posted by Nov 2, 2014 • Filed in: Cosmopolis, Fan Reviews, Internet/Bloggers, Movies, Press, Reviews

WARNING, THE FOLLOWING REVIEWS MAY CONTAIN SPOILERS!

Due to the growing and extensive list, please see all the good, bad, ugly and fan reviews after the jump!

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posted by Nov 1, 2014 • Filed in: Cosmopolis, Fan Submission, Internet/Bloggers, Movies


Thanks @RobsPromotion for the tip!

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posted by Nov 1, 2014 • Filed in: Cosmopolis, Internet/Bloggers, Maps to the Stars, Movies, Press

The deal is that if I’m directing, I have complete control, and that’s something I wouldn’t have if I was doing a studio film, but it’s something I’m very used to as an independent filmmaker. The financing is hell, but once you’re on the set it’s great because you have complete control. I mean, when I was doing Cosmopolis, Rob Pattinson said to me, “I’ve never seen this before.” I said, “Seen what?” He says, “You make all the decisions right here on the spot and then carry them out.” And I just said, “Rob, it’s just you and me making this film, no one else.”

[...]

There’s something interesting in the casting of Maps to the Stars in that respect, because you have people like Julianne Moore and John Cusack, who have done every kind of film there ever could be at every level of budget possible, and you have people like Mia Wasikowska and Robert Pattinson, who are on their way to becoming those same kinds of actors. With this film, how much were the actors able to relate their own experiences to you, and how did their experiences inform the direction of the film?

DC: Well, it’s not so much a discussion, but it always did come out that they experienced that. Mia and Rob have done a lot of movies, and especially Rob has done a franchise with all the big studio craziness that goes along with that. He’s kind of seen the worst of this, and they all knew the reality of it all.

Really, I don’t have those discussions unless I see something going wrong. These actors were all right there. The only thing I said to them – and I said that to all of them – was, “Don’t worry about satire or humour or exaggeration or anything else. Those things in the script will take care of themselves. You must play this absolutely real to the emotional level that is there. Everything else will be fine if we all do that.” You have to get your actors into the same movie, basically, and that’s all I have to say to them. And they just knew and I never had to have that discussion that you’re saying because they just naturally brought their own experiences and understanding of the characters immediately. I never had to tweak or fine tune them. When we’re choreographing a scene, that’s when we’re really collaborating the most, and that’s where they contribute the most by talking about how they move through a scene. They’re all so accurate. I was only doing one or two takes for everything. They just all got it immediately.

But what you’re saying is true. Rob is playing probably the most naive character in the movie, and Mia’s also naive, but only to the Hollywood side of things and not the family craziness. They’re not movie people. They aspire to it, but they’re not in it yet, and that just comes naturally from the characters.

To read the full interview with David, CLICK HERE!

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posted by Oct 24, 2014 • Filed in: Cosmopolis, Internet/Bloggers, Merchandise, Movies, Press

Chanel-J12-Robert-Pattinson-Cosmopolis

Watch-ID.com reports,

In the movie Cosmopolis, the main character Eric Packer, played by Robert Pattinson, wears a Chanel J12 Chromatic Classic Automatic 41mm H2934 watch.

Throughout the film, Robert Pattinson wears only one outfit: a black two-button notch-lapel Signoria suit by Gucci, a Gucci fitted white cotton shirt, a slim black silk tie, a leather belt with silver buckle detail and black leather lace-up dress shoes, all from Gucci. The Chanel watch is a nice addition to this stylish outfit.

The Chanel J12 Chromatic Classic is made from titanium ceramic, a new material that is highly scratch-resistant and has a hardness close to that of sapphire. Its unique color and sparkle are obtained by adding titanium to ceramic and then polishing with diamond powder. The watch comes in three sizes, 33mm (ref nr H2978), 38mm (ref nr H2979) and the 41mm (ref nr H2934) which is seen in the film.

The Chanel J12 Chromatic retail price is approximately $7000, but can be found on for example eBay for $5395. Versions with diamonds on the bezel can also be found and cost more than $14,000. Make sure you order the right size for your wrist.

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Thank you @RobsPromotion!

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posted by Oct 1, 2014 • Filed in: Cosmopolis, Internet/Bloggers, Maps to the Stars, Movies, Press

Tweets:

@suziekew

David is friends with Martin Amis and nearly adapted one of his books..cool!

