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I thought that it would be nice to have a place to post anything relating to Robert Pattinson without worry of crossing the boundaries of the discussion.  Feel free to add anything that you think might be of interest to other fans.

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Permalink Reply by Caramella Dura on June 14, 2012 at 10:07am

I surprised that they would care about the endearing nicknames that are given to them.

Permalink Reply by Irene Angeles on June 14, 2012 at 7:43am

David Cronenberg talks about Robert Pattinson with BBC News  

 By way of preparation, Cronenberg showed his crew the 2009 film Lebanon,   which takes place inside an Israeli tank, and 1981 war epic Das Boot, which takes place inside a German submarine.
“I said: ‘Let’s not be intimidated by this, this could be quite exhilarating if we do it right.’ We built a limo that comes apart like a Lego car in about 24 pieces. I don’t think of it as a challenge, but as a lot of fun.”

Robert Pattinson’s performance as the billionaire banker has been largely well received since the film’s Cannes debut.

“At its heart is a sensational central performance from Robert Pattinson,” said Tthe Telegraph’s Robbie Collin. ”Pattinson plays him like a human caldera; stony on the surface, with volcanic chambers of nervous energy and self-loathing churning deep below.”

Empire’s Damon Wise observed: ”Lean and spiky – with his clean white shirt he resembles a groomed Sid Vicious – Pattinson nails a difficult part almost perfectly, recalling those great words of advice from West Side Story: You wanna live in this crazy world? Play it cool.”

What made Cronenberg choose Pattinson as his leading man? “This character is in every scene in the movie which is quite unusual for a movie with a big star,” he says.

“That means he must have charisma, and that he is constantly revealing different tones and shades – and Rob has that.

“Finally, he has to be good with dialogue because this is wall-to-wall dialogue, some of it quite technical, which can be very intimidating for an actor. Once I convinced him he was the guy, he had no problem with it.“

Cronenberg is closely associated with the “body horror” genre through his 1970s and 80s films such as Rabid, Scanners, Videodrome and The Fly.

Cronenberg has written a screenplay for a new Fly movie, but says plans to make it appear to have been squashed.

“I was interested in not doing exactly a sequel or a remake,” Cronenberg explains.
“It was suggested to me by the people at Fox who have the rights to the original [1950s] movie and my movie, but there was what we should call ‘creative differences’.

“What I was interested in doing and what they wanted were two different things, so it’s no longer in my control. It’s in their court to play.”

Cronenberg laughs when it’s pointed out that Robert Pattinson was born in 1986 – the same year that he made The Fly. 
“There comes a time as a director when you are no longer the youngest guy on the set – I used to be and now I’m the oldest!“

Cosmopolis opens in the UK on 15 June.

 

Source: Thinking of Rob

Permalink Reply by Caramella Dura on June 14, 2012 at 10:09am

Good interview - thanks Irene.

Permalink Reply by Irene Angeles on June 14, 2012 at 8:18am

*VIDEO* New Robert Pattinson and David Cronenberg interview with The Guardian UK   

Or watch at the source|via|via|youtube | via

 

Source: Thinking of Rob

Permalink Reply by Irene Angeles on June 14, 2012 at 8:46am

More Great Cosmopolis Reviews   

Here are even more great Cosmopolis reviews

From DIY 

Following his interesting but relatively conventional thrillers A History Of Violence and Eastern Promises, and the intelligent but alarmingly strait-laced Freud/Jung drama A Dangerous Method, comes a refreshingly bold David Cronenberg film.

The man who brought us The Fly and Videodrome tackles Don DeLillo’s complex novel, not exactly one of the admired author’s most acclaimed works. However, Cronenberg seems to have found himself a new muse in the form of Robert Pattinson.

The British actor is a revelation as 28-year-old billionaire Eric Packer, who goes on an unusual odyssey through a rioting Manhattan, conducting his business in the back of his high-tech limousine. There’s an oddly unsettling futuristic and dystopian feel to Cosmopolis, although its themes are scarily current. As Packer is chauffered across the the city to get a haircut, he keeps an anxious eye on Wall Street, fascinated by his empire’s ruin as the Chinese yuan rises.

[...]

