packer are major departures for the 26-year-old.
In one scene, Pattinson’s Packer has sex in his limo with an associate (Juliette Binoche) as though the act was a business meeting. His brief discussions with his coy wife (Sarah Gadon) outside the limo turn out to be more like negotiations than conversations.
Back in the limo, things get even stranger when the sex-obsessed Packer gets a rectal examination from a doctor, who finds out he has an asymmetrical prostate.
“Normally, you can tell what’s going to happen in a script when you are five pages into it, but not with this,” said Pattinson. “It’s crazy to feel the danger of doing something like Cosmopolis, but it was also exciting once I started doing it.”
At the climax, Packer has a 22-minute verbal stand off with a former employee (Paul Giamatti), who has threatened to murder him. The dialogue-heavy confrontation seems more suited to the stage than screen.
Certainly, the latest Cronenberg film represents his return to a more bizarre way of dressing up a film compared to his straightforward approach with last year’s A Dangerous Method.
But the director believes all of his movies — from Shivers to Cosmopolis — have one thing in common.
“I’ve always been interested in language,” Cronenberg said. “The language has always been crucial to me. My creative roots are more literary than cinematic.”
Indeed, Cronenberg and Pattinson relished the opportunity to make the wordy Cosmopolis interplay come together at the conclusion.
“We discovered stuff like the priest-confessional kind of thing that evolved,” said the director.
Pattinson added: “We knew when we were doing it that no one had ever done anything like this before, and it should not work.”
Meanwhile, their partnership will continue in some form. “We are hoping to work together again,” Cronenberg confirmed.
“There are no greenlit movies, but we don’t want to stop with Cosmopolis. We had a really good time, and Rob (Pattinson) has become one of my favourite actors.”
Smiling bashfully, Pattinson can’t help but to nod toward Cronenberg, offering a quiet ‘Thank you.’
“That’s fantastic,” he said. “I didn’t think of myself, particularly, as an actor, until now.”
First Clip of Rob on George Stroumboulopoulos Tonight Show + Transcript
Robert talks about whether he chose to do Cosmopolis in order to avoid Twilight typecasting, how Ryan Gosling's career helped him understand his own situation, what it feels like to be somewhat isolated as a celebrity, arguing with Adele about ambition, his plans post-Twilight, his feelings about Heath Ledger's work in 'The Dark Knight', and where he'd like to see Hollywood go.
The show airs tomorrow night, Thursday, June 7, at 11:05 pm on CBC television. It's a Cosmopolis special, also featuring interviews with director David Cronenberg and fellow actors Paul Giamatti and Sarah Gadon.
Here is a transcript of the clip:
George Stroumboulopoulos: You know, post-Twilight franchise , you were trying to go down different roads? Was this legitimately part of your planning?
Robert Pattinson: This was not part of the plan at all. I just thought I was totally oversaturated everywhere, I wanted to do little tiny parts or maybe no parts at all. I got this three weeks before I was finishing the last Twilight movie, and I was really, really determined to find ensemble pieces or anything small just so I didn’t have to be in everybody’s face and annoying everyone. And then this thing came up.
[WIPE]
GS: Is this a new experience for you though, to watch your film back and go, oh wait a minute, how do I promote this movie?
RP: Ah, completely. It reminded me, I watched this interview with Ryan Gosling once, and he said when he did The Believer a few years ago, and people were saying -- cause he’d done Young Hercules for three or four seasons -- and then he did The Believer and everybody was asking about his craft. And it’s the most, most confusing thing. I was in Cannes doing these interviews, and I was really fighting to not look pretentious for years, and someone gives you one inch of the possibility of being pretentious, and you’re like grabbing it so hard, going around being the biggest douchebag. And now I’ve kind of reined it in again.
GS: The one thing I imagine that you’re dealing with is aside from your close circle of friends -- actual humanity, actual human conversations, the connections we all crave as a person, it’s harder and harder for you to find, isn’t it?
RP: Yeah, but I just remember, I think I was pretty similar before. Like I would be one of those people who was desperate to go to a party and then they go to the party and just stand in the corner with the people they came with and refuse to acknowledge that anyone else is there. So I don’t really miss anything. And you kind of, you have all these fantasies if I wasn’t famous I’d meet all these random people in the street all the time. But you don’t meet random people in the street. Most of the time you’re trying to avoid everybody even if you’re not famous.
RP: Actually I had this argument with Adele, which is probably the most ridiculous thing I’ve ever said. I was saying, “you know, you can really just like reach for it,” and she was like, “you do realize I am like the biggest-selling female artist ever?” And I just for some reason just decided to get into an argument with her.
GS: How does that happen, at two o’clock in the morning somewhere?
RP: Yeah, and then waking up and kind of really, really regretting every word I said.
GS: Do you think much about the fact that when this franchise goes away, that you need that second act to your career? Do you think about that?
RP: The only thing I ever thought about was thinking, I don’t want anyone to think that I somehow got trapped by something, you know. And I don’t know if anyone really does, the general public, about Twilight – but the amount of times you get asked, “oh, are you worried about being typecast?” I’m just worried about people saying, like, “What happened to that guy?” And also, you think, you want to do something at least a little bit worthwhile with what kind of power you’ve been given, through luck. And not just keep trying to extend the same thing for as long as possible. I’m not very scared of it going away at all. If I could somehow maintain a career in which I keep making movies like Cosmopolis, than I think it would be amazing, because not very many of them are made. You know, I always thought after The Dark Knight, for instance, it makes tons and tons of money, and Heath is doing something just outside -- and people understand what he’s doing, it’s not like he’s not doing something totally crazy, but it’s just slightly outside the box of what people are used to seeing, and I really thought that was going to change everything as to how the big budget movies are made. But it didn’t, at all. If every single actor wasn’t afraid of trying to do something slightly abstract and not concerned about their movie making tons and tons of money, then eventually the industry would change.