* One of Rob’s favorite books is “Money” by Martin Amis.

Re MTTS US release: “they’ll do a qualifying run, probably in LA and New York, because the pressure on them is huge.”

David mentioned Rob 3 times last night (Julianne twice) so I’m taking that as a sign!

Videos:

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SRLAURAMTTSPHOTOCALL6_1

New York Film Fest: David Cronenberg Has “No Problem Ignoring” Robert Pattinson’s ‘Twilight’ Past

What advice would Julianne Moore, also part of Cronenberg’s ‘Maps to the Stars’ cast, give her franchise-film co-stars?

David Cronenberg’s Hollywood-centered family melodrama Maps to the Stars marks the veteran director’s second straight film with Twilight alum Robert Pattinson after 2012′s Cosmopolis.

Although many still see Pattinson as vampire heartthrob Edward Cullen, Cronenberg told The Hollywood Reporter he could easily look past that.

“I have no problem ignoring that,” the director said of Pattinson’s Twilight past. “Of course I watched the first Twilight movie just to see what he was like and get a feel for his screen presence and so on and so on…by the time you’re on the set, it’s just the two of you making movies. You forget your own movies too.”

Speaking to THR ahead of Saturday night’s New York Film Festival screening of Maps, Cronenberg explained that he wanted to work with Pattinson (who wasn’t in attendance at the New York event) on this movie not only because the director thinks of him as “a wonderful actor” and they “had a good time on Cosmopolis” but also because it provided the opportunity for Pattinson to participate in the sort of ensemble film he’d told Cronenberg he wanted to do.

“He told me that he was scared about Cosmopolis because he had not really wanted to do a movie where he was the lead and had the whole movie on his shoulders,” the director explained. “And of course in that movie he’s in almost every scene. He said, ‘One day I’d love to do an ensemble piece where there are a lot of good actors and [he's] just one of them.’”

When Cronenberg was putting together Maps, he thought of his Cosmopolis star.

In Maps, Pattinson plays a limo driver/aspiring screenwriter who forms a connection with a mysterious young woman played by Mia Wasikowska, who arrives in L.A. from Florida and ends up working for Julianne Moore’s diva actress.

Pattinson and Wasikowska’s characters’ conversations provide insight into the world of Hollywood outsiders striving to become insiders.

Indeed screenwriter Bruce Wagner said he thought having a character who’s a limo driver, and his own experience doing that job for a number of years, offered a good way in to the Hollywood-centric story.

“I found it’s a great window in to a narrative because it’s someone who’s indifferent in a way and yet his job is to shepherd those who have great wealth or fame and yet he is kind of invisible in a sense,” the writer told THR. “In that way it was a great narrative tool for me. Being a limousine driver was a way in to story with a capital ‘S’.”

Pattinson’s work with Cronenberg is just part of his attempt to distance himself from the Summit vampire franchise through more serious, challenging roles, including parts in June’s The Rover, Werner Herzog’s Queen of the Desert and an upcoming collaboration with Harmony Korine.

Moore said that despite working with Pattinson and the Hunger Games cast, with her role in the upcoming Mockingjay installments, she doesn’t have any advice for her younger co-stars.

“I don’t think any of those actors need my advice,” she told THR. “They all have wonderful careers and are magnificent actors and they’ve made really interesting creative choices. “

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Thanks @lurker1510 for the tip!

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RPWWCOSMOFANPIC

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Thanks @estush223 for the tip!

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posted by Aug 9, 2014 • Filed in: Cosmopolis, Movies, The Rover, Twilight

The best thing about Robert Pattinson is how weird he is. If he weren’t acting, he’d be the one in the office grinning with half a mouth and going out of his way to avoid the water cooler. He’s friendly, but weird — with a laugh like Butt-head if he’d gone to a nice independent school in Barnes. We met in May at the Cannes film festival, once he’d finished his cigarette under a sky barely holding its rain. To call his clothes “grunge” would be a disservice to the thought that goes into grunge. It’s just messy: lumberjack shirt, T-shirt, trainers, white jeans. “I’m so hung-over,” he moans, as I turn the tape on. “I feel absolutely disgusting.”