It’s hard to imagine another actor making such a remarkable impact as Pattinson. In every single wordy scene, he is incredible, from his subtly twitchy opening frame to the warped sexual tension displayed during his medical exam and how masterfully he utters every challenging line, imbuing them with world-weariness and logic. It’s a breakthrough performance for the Twilight star, who has consistently chosen interesting projects despite his heart-throb status, and Cronenberg’s brave casting has paid off. Pattinson is riveting throughout – there is a maelstrom of fierce intelligence in his financial wunderkind, bubbling under a controlled stoniness. It’s a layered performance, one of the best of the year, that makes the often pretentious and unrelatable theories believable and compelling. Pattinson holds this stagey yet visually memorable film together, even when it unravels unsatisfyingly – he makes the film worth your while. You won’t see another film starring an A-list idol this brave for a long time.

8/10

More after the jump!

From Konekt:

His name is Eric Packer and he is, ostensibly, on a quest for a haircut. But this objective is smoke-and-mirrors, we quickly learn, because Mr. Packer is out to appease his body and mind. He wants ultimate satisfaction, whether that be physical or intellectual. He is a multi-billionaire whose riches have incarcerated him in a desensitized life of debauchery and fruitless excursions in his coffin-like stretch limo.

This is the low-down for Canadian auteur David Cronenberg’s Cosmopolis, an adaptation of Don DeLillo’s 2003 novel.

This might explain why Cosmopolis works: in spite of the deadness of the characters and oblique nature of DeLillo’s narrative, Cronenberg imbues this aimless tale with slithery urgency. His movie has a slick exterior, but it’s not all body. Cosmopolis is very cerebral, perhaps uncompromisingly so, completed with characters from prostitutes to lowlives who nevertheless can articulate themselves with academic precision.

The movie stars Robert Pattinson as Packer. It’s a role of dead-calm coolness, strangely in the ballpark of the “romantic” deadpan of Edward Cullen in Twilight. It shows you performance style is anchored by the director’s vision, and Pattinson’s unsympathetic modus operandi is born for an Eric Packer. In fact, the whole film is deliberately unlovable and features brief performances by Juliette Binoche, Jay Baruchel, and Samantha Morton that earn our dismay, but nevertheless our attention.

At 108 minutes, Cosmopolis is aggressively talky. But unlike Cronenberg’s last film A Dangerous Method, another dialogue-driven endeavour, Cosmopolis doesn’t feel nearly as earthbound in its narrative and Cronenberg no longer yields to drab formalisms. While this DeLillo adaptation has an undeniable staginess, it is rarely inert. Cronenberg’s visual style is alive and hands-on as ever, even if his knack for clarity is not. His ideas are like an action-painting, creativity tossed energetically on the canvas.

Cosmopolis confounds, and for many will frustrate with its brooding.

Team Edward’s should take note that Pattinson isn’t catering to their tweenish hearts. He is an unappealing protagonist who nevertheless holds an illuminating conscience. His moments with wife Elise (Sarah Gadon), bodyguard Torval (Kevin Durand), sex pal Kendra (Patricia McKenzie), and – wait for this one! – a pastry assassin (Diving Bell and the Butterfly\’s Mathieu Amalric) offer a real edge.

Unfortunately, the film’s talkiness runs out of breath by the last scene with the arrival of Benno (Paul Giamatti), a former employee of Eric who is out for justice. Cronenberg wants to go out with an intellectual bang, and to deliver a finale that leaves us with food for thought and poetic justice. But the climax rambles on, thus draining the potential for that impact. We’re left with the wrong question: why didn’t that slick flick pay off?

But hitherto, your mind will be racing. Trying to catch up with a film that, for once, has a mind of its own. Cosmopolis is a thinker’s movie that wrestles with DeLillo’s ideas/pretensions and, for the most part, comes out on top. It is thrilling to witness a noir Toronto in futuristic ruin, overwhelmed by protests far more damaging than a G-20 summit. The movie reeks of science-fiction. If you ask me, it is time for Cronenberg to turn to Mr. Philip K. D***.

3/4

From Cinevue:

Canadian director David Cronenberg’s most recent strides in the world of film have been far less fantastically and brutally graphic than that of his earlier work such as Rabid (1977), Videodrome (1983) and The Fly (1986). Nonetheless, Cronenberg has retained a visceral quality omnipresent in a body of work that has covered over three decades, and 2012′s Cosmopolis - an adaptation of Don DeLillo’s book of the same name – is illustrative of a filmmaker still bent on cramming his movies with metaphor and social commentary.

