New York (AP) - Robert Pattinson était proche de la fin du tournage du dernier film 'Twilight', concluant un chapitre de sa vie qui l'a sorti de l'obscurité et l'a préparé à voler de ses propres ailes ... mais vers quoi exactement ? 'Twilight' l'a rendu extrêmement célèbre, mais les étapes suivantes étaient incertaines.
"Il est sorti de nul part," raconte t-il en parlant du script de "Cosmopolis" de David Cronenberg, le réalisateur Canadien vénéré pour ses thrillers psychologiques ("Videodrome", "Eastern Promises") qui souvent recherchent l'esprit à travers le corps. Pattinson, n'ayant jamais rencontré ou parlé à Cronenberg, a fait une petite recherche : Il a regardé sur Rotten Tomatoes "et il y avait environ 98% d'approbation," dit-il.
"Je me disais : OK, c'est mon prochain boulot," raconte Pattinson.
Pattinson a désormais la tâche peu enviable de réaliser son film le plus ambitieux, son rôle le plus adulte, au milieu d'une tornade médiatique, à qui l'instinct devrait suggérer de courir comme une meute de loups-garous. Promouvoir "Cosmopolis" place Pattinson devant les caméras et les microphones pour la première fois depuis que sa partenaire dans "Twilight" et petite-amie Kristen Stewart s'est excusée publiquement pour avoir eu un rendez-vous galant avec le réalisateur Rupert Sanders le mois dernier.
Les circonstances gênantes, dit-il, sont "dissociées" du film, et il est jusqu'à présent peu enclin à se servir de cette attention pour faire une réponse publique au scandale. Au contraire, il cherche à faire dévier l'attention sur "Cosmopolis", un film qui, dans une précédente interview lors de l'avant-première au festival du film de Cannes "a changé la manière dont je me vois" raconte t-il.
Lisez la suite de l'interview en cliquant sur 'Plus d'infos' / English version after the jump
Lisez la suite de l'interview en cliquant sur 'Plus d'infos' / English version after the jump
Si Pattinson est tout naturellement sur ses gardes à propos de sa vie privée, il est sincère et humble à propos de ses anxiétés en tant que jeune acteur. A 26 ans, Pattinson est peut être un des visages les plus célèbres de la planète, il cherche encore ses repères en tant qu'acteur - une profession, dit-il, qu'il n'a jamais désiré, il est tombé dedans par chance et l'a toujours trouvé inconfortable. Son parcours invraisemblable a commencé avec "Harry Potter et la coupe de feu" et "Littles Ashes," dans lequel il a joué Salvador Dali.
"Ensuite j'ai fait 'Twilight' et c'est soudainement devenu un monde totalement différent dans lequel se frayer un chemin," a raconté Pattinson dans une récente interview à New York. "La plupart des gens qui ont leur gros succès, ont repéré quelles étaient leurs facultés, moi pas encore, vraiment."
"Cosmopolis" est un film radicalement différent qui va surement embrouiller les idées non seulement de la horde de fans de "Twilight" qui vont faire la queue vendredi, mais aussi des cinéphiles. Pattinson lui même l'a regardé 4 fois pour essayer de le comprendre.
La première adaptation cinématographie d'un roman de Don Delillo, "Cosmopolis" parle d'un financier brillant, Eric Packer (Pattinson) qui traverse tranquillement Manhattan malgré les embouteillages, dans le sanctuaire isolé de sa grande limousine blanche avec comme simple but de se faire couper les cheveux. Mais le trajet, qui inclut des visites à sa nouvelle femme (Sarah Gadon), une prostituée (Juliette Binoche) et des manifestants anti-capitaliste (Mathieu Amalric), se dégrade pour Packer, qui regarde froidement sa fortune disparaître suite à un mauvais pari sur le Yuan chinois.
"C'est un égocentrique qui veut voir une sorte de spiritualité dans son égocentrisme," raconte Pattinson. "Ça reflète un peu ce que les acteurs pensent d'eux-mêmes."