The room is packed with soggy hacks. They sit in clusters, for 15 minutes of R-Patz, for a quote about Twilight to spread over the internet. The vampire saga is over, but remains undead. From 2008 to 2012, those five films, based on Stephenie Meyer’s novels, made £2 billion worldwide and fostered a fan base still fervently in love with their leading man. To many, he will always be Edward, the immortal who cared and fell in love with Bella (Kristen Stewart). They added to the mystique by becoming an off-screen couple, too. Throw in his key role in Harry Potter and it’s unsurprising that the pallid hunk has spent much of his life in the headlines. It’s been an odd coming-of-age for the youngest of three, who grew up in a polite London suburb and, as I find out, doesn’t really like big films.

What he does like is his latest role, in The Rover, an indie thriller from the ­director David Michôd, who hasn’t even seen Twilight. This pleases Pattinson, who talks avidly about the film even though he went to a party last night and “forgot” he had to work. There are few more normal 28-year-old multi­millionaires. We talk about a recent interview for Dior in which he spoke, foolishly, about French girls because, “I was being asked ‘What’s your favourite part of scent?’” He shakes his head at the inanity of the question. “I also told someone I use moisturiser, and then saw it written down — I’ve spent all this time ­trying to get credibility and there’s a f****** headline about moisturiser!’”

The thing is, he’s mortified. All he wants, and needs, now is credibility. He’s loaded: five Twilights and some fashion contracts have sorted that. So, over the past few years, since David Cronenberg’s Cosmopolis in 2012, he has been seeking weird, dirty roles. He’s the only actor to have had sex in a limo — on screen — twice this decade. In The Rover, he defecates in a dusty shrub. I put a quote from Catherine Hardwicke, who shot the first Twilight, to him. “Rob’s obviously ridiculously photogenic, but he’s also so talented. I see him creating stylised, odd, wild characters.” He squirms at the first part, but loves the second.

“I’m picking things so strange, they can’t be judged in normal terms,” he says. His brain is creaking; his voice, soft and tired. “If anything’s relatable in a mass way, I don’t know if I can do it. That’s just not how I relate to anything. If there are certain character beats, I’m not going to be able to achieve them. So I like making it my own game. You can invent a new set of ­emotions that don’t even really make sense to you.”

In The Rover he plays Rey, a bloodied drifter in a future Australia, ravaged ­lawless by some unspecified crash. He may be a ­soldier and, as Pattinson puts it, is “handicapped”. The actor is excellent, bringing the baggage of his better-known work to a sombre, serious film — Sad Max, if you like — that pits him against Guy Pearce’s angry Eric. The pretty one sings along to a song that goes: “Don’t hate me ’cause I’m beautiful.” Rey’s teeth are awful: ­pyramid-sharp and crooked. They remind Pattinson of “the kids at school who didn’t brush their teeth” — the “weirdos”, he smirks. “Always the ones who played too many video games.”

This is what’s fun about Pattinson — or, at least, his hung-over version. There’s no filter. Most big shots would hold back from a slur about people who play video games, as most of them watch their movies, too. But he doesn’t. I suggest that the mentally and physically crooked Rey is his Miley Cyrus moment, a public ruining of something innocent. “It’s like doing Miley Cyrus,” he repeats, grunt-giggling, but I don’t think he ever thought of ­himself as pure. He certainly doesn’t care. He doesn’t even have a publicist. I could have asked who he’s dating, but any answer about that from a globetrotting young heart-throb in May, for a piece in August, felt hopeless. On the way out to Cannes, I read up on his love life. There were rumours about the model Imogen Kerr, and Katy Perry, and Katy Perry’s stylist.

I ask what he thinks he will be rem­embered for, how Google will autofill his name in the future. Stewart — his Twilight co-star, about whom he recently said, “Shit happens” — will always be there. So will Twilight. What else? “Gay?” he laughs. But it’s not really up to you, I add. Yours is an image controlled by manic fans, ones who retweet any news about any role hundreds of times a minute. “They’re very pro­active,” he nods. “Good publicists. But I don’t like referring to them as ‘fans’. I think it’s gross when people are, like, ‘I love my fans!’ You don’t even know them.” He continues, saying he thinks that’s probably dubious as he’s “quite insecure”, before booming, theatrically: “ ‘How can you ever love me? You don’t!’ ” I have no idea how much of this conver­sation he will remember.