Cosmopolis  sits somewhere between Cronenberg’s earlier corpus of gruesome body horror (without the outright visceral gore), and his more recent meditations on the darkness inherent in humanity, as seen in both A History of Violence (2005) andEastern Promises (2007). These recent films are in no way less vivid, imaginative or powerful than their predecessors, and if anything display the hallmarks of a director who has evolved and found a new means of expressing himself.
To successfully achieve yet another complex literary adaptation, Cronenberg has employed real wealth and diversity in talent to deliver his own interpretation of Cosmopolis. With Pattinson, star of The Twilight Saga, as his lead, Cronenberg clearly took something of a gamble in casting his enigmatic central protagonist. Regardless, Pattinson produces a performance rich in mood, tone and delivery, comfortably embracing a plot full of seriously bizarre and awkwardly funny moments, vindicating the Canadian master’s bold call. In support, Paul Giamatti, Juliette Binoche and Sarah Gadon are also well-chosen for their respective – if slight – roles.

Cosmopolis is a hugely timely piece that, during its production, fortuitously happened to mirror the various ‘Occupy’ movements taking place on a global scale. It’s cinematic release is certainly foreboding, telling a dark story – in typical Cronenbergian fashion – that is very close to home today; a stylish think-piece for our times.

4/5 stars

From TimeOut

David Cronenberg’s ‘Cosmopolis’ is a weird, heady and entrancing portrait of individual alienation in a super-rich, corporate world where money, sex, love, happiness and death are rapidly losing all meaning. It’s based on a 2003 novel by Don DeLillo, and while it offers some superficial relevance to the current financial crisis, and trades in some of its imagery and events (markets crashing, protests), this is not in any way a realist work. It takes Cronenberg back to territory he hasn’t explored since ‘eXistenZ’ and ‘Crash’ – this is also his first script since those films. It’s a psychosexual, more interior companion piece to films like ‘Inside Job’ and ‘Margin Call’.

‘Cosmopolis’ is an odyssey defined by a series of one-on-one encounters. There are prostate examinations, stripped bodies, sex, conversations about Rothko and souped-up chats on subjects such as the philosophies of financial security systems and how time is a corporate asset. Much of the talk makes no obvious sense: ‘Cosmopolis’ has the air of an experimental theatre piece and trades in heightened, eroticised language. You could say it tries to turn the mind of Packer inside-out: to make the psychological real. That’s tougher on film, surely, than in print, and ‘Cosmopolis’ is at its best when it’s otherworldly and aching with artifice. It’s at its worst when it becomes weighed down by an excessive, wearying wordiness, or when it steps out of the limo – the film’s self-imposed arena of surreality – and into a place more like the real world. ‘Cosmopolis’ threatens to soar and to be important, but it only offers flashes of lucidity; the limo is a mesmerising bubble that is quickly burst when the film leaves it.

That said, there’s a consistent air of charged, end-of-days menace running through the film, which Cronenberg handles with an unbroken sense of precision and confidence. He’s well served, too, by a leering, disintegrating Pattinson, giving a commanding, sympathetic portrait of a man being consumed by his own vanity and power.