Pattinson est dans chaque scène du film, lequel repose sur son inexpérience, sa performance hyper littéraire pour le porter à travers un cadre limité et les dialogues intenses de DeLillo - Cronenberg les a quasiment retranscrit mot pour mot. Bien que quelques critiques ont trouvé le film statique et impénétrable (peut être des réponses intentionnelles), la plupart des critiques ont salué la performance de Pattinson, dont beaucoup disent que c'est une preuve que le beau gosse peut jouer.
Le langage stylisé et la nature atypique du film en ont fait un choix risqué et intimidant pour Pattinson.
"Je ne pouvais pas entendre la voix du personnage. Il n'y avait rien," dit-il. "C'était effrayant de dire oui à quelque chose alors qu'on ne sait pas ce que c'est. Je savais que c'était intéressant, je savais qu'il y avait quelque chose de spéciale mais je ne savais pas comment le faire ou ce que je pouvais apporter. Mais quand vous commencez à dire non à Cronenberg car vous ne savez pas si c'est assez bon, vous prenez une décision stupide."
Il est clair que sa célébrité dans "Twilight" pèse lourd sur Pattinson, qui dit qu'il sait que les gens regardent ses films "à travers un contexte culturel."
"Rob est populaire", raconte Cronenberg.
"Je n'aurais pas pu choisir Rob sans 'Twilight' tout comme je n'aurais pas pu prendre Viggo (Mortensen) sans 'Le seigneur des anneaux' ", raconte le réalisateur dont les 3 précédents films - "A history of Violence", "Easter Promises", "A dangerous Method" - ont Mortensen en vedette. "Le fait est que quelqu'un qui a de l'influence et qui est prêt à faire un film qui est difficile est un cadeau pour un réalisateur car vous n'avez pas seulement le bonne personne en tant qu'acteur, mais vous obtenez l'intérêt des financiers et vous pouvez faire le film. Ça n'a pas été un film facile à faire."
Pattinson semble motivé par la liberté de choix qui arrive avec la fin de "Twilight", qui sortira en Novembre. Il va faire parti de films ambitieux loin des blockbusters : "Mission : Blacklist," un thriller militaire, et "The Rover" par le réalisateur australien David Michod ("Animal Kingdom"), un rôle pour lequel il a du plus se battre que les autres, raconte t-il.
S'embarquer dans "Cosmopolis" semble faire parti d'un processus pour Pattinson - de connaissance de soi, de doute, de peur. Interrogé sur s'il à l'impression d'être un acteur maintenant, il répond rapidement, "Non."
"Aussitôt que vous commencez à exister dans un certain monde, vous avez l'impression d'avoir une quantité formidable de bagage tout le temps," dit-il. "Vous êtes coincé dans cette routine où vous voulez que les gens pensent que vous êtes autre chose, mais vous êtes trop effrayé pour faire ce qu'il faut pour être une autre personne."
"Et puis vous recevez un cadeau comme ce film où c'est plus facile que je ne le pensais," raconte t-il. "Vous le faite simplement. Ça n'a pas vraiment d'importance si vous échouez."
----------------------------------------------------------------------------------------------------------------------------
NEW YORK - Robert Pattinson was nearing the end of shooting the last “Twilight” film, concluding a chapter of his life that had picked him out of near obscurity and was preparing to spit him out … where exactly? “Twilight” had made him extravagantly famous, but his next steps were entirely uncertain.
“Out of the blue,” he says, came the script for “Cosmopolis” from David Cronenberg, the revered Canadian director of psychological thrillers (“Videodrome,” “Eastern Promises”) that often pursue the spirit through the body. Pattinson, having never met or spoken to Cronenberg, did a little research: He looked him up on Rotten Tomatoes “and it was like 98 percent approval,” he says.
“It was like: OK, that’s my next job,” says Pattinson.
Pattinson now has the unenviable task of releasing his most ambitious movie, his most adult role, into a media storm that instinct would suggest should be run from like a pack of werewolves. Promoting “Cosmopolis” puts Pattinson in front of cameras and microphones for the first time since his “Twilight” co-star and girlfriend Kristen Stewart last month publicly apologized for having a tryst with director Rupert Sanders.
