New 'Breaking Dawn - Part 2' stills

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Rob's Interview With Skip Magazine

Out of the Twilight. Robert Pattinson interview

Not at all afraid of the daylight. Robert Pattinson now plays in a new league: In David Cronenberg’s “Cosmopolis” he doesn’t show his teeth anymore, but much more naked skin and an interesting personality. A SKIP-talk about festivals and the financial crisis.

SKIP: You were a vampire in “Twilight” and an animal trainer in “Water for elephants”, but the stock speculator in “Cosmopolis” is definitely your strangest part so far. What will your fans think?
Robert: Of course, “Cosmopolis” is quite unusual, but if just one out of a hundred gets something out of it, I’m happy. To me, cinema is more than just entertainment.

SKIP: You’ve recently said, you didn’t want to make any movies for teenagers anymore.
Robert: I was misunderstood. I mean, the biggest percentage of people going to the movies, are young people – it would be insane to say I didn’t want to make movies for them anymore. Sometimes it’s just difficult to make movies that are restricted by the American MPAA-rating. Everything involving sex is being censored right away, while violence is much more accepted – that’s completely crazy! I don’t think there is anything particularly bad in “Cosmopolis”. I wouldn’t have been shocked by any of it at age thirteen – and if you think about, that nowadays every teenager is probably watching some hardcore porn on the internet anyway, it really puts it into perspective.

SKIP: Maybe it’s more the fact that there’s a lot of dialogue in “Cosmopolis” that could scare young people…
Robert: Exactly (laughs)! And the parents are gonna complain: “Hey! I don’t want my kids to be confronted with so many words at the same time!”

SKIP: What was your favorite moment in this past year?
Robert: To be invited to Cannes with “Cosmopolis”. I had been dreaming about being invited for ten years or so, to be in competition here. All those years during “Twilight” I always got asked: “Are you scared of being typecast as the teenage vampire? Are you scared you’ll never get another job?” And now my first job after “Twilight” leads me to Cannes.

SKIP: Eric Packer, whom you play in “Cosmopolis”, is a very strange character.
Robert: Yes, but right in the beginning I found something to connect to him. It’s funny, everybody keeps saying how this is a movie about the financial crisis. But I was more fascinated by the weird kind of humor, and that it’s almost lyrical. I liked the structure of the sentences, they almost sound instinctively right.

SKIP: Which is your favorite line?
Robert: “What you are smelling are my peanuts” (laughs). But there is more which I’d better not quote right now (grins). It’s so strange to see how people don’t really know whether they should laugh at certain scenes or not. “Cosmopolis” is one of those movies, where you could feel completely out of the loop, if you’re not paying attention from the beginning. I personally think the movie is hilariously funny. Some of the things Paul Giamatti says, are really brilliant: “I am currently experiencing my Korean panic attack” or “I believe my sexual organ is retreating into my body right now.” (laughs)

SKIP: So you laughed a lot on set?
Robert: Yes, all the time! For instance during the scene, in which I cry and say “my prostate is asymmetrical” – that’s so absurd! That something like this becomes part of a movie, is ridiculously brilliant.

SKIP: Has your approach to looking for parts changed now?
Robert: Sure, I’m older and more confident. I was always afraid that I would never get offered any roles like this one. And to be invited to Cannes on top of it all, you suddenly begin to really see yourself as an actor. I mean Wow, I can really do cool movies as well (laughs)! I have very recently signed on to a couple of projects which, at this time last year, I wouldn’t have thought I’d be able to do. In one of them I’ll play a soldier who was present when they arrested Saddam Hussein. To prepare I’ve spent some time with the guy and of course it’s very important for him that we get it right. That’s quite a lot of pressure – but I like it that way!

scans/ translation: SandraQ / via

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'Cosmopolis' in Sight & Sound Magazine - New Still

Transcript

Received wisdom has it that only bad novels, or at least disposable ones, stand a chance of becoming good films. Supposedly, any attempt to film a good novel is doomed to failure - or at best to result in quixotic half-measures. But that a prestigious book by a major writer should actually improve in translation to the screen is, according to this unspoken law, unheard of. Yet this is the case with David Cronenberg's Cosmopolis, based on the 2003 novel by Don DeLillo, in which a young billionaire financier, Eric Packer, crosses Manhattan in a stretch limo and contemplates the downfall of Western capitalism, while cruising in search of a haircut and his own ultimate perdition. It's like the Forbes 100's Journey to the End of the Night.