3/5 

From Cinemablographer

Pattinson makes an impressive career move as the laconic Eric Packer. Even though the steely tycoon speaks in the expressionless monotone of Edward Cullen, Pattinson gives the character a sense of removal that makes the whole film work. Cosmopolis might be Cronenberg’s most dialogue-heavy film yet, but Pattinson’s dry delivery of the emotionally vacant script brings the film to life. As played by Pattinson, Eric Packer is a hollow empty shell of a man with which to serve a healthy dose of Cronenbergian allegory. It’s often said that casting is 90% of directing, and Cronenberg certainly lands an A with this pleasant surprise.
As with every Cronenberg film or any film that demands attention and contemplation,Cosmopolis is of the ‘love it or hate it’ variety. Marking his first time as both writer and director since 1999’s eXistenZ, Cronenberg is back in the realm of cyber-psycho-sexual mind games in which he produces his best work. Cronenberg again works with some of his frequent collaborators including cinematographer Peter Suschitzky who gives a slick and intriguingly distorted portrait of the new millennium. Cosmopolis also features strong work by regular Cronenberg teammate Howard Shore who provides the music along with Metric and drives the film in a series of electro-pop crescendos à la Run Lola Run.Cosmopolis is best, though, as a piece of Cronenberg adaptation. Cosmopolis offers a strong vehicle for the director’s existential contemplation. The result is a dark and damning portrait of capitalism on its all-consuming ride to nowhere.
 4/5 stars
From Volkskrant (the Netherlands) 
De jonge, knappe multimiljardair Eric Parker oogt als een mannequin. Of beter nog: een machine. Uitdrukkingsloos spreekt hij in afgemeten zinnen over geld en seks, terwijl hij zich laat rondrijden in een eindeloos lange, smetteloos witte limousine, die als een reuzenslak door de overvolle straten van New York kruipt.
Parker, gespeeld door Twilight-ster Robert Pattinson, doet iets in de financiële wereld. Nooit wordt duidelijk waar hij zich mee bezig houdt, maar hij bedient zich van een duizelingwekkend jargon. Tegen de gasten in zijn gepantserde wagen oreert hij over de koers van de Thaise baht tegenover de Chinese yuan, of over afwijkingen in standaardmodellen waarmee hij economische ontwikkelingen denkt te voorspellen.Hij is zelfingenomen, nihilistisch en verschrikkelijk goed in wat hij doet. Af en toe ontvangt hij een waarschuwing van zijn chauffeur, die semi-begrijpelijke doodsbedreigingen via een oortje krijgt ingefluisterd. Buiten de auto is het chaos, waar een occupy-achtige beweging de Apocalyps voorspelt. Binnen ondergaat Parker het gevaar apathisch. Zelfs een rücksichtslose investering die het voortbestaan van zijn imperium op losse schroeven zet, doet hem ogenschijnlijk niets.Met zijn twintigste film schetst veteraan David Cronenberg een onwerkelijke wereld die eerder doet denken aan zijn vroegere experimentele cinema (Videodrome, Dead Ringers, Naked Lunch) dan aan zijn conventionelere films van het afgelopen decennium (A History of Violence, Eastern Promises, A Dangerous Method).De casting van Pattinson blijkt een meesterzet. Het tieneridool, moe van zijn vampierenrol in Twilight, kiest daarmee wel voor vervreemding van zijn achterban. Cronenberg goochelt met verhaallogica, haalt de betekenis van woorden door elkaar en laat zijn personages toneelmatig langs elkaar praten. Paul Giamatti trapt in een sterke, menselijke bijrol als een van de weinigen een paar barstjes in dit op zichzelfstaande universum.

Cosmopolis is gebaseerd op de gelijknamige novelle uit 2003 van de Amerikaanse schrijver Don DeLillo, herkenbaar als inspirator van bijvoorbeeld Bret Easton Ellis. Maar de uitwerking van het verhaal doet veeleer denken aan het werk van theatermaker Bertolt Brecht.

Dat Cronenberg daarmee waarschijnlijk een stevig aantal kijkers afstoot, neemt hij op de koop toe. Cosmopolis is een hoogst originele, actuele film die het onbegrip rond de financiële wereld letterlijk in beelden vertaalt.

4/5 stars
Source: Thinking of Rob
Permalink Reply by Caramella Dura on June 14, 2012 at 3:58pm

Robert Pattinson Calls Out Hypocrisy of Celebrity Activists

June 14th, 2012 2:35 PM by Hilton Hater
  • 0
 

Robert Pattinson is feeling a little combative these days.

The actor recently went off on the nickname of R. Patt and then followed that up in the same interview with The Guardian, focusing his ire on celebrity activities and especially singling out those who got involved with Occupy Wall Street.

Robert Pattinson Profile

"I remember when Occupy happened in LA. I knew a bunch of actors who went down to it," Pattinson said. "They all drove down there, because no one takes the train, and parked one stop away, because they didn't want to be seen driving their free Audis, and then got on the train.

"I was like, 'What are you doing? You're probably ruining it for the other people'. I guess that's kind of a bubble; you want to say things, but you are being hypocritical. I've never really been in a position to give my opinion on political stuff before, it doesn't really come up. But suddenly you've got to take an enormous amount of responsibility."

Pretty heavy stuff from Robert. If you prefer to think of the actor solely as eye candy, you're in lucky: new Breaking Dawn photos have been released!

Permalink Reply by Caramella Dura on June 14, 2012 at 4:01pm

Robert Pattinson - Robert Pattinson Gets Fashion Advice From Gucci

14 June 2012 04:06:14 PM
Robert Pattinson picture

Robert Pattinson Gets Fashion Advice From Gucci

Robert Pattinson gets his fashion advice from Gucci's creative director, Frida Giannini.