I grab five minutes with Pearce — who broke away from his teen-sweetheart part, Mike in Neighbours, with a series of sketchy roles in tough films — to see if he has any advice about how to escape a past. He doesn’t envy his co-star, far better known than even he was in the 1980s. “I’m glad I haven’t had to deal with it,” he says, frankly. “It’s pretty full on. Rob’s got a good sense of humour, but it gets to him, totally. He sees Twilight stuff and goes, ‘Eurgh, whatever…’ ” Pearce can’t help. It’s hard to outrun a quickly lived past. Pattinson went to the same prep school as Tom Hardy, albeit almost a decade later, and I imagine he envies his fellow alumnus’s slow-build career.

“People always ask, ‘Can you actually act?’ ” Pattinson tells me. He’s frustrated. “Well, what the hell do you think I was doing in Twilight? Good or bad, I was ­acting. It’s the same articles every single time.”

I ask if he has been turned down for roles because of what went before. “One job. It’s only ever been one job, when someone said, ‘I can’t cast you because of Twilight.’ ” And the film was? “Oh, just some film that flopped anyway.”

He has a list of 20 directors he wants to work with. There is “no career plan”, but he wants “people to have a good time with, to tell your friends about”. As yet unseen are films he has done with Werner Herzog and Anton Corbijn. He has made two Cronenbergs in two years, the second being the Hollywood satire Maps to the Stars. He’s sticking to his word.

“Your last job is your last job, and you’re potentially not ever going to get another job again,” he says. “So, you know, ‘I worked with Werner Herzog’ — that’s better than saying, ‘I’m doing Whatever 3’, when you get a bunch of money and shoot for 11 months and ­promote for eight months and then everyone says it’s shit. I think doing a movie for anyone except yourself is crazy.”

He rambles at length, as passionate ­people do, half monologue, half conver­sation. Revealing snippets come thick and fast. “I hear actors say they don’t read reviews or care about it, and I think they’re making it up. Everybody cares about it.” Or, when I ask about a YouTube video called Robert Pattinson Hates ­Twilight, he shrugs: “I’ve said so many dumb things.” He then accuses critics of giving “more leeway to mainstream ­movies made as entertainment”, and thinks the “crazy”, much derided ­Cosmopolis will find an audience on late-night TV. I hope so. It’s a smart film. “When people make difficult things, it’s hard enough for anyone to see it,” he says. “They are reliant on critics to buoy it up a little bit.” He’s annoyed they often don’t.

If The Rover — shot in a town of 50 ­people, “who live there to get away” — is the remoteness Pattinson craves, then Maps to the Stars is the celebrity he knows. On the shoot for the former, he “stopped wearing fake-dirt make-up and just looked dirty”. In the latter, he wears an awards-show suit and drives around Beverly Hills in a limo with famous actresses. It’s nebulous, with Julianne Moore as a washed-up diva, John Cusack and Olivia Williams a terrifying power couple with awful children, and Carrie Fisher as Carrie Fisher. “I thought it was hilarious,” says Pattinson. “Subversive, combative. But that’s Cronenberg.” He has seen brats like the film’s Benjie (Evan Bird), who has too much too young and loses it all, but doesn’t know why people turn out like that.

Near the end, Pearce bursts through a big curtain and tries to make Pattinson leap into his photoshoot. The younger man curls up. “I hate having my picture taken. Hate it,” he protests. He’s pushed. He flat-out refuses. “I’m way too self-conscious.” He doesn’t want to be the focus of attention any more. Playing leads, he says, isn’t fun. Big movies, he says, aren’t fun. “You just don’t get interesting parts, and you also have to work out tons for a movie you might not like. It’s a big hassle.” He just wants to make weird films and his own weird music. Not that he will release the latter. “I can’t deal with criticism very well,” he sighs. “I’ve already got it from one angle. I don’t need it from anything else.”

The whole day reminds me of the sharpest thing I’ve seen Pattinson say, a joke on an American chat show that sums him up well. It was with Jimmy Fallon, two years ago, when the host said that “millions of Twilight fans” were heartbroken by the end of the saga. “Bittersweet, isn’t it?” he asks. His guest pauses, making as little eye contact then as he did with me. “Erm,” he replies, “for them.” After our interview, I hear him struggle with ­questions about superheroes, and if he could survive an apocalypse. Later, he heads for another cigarette in the rain. “I’m quite good at being by myself,” he told me earlier and, as I watch him, soaking, I believe him. Actually, somewhere in his mind, I think he’s already by himself, all the time.

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