In Cronenberg's sleek, eerily numbed reimaging of the book, Packer is played by erstwhile Twilight heartthrob, Robert Pattinson, clearly no stranger to limo living. By bizarre coincidence, Cosmopolis was one of two white-limo fantasias in the Cannes competition, the other being Leos Carax's Holy Motors, in which the car is occupied by a protean existential everyman. For my money, Cosmopolis is by far the stranger of the two films, because Carax stakes everything on his film being dreamlike, while Cronenberg, more challengingly, weaves a texture of nightmare out of material that, ostensibly at least, derives from a realist musing on How We Live Today.

Screened near the tail end of the Cannes competition, Cosmopolis was arguably the official selection's hottest ticket. That was partly because of a punchy, tantalising trailer that - one now realises - is audaciously misleading with its quickfire barrage of images of glamour, violence and chaos: men and women aiming guns, a dancefloor frenzy, street riots, and what looked like a dinosaur on Fifth Avenue (it turns out to be a giant papier-maché rat). All these images are indeed seen in the film, but what we get is something richer and stranger than the trailer suggests.

For a start Cosmopolis proves mesmerizingly slow; it moves, like Packer's gridlocked car, at glacier pace. The action takes place largely in the back of the limo, an insulated capsule where Packer sits like a king, his display screens emitting eerie blue light, flickering with (to quote DeLillo) "flowing symbols and apline charts...polychrome numbers pulsing". This data maps the world finance market, on which Eric has over-borrowed insane figures in the Chinese currency the Yuan, bringing about his own ruin and triggering the collapse of the world economy (something less clear than it is in the book, where the comprising currency is the Yen). The car is a space capsule, occupied by a lonely Major Tom of world finance - a plutonaut, if you like.

The car has been "prousted" to Eric's requirements - cork-lined, soundproofed like Proust's study, and it similarly becomes a space for language to flourish. It's a venue for assorted conferences, quasi-therapeutic sessions, sexual encounters. The specialists drop by in succession: among them, Packer's chief of technology Shiner (a nervy Jay Baruchel); art dealer Didi Fancher (Juliette Binoche), with whom Packer has sex before they discuss the viability of his buying the Rothko Chapel; head of theory Vija Kinski (Samantha Morton); and a doctor who gives Eric his daily health check, including a rectal examination, while Eric flirts feverishly with his finance chief Jane Melman (Emily Hampshire). There are other encounters outside the car, including seemingly accidental meetings with Else, the poet wife (Sarah Gadon) who Packer hardly knows; a spat with pie-throwing provocateur André Petrescu (Mathieu Amalric), choreographed along the lines of the maniac skirmishes with Godard's Détective, and ultimately a meeting with the proverbial Disgruntled Former Employee, deranged Unabomber-like Benno Levin (Paul Giamatti), who has sworn to kill Packer.

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New interview with Industria Magazine

Transcript
Robert Pattinson earned $20 million in 2009. He made it into Time Magazine’s 100 Most Influential People in the World. If it wasn’t for the annoying boy wizard Daniel Radcliffe, he’d currently be the highest earning British entertainer in The Sunday Times Rich List (Radcliffe – £54m, Pattinson – £40m. Forbes have gone so far as to describe him as one of the most influential celebrities in the world. Make no mistake, whatever your thoughts on his pasty white skin and sticky up hair, Pattinson is what agents describe as a ‘Big Deal’. And yet, when you look back at his body of works, starting properly with 2005’s Harry Potter and the Goblet of Fire, you have to admit that the man has made some really average films. Which is probably why INDUSTRIA knows so little about him. Yes, we were vaguely aware of the teenage based hysteria surrounding his role as Edward Cullen in the tween vampire series Twilight, bit in the same way we know of Justin Bieber, ballet shoes and those small fish that clean women’s feet. With the arrival of David Cronenberg’s movie Cosmopolis this month, however, all that looks set to change.