Robert Pattinson gets his fashion advice from Gucci's creative director.

The 'Twilight Saga' heartthrob likes the Italian fashion house to dress him for his public appearances and relies upon emergency last minute fashion advice from the brand's creative director, Frida Giannini.

Robert told the British edition of GQ magazine: ''She taught me one thing - you should definitely have good contacts at Gucci. They're absolutely amazing. The amount of times I've been stuck in some random city and have called her up and had things brought in at absolutely the last minute - it's crazy.

''You can do quite crazy things [with colour] if you have incredibly classic, really well-made suits. I guess I've been quite boring for a while. I used to be more interesting with them. Now I always just request things two days before: 'Can you send 25 suits?' I don't even know what I want to wear!''

Robert - who is dating Kristen Stewart - was kitted out in a custom-made Gucci suit for his film role in David Cronenberg's 'Cosmopolis'.

He plays a billionaire who embarks upon an obstacle-ridden journey across Manhattan, so his wardrobe had to fit the part.

Frida said earlier this year: ''We are so pleased to work with Robert on 'Cosmopolis' and to create an effortless and classic style for his character.''

Permalink Reply by Caramella Dura on June 18, 2012 at 9:07pm

Robert Pattinson Unbound Captives

HollywoodLife.com speaks to one of the producers of ‘Unbound Captives’ about the film and Robert Pattinson’s involvement

We’ve been waiting patiently for news on whether Robert Pattinson‘s new film Unbound Captives will start filming soon, and whether or not he was still going to do the film with Revenge‘s Madeleine Stowe. HollywoodLife.com spoke to one of the film’s producers to get the scoop!

“Nothing has changed” on the start date of the film, our insider tells us. It seems like the movie is still delayed in starting production. But what about Rob? “He is still attached,” the source reveals.

The film has been described by Madeleine as “a large romantic Western”. She has confessed in the past that she thought of the idea, and plans on directing the movie. “I heard about children who were abducted by Comanche Indians [in the 1800s] and became so acculturated that they had a hard time returning. Our ranch had a real history. When I lived there, I felt a certain way about Texas that I hadn’t seen filmed yet.”

Permalink Reply by Caramella Dura on June 20, 2012 at 10:05pm

MTV News | Kristen Stewart Wants Robert Pattinson For Snow White 2!

Kristen Stewart Wants Robert Pattinson For Snow White 2!

She Tells MTV Her Plans To Reunite With Her ‘Twilight’ Co-Star ...

Jun 20, 2012

Kristen Stewart and Robert Pattinson could be set for a post ‘Twilight’ on-screen reunion!

Yep, while the lovebirds may be saying goodbye to Bella and Edward in ‘Breaking Dawn: Part 2’ this November, K-Stew has revealed plans to nab her British beau for a ‘Snow White and the Huntsman’ sequel!

In an exclusive chat with MTV Australia at the Sydney premiere of the fairytale remake, the actress said of Rob joining her for a follow-up flick,

“Oh absolutely! Rob’s invited to be on our cast. Definitely!”

But, it looks like R-Patz could have a bit of a battle on his hands for his leading lady’s affections...

Kristen’s ‘Snow White’ love interest Chris Hemsworth, who plays the part of the Huntsman in the Disney adaptation, told us he’s also up for part 2.

“I don’t know if it’s officially going ahead, but there’s definitely talk of [a sequel].

“There seems to be a great interest in this, so definitely if there’s another great script and the same cast then for sure!”

And luckily for Kristen, Chris (and possibly Rob), the movie’s director Rupert Sanders has already started working on the next installment!

“I can tell you that I’m working on a sequel now and it’s really exciting,” he told MTV Australia on the white carpet at Bondi Junction’s Event Cinema.

“We all had a great time doing this one, so onwards and upwards.”

Permalink Reply by Irene Angeles on July 1, 2012 at 9:18pm

Interesting! Thanks for the post, Caramella!

Permalink Reply by Caramella Dura on June 29, 2012 at 7:22pm

The US DVD cover and release date for Bel Ami.  Look for it on August 7th, 2012.

Permalink Reply by Irene Angeles on July 1, 2012 at 9:20pm

Looks like the DVD is coming ahead of the movie being shown in my area. No idea why, but this is a welcome treat instead! Once again, thanks, Caramella!

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