GS: But then you and other guys in your position, can you make these kinds of films, then? And not just as actors?
RP: I think you can once. I don’t know how many other times. I’m desperately trying to get a superhero movie now.
George Stroumboulopoulos Tonight is Canada's only nationally televised late night talk show. It airs weeknights at 11:05 on CBC.
ETA: TV ad from the show
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Tuesday, June 5, 2012
Rob and Cronenberg talk Cosmopolis US Promo - July and August, LA and NY
The words are from Karl Marx’s Communist Manifesto, a text that echoes through Don Delillo’s 2003 cerebral novel, Cosmopolis, charting the hellish descent of an arch-capitalist from his high rise sanctuary into the streets of Manhattan, the multicultural cosmopolis of the story. The story follows a sleep-deprived young billionaire investor, Eric Packer, travelling across Manhattan one day for a haircut in his stretch limo, losing a vast fortune on online investing, and crashing into the real conditions of life, marriage, mortality, sex, madness and political rage.
From the soundless chamber of Eric Packer’s sound-proof limo to the chilly air-conditioned hallways of a sleek dark Toronto luxury hotel is not much of a transition. Sleep-deprivation, the erasure of national boundaries, money: These subjects are close to the thoughts of director David Cronenberg and his 26-year-old star, Robert Pattinson, this afternoon, at the end of an almost two-week road trip in support of the film. Pattinson, in a baseball cap, slouches in a chair, the director, in an untucked checked shirt, sits next to a table, strewn with half-empty water bottles. Cronenberg waves a weary greeting. He’s too tired to stretch for a handshake, he says. After Cannes, they went to Lisbon, Paris, Berlin and London, meeting press hordes of Pattinson’s teenaged Twilight fans, improbably holding up their copies of DeLillo’s Cosmopolis to be autographed.
“There wasn’t time to unpack. Just get some socks. Try to figure out if they’re used or not,” Cronenberg says. “It was like that.”
For a relatively small movie (with a budget of just over $20-million), the talent is putting in a lot of road time.
“With big movies, it’s usually six or seven countries,” Pattinson says. “But this is way harder getting people to see. For smaller films, they just say, ‘Oh, just New York and London’ or ‘New York and L.A.’ I don’t really understand it.”
“We have the U.S. to come,” Cronenberg reminds him. “I’ve heard both July and August from the U.S. We will be doing New York and L.A.”
Pattinson, who comes across as instinctively reticent, says it was a “semi-difficult” decision to take part in the film in the first place After four Twilight movies, and $2-billion in worldwide box office, and another one to come this fall, he was inclined to do something more low-profile.
“I thought I was over-saturated. I wanted to do an ensemble thing or a small part in something supporting. I spent a week putting off calling David, to decide whether I wanted to do it or not. It takes a while to realize that the worst thing that can happen is you make a bad movie. And it’s much more fun jumping into slightly more abstract territory than chasing after an audience or believing that, if I do one film for the studio, I can do one for myself. It doesn’t matter any more. You could do 10 for the studio and still can’t get an indie [film] financed.”
Cosmopolis is Cronenberg’s 20th feature film, but the economics of movie-making, which were never easy, have grown more byzantine in the past economically tumultuous decade. A decade ago, when Don DeLillo was finishing Cosmopolis, Cronenberg had to mortgage his home to help finance Spider, his study in madness starring Ralph Fiennes, before his commercial bounce back with 2005’s A History of Violence. In the intervening years, a string of American indie film companies – New Line Cinema, Fine Line Features, Picturehouse, Warner Independent, Fox Atomic, and Paramount Vantage and Miramax – collapsed like dominoes.
The most important shift in his work, he says, has been the loss of American financing for films, which has “has huge effects on creativity, but none of it comes out of the creative aspect, just deal-making.”
“You can’t make a presale to America. You used to get four million [dollars] upfront for U.S. distribution. Now you have to make the movie first and see if Sony Classics or Fox Searchlight will take it. You have to forget about America or Japan for presales, which you could get in the old days, and if you’re a filmmaker like me, you have to depend on Canada and Europe.”
Cosmopolis, for example, has Canadian, French, Portuguese and Italian financing. The money sources directly affect casting and location. Cronenberg’s favourite stars – Viggo Mortensen (Danish), Fiennes and Pattinson (English) – are non-Americans who allow money to flow from foreign sources. There were no American actors in A Dangerous Method, and only one (Paul Giamatti) in Cosmopolis, a New York movie shot in Toronto last year. Pattinson, with his huge international profile, was a key to drawing the foreign money.
“I compare it with Viggo becoming a star because of Lord of the Rings. I couldn’t have had him in History of Violence before Lord of the Rings because he wasn’t a star. It’s like the stock market really. You have to instill confidence in your investors. Rob has a lot of fans and he gets a lot of press and that means we can sell his movie in Germany and Korea.”
The other side of the money flow, of course, is the money that comes from governments. It’s a topic that’s also close to Cronenberg at a time when Telefilm took a cut of roughly 10 per cent of its budget ($10.6-million over three years) in the last federal budget. Though he’s often considered an international filmmaker who happens to be based on Canada, he says: “My whole career has been supported by government money, starting with the Canada Council for writing and then the CFDC [Canadian Film Development Corp.] which became Telefilm.
“ Everywhere in the world except the U.S., government support of cinema is crucial ... We cannot make a Canadian movie for $200-million so there’s no way you can compete with the Hollywood making huge blockbusters but we can really compete when it comes to making interesting independent films, but at that level you must have government support.”
Source | Via
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