Originally a starring vehicle for Colin Farrell and based on the novel by Don DeLillo, Cosmopolis aims to be the vehicle to deliver Pattinson some mainstream credibility (read: anyone but screaming teenage girls) and if an actor is good enough for such a visionary director who’s given us the likes of Videodrome, The Fly, Scanners, Eastern Promises and most recently A Dangerous Method then we felt we should pay attention to “R-Patz”.

“When Colin left the project to film the remake of Total Recall it made me rethink everything,” says Cronenberg. “Anyway he was too old for the part; he’s 35 and I wanted to be faithful to the book, it was necessary to have a 25 year old actor. Then I started to check all the actors of that age and that’s how I thought of Rob. I had seen him in Twilight, of course, but nothing he had done so far had really predisposed him to act in Cosmopolis. And the more I thought about it, the more I liked the idea. We talked a lot on the phone. Rob is not one of those people with a big ego. He wanted to make the movie, but seriously wondered if he could. It was his only concern. He said, “Do you really think I’m good enough to play this part? I’m afraid to ruin your movie.” I told him that this conversation more than convinced me he was perfect for Cosmopolis.”

Quite what the breathless followers will make of Pattinson’s latest career move remains to be seen. As he’s made, without question, the least accessible movie of his career (which has also included drama Water for Elephants and more recently sex romp Bel Ami), but one that makes him an acting force to be reckoned with as Pattinson dominates the screen (he’s in almost every scene) in a warped and very wordy tale of a billionaire city boy travelling across Manhattan in a high tech limo having to deal with death threats, riots, a new high maintenance wife and all the while in desperate need for a haircut.

On a rainy Friday evening, the 26-year-old Pattinson is kicking back with a few drinks in his hometown of London before heading off to premiere Cosmopolis to the sniffy film press at Cannes. Once more making us reassess out previous disinterested stance on him, he’s fun to talk to (the story of the one armed washing up man had us in fits of laughter, more of that later) and anyone who starts an interview by declaring “I’m probably going to be quite drunk by the end of this interview…” is alright by us.

Q: When did you first hear that Cronenberg was making Cosmopolis?
A: I got sent the script about a year before I did it. My agent thought I would be interested, as I told her I wanted to be sent anything from whoever was writing good scripts. Colin Farrell was attached at the time, I liked it, but I felt I was too young and I think I was considering doing a different part in it. But it disappeared. Then when I was finishing the last Twilight movie, I was resent it out of nowhere again with a straight offer for the lead. I didn’t understand what had happened. It was a nice surprise.

Q: Did you then have a chat with Cronenberg about it?
A: I re-read it again and I didn’t particularly understand it. I knew that there was something really passionate about it, it seemed like someone really knew what it was about but that someone was not me. So I was terrified to talk to David about it. My agent was like, ‘You have to accept this job’ but it’s a terrifying prospect to call up one of the best directors in the world and talk through a script you don’t really understand.

Q: So did you call him?
A: I spent a week putting off the conversation. I was trying to figure out how I could say no, as it seemed like the logical thing to do if you don’t understand something. But I love all of David’s movies and the only reason I would be saying no is because I’m a pussy. So I called him up, was honest and said I didn’t know what it was about but I really wanted to do it and he was like, ‘Great, I don’t know what it’s about either’. It all worked out in the end.

Q: What was the first Cronenberg film you saw?
A: I think it was Scanners. I loved it. I was obsessed with Jack Nicholson when I was growing up and I bought the DVD because I thought it was him on the cover and it turned out to be Michael Ironside, who I then became obsessed with. I also remember buying Videodrome. I’d never really acknowledged how much I liked Cronenberg but I realised I owned about 10 of his DVDs before working with him. I never thought I would be able to do a film with him, as he seemed to be always making films with Viggo Mortensen. He’s amazing and you can see why actors keep going back to work with him.

Q: How does his directing style differ from others?
A: He’s just incredibly confident. He doesn’t make out that anything is a big deal at all. And in doing that there’s kind of an indirect assumption that actors need to come to the set prepared to do any scene in the movie. David would turn up and if he couldn’t figure out the best way to shoot something he would just move onto something else. Cosmopolis is fairly wordy and required a significant amount of thought to figure it out so I was preparing 40 pages of dialogue for every day. I hadn’t done that since my theatre days. And everyone else would be prepared for that so you didn’t want to let everyone down.

Q: Is it true he didn’t want you to deviate from the script at all?
A: Completely. That was one of the thing I wanted to do too, what I liked about it most was the writing and the irregular pacing of it. I read the book too and it has an odd, slightly off-rhythm cadence to it that David obviously liked. But it was nice as you don’t have to try and make words your own.

Q: Most of you scenes were filmed in the back of a limo. How claustrophobic was that?
A: For me it was great as I was extraordinarily nervous at the beginning but I could stay in my comfort sear and every other actor had to genuinely enter my world. I would turn up before everyone else everyday so I would be the first one in the car so I would have that moment where the other actors would have to approach and come into my car. There was no one else in there but me and the other actor as the camera was on the crane and David would speak through an intercom. It meant that these other great actors like Samantha Morton and Juliette Binoche came in a little bit nervous, which was fantastic for me as it evened the playing field.

Q: Had you met your co-stars beforehand?
A: I had barely met anyone other than Jay Baruchel and Sarah Gadon. I met Juliette Binoche two or three minutes before we had a sex scene, and she is one of my three favourite actresses in the world. It was an incredibly strange thing to deal with.

Q: It’s a pretty brave role. In one scene you seduce a co-worker while having a prostate exam.
A: That was one scene where I wished I’d worked out a bit beforehand haha. I thought it was one of the funniest scenes I’ve ever read and one of the only things that has been cut down – it gets even more extreme in the book, the last line is, ‘I’m going to bottle fuck you slowly with my sunglasses on’ and all this while I have a doctor’s finger up my arse. You get to the day and you think, ‘I’m the one who’s vulnerable in this scene’, usually it’s totally the other way around. David was laughing all the way through. You are in a position, bent over, where you are the butt of all the jokes, so you have to quickly give up your pride quite quickly.

Q: Despite the complexity of the dialogue did you have fun making it?
A: For something so wordy and seemingly very complicated you would think that it was highbrow on set, but it was the most fun job I’ve done. We were making it kind of like a comedy; it’s an odd movie.

Q: At one point you get a pie in the face.
A: I think I broke my nose in one of those takes. My nose breaks really easily and Mathieu (Amalric) is a bit of a method act so really went for it. In that scene I was slightly off camera pissing my pants laughing, I was useless. I was treating it like a stand-up comic was performing for me.

Q: Was it a deliberate move to do something a world away from the Twilight films?
A: It really came out of the blue. There are very few auteur directors who can still get movies financed and the best way to improve as an actor is to work with the best directors out there. Unfortunately studios love firing first timers more than the classic directors. It’s such a risk. With David it won’t just be a string of recorded events stuck together with some music over the top as every single one of his movies is “something” – it’s a self contained piece of art. The only way I judge what to do next is when I read a script that is so insanely different from everything else that I question if it will ever get made. And I think this is one of those. The last scene of the movie is a 20 page two hander with a completely new introduced character. If you read any script writing manual they will tell you it’s breaking every single rule in the book. The only reason it got made was of Cronenberg. It would have been ridiculous not to have done it.

Q: Do you not think that you now have the pulling power to get a movie made?
A: Not really. I guess I have been put in the category of potentially getting Twilight fans into a movie but I don’t know if that’s even guaranteed. I’m just lucky with this Cronenberg film, as it’s the sort of thing I would have auditioned for even now, I would have auditioned as many times as they wanted in order to get it. I’m just trying not to do stuff that’s bad. Hopefully people will start to see that I’m making interesting choices and then it’s a legit career. I don’t want to have a career that’s just an illusion. I was scared that I would never be asked to be in anything interesting, that my life would pass by and someone, someday would ask me, ‘So apart from Twilight, what did you do?’

Q: How do you cope with the attention?
A: I have never been fooled by the hysteria that surrounds me. It’s the character I play, Edward Cullen, the romantic vampire. Before the movie was even made, girls would scream at Stephenie Meyer’s public readings. Most people who are famous really like it and I can’t figure out how to like it that much. I’m not a particular horrible person so when a fan comes up to me in the street I’m nice to them but whenever you are mean people have no idea why. Not sure if that makes sense, sometimes I have no memory of what comes out my mouth.

Q: It’s ok. It did. You have The Twilight Saga: Breaking Dawn Part 2 in October will you be relieved when it’s all over?
A: The only difficult thing about the Twilight series was that the character didn’t change. And so I didn’t really know what to do with it after a while. It works in the book, he’s much more of a canvas for the readers, which was why the first one worked so well for me. After a while people start to know you and you make other movies and you’re not a fantasy figure anymore. You’re just a guy. I don’t know how I feel about it, I’m still working on it. I just did the final reshoots a couple weeks ago. If the character could have got older and if he could have got hurt, it would be different for me. It’s beautiful as a self contained love story – where the two main protagonists will never leave each other no matter what – that’s a nice idea, but to play it? The audience already knows what’s going to happen before it happens. You don’t even have any suspension of disbelief.

Q: Now that you’re making a success of acting do you ever look back at the time you were waiting table and think, ‘I’m glad I’m not doing that anymore?’
A: The weird thing is I didn’t hate the jobs I did before I was an actor. I loved being a waiter. I was terrible at it, but I enjoyed it and I got fired from three different places. I once dropped a bottle of wine on a bald guy’s head. It was a full bottle of wine, luckily it didn’t break. After that incident I was regulated to the kitchens and I worked with this one armed Turkish guy washing all the dishes as I wasn’t allowed in the main restaurant anymore.

Q: How did he wash dishes with only one arm?
A: Actually, I think he was mainly drying the dishes.

Q: Surely that would still have been a struggle?
A: He seemed to manage OK haha.

Q: You loved Jack Nicholson as a child, are there any other actors’ careers you’d like to have?
A: I think it’s impossible to emulate another actor. Everyone always looked up to Leonardo DiCaprio and Daniel Day-Lewis but there’s no way to follow anyone’s route these days. People get over-saturated so quickly. I want to do my thing and if people like it, they like it. That whole thing about an actor’s career – you do one for the studio, one for yourself – doesn’t work anymore as you can do twenty for the studio, twenty for the money basically, and you’ll do one for you that tanks and your whole career will go down the toilet.

Q: What are you doing next?
A: I’m doing Mission: Blacklist #1 with Jean-Stephane Sauvaire who made Johnny Mad Dog, about Eric Maddox who is the interrogator who led the US to find Saddam Hussein. I hung out with Eric in Washington, he had just got back from Afghanistan, and he gave me the full run down, over 16 hours, of how he found Saddam Hussein. He has a photographic memory and talking through every single detail. Hopefully we will be shooting in Iraq, I think it’s going to be very cool. I’m also going to do David Michod’s new film The Rover, he’s part of this group called the Blue Tongue and I have been a fan of theirs for years and would watch all their short films on YouTube. They are a group of friends who have reinvigorated the entire Australian film community, they can all write, act and direct and they only employ Australians. I read the script and desperately auditioned for it, I think I’m the only non-Australian person in it.

Cosmopolis is out on 15th June in the UK and in the US later in the year.
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Rob Pattinson, Kristen Stewart, Mackenzie Foy and Taylor Lautner on the cover of EW

Transcript

How to explain The Twilight Saga: breaking Dawn – Part 2? Let’s hear Robert Pattinson give it a shot. The actor, 26, says this final instalment of the francise – rates PG-13 and in theaters Nov. 16 – is “stranger than all the other films put together.” He pauses. He sighs. He stammers (charmingly, British-ly) before arriving at a surprisingly simple resting place: “Vampires are weird.” And getting weirder all the time. Pattinson’s larger point is that while the previous Twilight movies have always kept one foot in reality (girl-meets-vampire reality, anyway), Stephenie Meyer’s Breaking Dawn, the fourth and last book of the Twilight series, is a 754-page tonal departure, so packed with plot twists and new characters that Summit Entertainment split it into two films. Part 1 covered a lot of ground in the lives of Bella (Kristen Stewart), Edward (Pattinson), and Jacob (Taylor Lautner) last November: There was the long-awaited wedding of Bella and Edward and an even more anticipated, feather-flying martial consummation, which resulted in a Halfling fetus growing inside Bella and a mind-bogglingly bloody delivery for our heroine, culminating in her death. But considering the film ended with Bella coming back to sorta life opening her glowing, telltale – red vampiric eyes, fans knew things were just getting started. What you will see in these pages is an exclusive first look at Bella and Edward’s daughter, Renesmee (Mackenzie Foy, 11), the Halfling child over whom all manner of hell will break loose.

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Rob Pattinson talks Cosmopolis, critics and more with The Guardian UK: “R-Patz” is dead: meet Robert Pattinson

“I don’t really know how accepted I am,” says Robert Pattinson as he sips on an enormous paper cup of Coke. ”Nothing ever matters to me apart from the people with negative opinions. That’s literally it. That always drives me on to the next thing. It’s funny, you just focus on them and then the next movie. That’s the only thing you’re thinking about when it comes out.”

For someone with the world at his feet – he has the Twilight franchise behind him and David Cronenberg’s icy drama Cosmopolis as his next release – Pattinson gives a good impression of a man plagued with self-doubt. “I’ve never really taken myself seriously as an actor,” he says, fresh off a plane from Germany, where, he notes by the by, everybody seems to hate him.

“It is surprising the amount of people who think I’m going to be really dumb,” he says. ”I think they think anyone who has done teen movies is just an idiot. I don’t know, maybe I am. Some of the best actors, if you talk to them, they’re not the smartest people in the world.”

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New 'Cosmopolis' Stills and Rob's interview- Atual Magazine (Portugal)

Translation - RPlife

It wasn't easy to estabilish contact with Robert Pattinson, during a phonecall between Lisbon and LA, that had to wait for the commitments of one of the most popular actors in the world. Inside the limousine of "Cosmopolis", film that Paulo Branco produced and David Cronenberg directed, from the novel by Don DeLillo, the british actor became Eric Packer, a 28 year old golden boy that decides to cross New York to get a haircut. Wall Street stockbroker, proud of his great instinct on the world of high finance, Eric Packer will lose on that day his wealth, under an apocalyptical atmosphere that makes him reconsider his existence. To the character, it's like going to hell. But to Robert Pattinson, it's the movie where things will change: the teen idol from the Twilight Saga gives in 'Cosmopolis' an electrifying performance and shows that he's a complete actor with a great future.

I'm not going to ask you about your favorite hobby, how's your personal life or what is your next project.
Great.

In 'Cosmopolis', you worked for the first time with David Cronenberg, director known for not letting anyone indifferent.
Is it true? Now I can say that it is true. I needed some time and distance because during the shooting of Cosmopolis I didn't understand very well what I was doing. I only understood that when I watched the movie for the first time. I was alone in the room. I was perplex. I had a strange feeling, like a contagion.

Do you think 'Cosmopolis', in its own way, is also a movie about vampires?
Oh no. I hope not! There are no vampires here.

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Rob's new interview with Les InRockuptibles- Rob Pattinson talks about new projects

Translation: RPlife

Interview with a vampire

Robert Pattinson grew fangs after the Twilight saga. He's bringing them out to portray a greedy golden boy for Cronenberg. Charming and honest, he welcomed us in Los Angeles. By Jacky Goldberg.

The interview took place on the last floor of the Soho House that overlooks Sunset Strip. It was on the patio of the private club where cameras and telephones were forbidden. He was without his press agent. He wore a three days beard, a cap, brown chino cloth pants, and a plaid shirt.

The interview lasted one hour.

You live in LA now?
RP: Yes, for a little while now. At first I didn't know what to do there and now when I'm far away I miss it. Even more than London where I grew up but that all my friends left. My family still lives there but they want to come here, same for my friends. It's crazy, all you need is to spend a day in LA to want to move in. *laughs*

The movie breaks away from your image of the proper young man molded by Twilight and the few films that you filmed since then. Did you realise that as you were filming?
RP: Of course. I'm scared of being typecast *he thinks for a moment* ... like most actors who starts for that matter: it's important to branch out very early on. That's the whole point. In fact, I got offered the lead in Cosmopolis on my last day of filming Breaking Dawn. Right at the moment when I thought I was scared of repeating myself and bam! Cronenberg is calling me! It's better than anything I could ever dream of. Now I'm curious to see how the movie is received.

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New Robert Pattinson Interview with Télérama Magazine

Thanks to RP Life:

The interview was done in a private club in Sunset Boulevard.
He hid his intense beauty under a baseball cap, a blonde scruff, a lumberkjack shirt, a white tee and washed out jeans. They had the interview on the terrace where he could light up his cigarettes.
Between light coughs and nervous laughs, he explains that he doesn’t feel at home here.
His dream is to work in a black comedy of Todd Solodnz or in dramas for men by James Gray or Jacques Audiard.

“I was scared of being cut off from the art-house cinema that I always felt passionate about. I was scared to never be asked to play in anything interesting, that my life would pass and that someone would ask me one day, ‘so apart from Twilight, what did you do?’. In this industry, you’re easily typecast”

“I never proved anything, I was never fooled by the hysteria that surrounds me. It’s the character that I play, Edward Cullen, the romantic vampire. Besides, before the movie was even made, girls would screams at Stephenie Meyer’s public readings.”

When he got the script for Cosmopolis: He got the fear of the beginner/novice. “I was so scared I would screw this up that I spent a week trying to find a way to refuse the job. And then I told myself that I shouldn’t be so stuck-up. My agent was nervous: ‘why would you accept if you don’t understand it?’. I confessed my confusion to David and he liked it. I think that might be why he hired me. Most actors would have try to act cooler, try to say something smart but I was completely lost.”

Cronenberg said that the actor didn’t come on set with his hands in his pockets. That he’s an assiduous reader, who’s been interested in the character of the ‘golden boy’ for a long while, one who’s close to the one he portrays in Cosmopolis. ‘Money’ by Martin Amis – which describes the giddy heights of easy money and the chic hedonism – is one of his bedtime readings. He finds so many similarities with himself in the empty space of the star system, that he wrote how own version of the novel, in hopes of playing it one day.

“I thought about it for Cosmopolis of course but the characters are too different and Cronenberg prefered that I knew nothing. He wanted me to give in, to say my lines in almost an abstract way, like poetry. Itawas exciting and a little scary. Today I’m nervous about the idea of having to talk to an audience about a movie that stays dark. But Cronenberg, himself, wanted to have something that escapes him. He would tell me about Fellini and say that a filmmaker that has a goal is dead already. It’s so much more interesting than to know right away where an artist is gonna take you. Plus, its’ the first time I really like one of the movies I make.”


(The article talks about his family, how his sisters dressed him up as a girl, how he did modeling jobs.)

“At the beginning, I was sort of repelled by the vanity of actors. I wanted to write before everything else, but pretty fast I had to find myself. In a humdrum way, acting seemed the best way for me to express what I couldn’t say in a different way.”

(The article then mentions his role cut in Vanity Fair and Harry Potter. His verve, his arrogance and his disposition didn’t offer him many roles. )

“I was at loss, I would do one acting job after the other without any consistency. Thirty euros days job. When I was offered Twilight, I didn’t have a choice. It had been three years that my agent in Hollywood would try to find me a job without any luck. Usually, after six months of unsuccessfull search, you’re dead in this industry, but she kept believing. I was never fascinated by a role but when I’m chosen I give myself to my character at 150%.”

The Twilight saga that was about to eat him whole, will end next Fall.

“I’m curious to reunite with this universe for the last time, to see the effect it will have on me and on the audience. I feel like the frenzy is starting to die down. We step into the era of The Hunger Games, the world wants fresh meat!”

Today Robert Pattinson has five next projects lined up, including one in Iraq. And since he knows that “you only get to have one or two failures before you’re forgotten,” he speaks about going back to music and writing songs, inspired by Van Morrison’s Beside You and Neil Young’s Ambulance Blues. He also has in mind the idea of a movie and a TV show, he never gave up on being his own author and to work with determination on the script of an ambitious project – a trilogy of fantasty adventures (and politics), freely adaptated from a successful novel.

“People are listening to me right now so I take advantage of it. I don’t think authors last very long in our time and I love this job way too much to let it go away.”

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