The awkward circumstance, he says, is “dissociated” from the film, and he’s thus far declined to use the attention to make any kind of public response to the scandal. Rather, he’s sought to deflect it to “Cosmopolis,” a film that, in an earlier interview before it premiered at the Cannes Film Festival, he said “changed the way I see myself.”
If Pattinson is understandably guarded about his private life, he’s refreshingly openhearted and humble about his anxieties as a young actor. At 26, Pattinson may be one of the most famous faces on the planet, but he’s still getting his bearings as an actor _ a profession, he says, he never pined for, fell into by chance and has always found uncomfortable. His unlikely trajectory began with “Harry Potter and the Goblet of Fire” and “Little Ashes,” in which he played Salvador Dali.
“Then I got `Twilight’ and it suddenly became a massively different world to navigate,” Pattinson said in a recent interview in New York. “Most people who get their big hit have figured out what their skills are, and I hadn’t, really.”
“Cosmopolis” is a radically different kind of film that will surely confuse not only the hordes of diehard “Twilight” fans who will line up on Friday to see it, but art house moviegoers, too. Pattinson himself has watched it four times to try to get his head around it.
The first movie adaptation of a Don DeLillo novel, “Cosmopolis” is about a sleek financier, Eric Parker (Pattinson), slowly making his way in the airless sanctuary of his white stretch limo across a traffic-jammed Manhattan with the simple goal of a haircut. But the journey, which includes visits with his new wife (Sarah Gadon), a prostitute (Juliette Binoche) and Occupy-like protesters (Mathieu Amalric), is a kind of willful unraveling for Parker, who dispassionately watches his fortune slide away on a bad bet on the Chinese yuan.
“He’s an egomaniac who wants to see some kind of spirituality in his egomania,” says Pattinson. “It’s kind of like how actors feel about themselves.”
Pattinson is in every scene of the film, which relies on his callow, hyper-literate performance to carry the movie through its limited setting and DeLillo’s heightened dialogue _ much of which Cronenberg transcribed verbatim from the novel. Though some reviews have found the film static and impenetrable (perhaps intended responses), most critics have praised Pattinson’s performance, with many citing it as proof that the heartthrob can indeed act.
T
he stylized language and atypical nature of the film made it a risky and intimidating choice for Pattinson.
“I couldn’t hear the voice of the character at all. There was nothing,” he says. “It was scary to say yes to something which you didn’t know what it was. I knew it was interesting, I knew there was something special but I had no idea how to do it or what I could add to it. But when you start saying no to Cronenberg because you don’t think it’s good enough, it’s a stupid decision to make.”
It’s clear that his “Twilight”-fueled celebrity weighs heavily on Pattinson, who says he knows people watch his films “through a cultural context.”
“Rob, he’s popular,” says Cronenberg with deadpan understatement.
“I couldn’t have cast Rob without `Twilight’ just as I couldn’t have cast Viggo (Mortensen) without `Lord of the Rings,’” says the director whose previous three films _ “A History of Violence,” “Eastern Promises,” “A Dangerous Method” _ starred Mortensen. “The fact that somebody who has clout is willing to do a movie that’s difficult is a gift to a director because you’re not only getting the right guy as an actor, but you’re getting financing interest and you get to make the movie. This is not an easy movie to get made.”
Pattinson seems energized by the freedom of choice in front of him following the final “Twilight” installment, which will be released in November. He’s lined up parts in gritty films far from blockbuster size: “Mission: Black List,” a military thriller, and “The Rover” by Australian director David Michod (“Animal Kingdom”), a role he says he fought for more than any before.
Embarking on “Cosmopolis” appears to have been a process of letting go for Pattinson _ of self-awareness, of worry, of fear. Asked if he now feels certain he’s an actor, he quickly replies, “No.”
“As soon as you start existing in a certain world, you feel like you have tremendous amount of baggage all the time,”he says. “You get stuck in this rut where you want people to think you’re something else, but you’re too scared to do what that is to actually be the other person.
“Then you get a gift like this movie where it’s way easier than I thought it was,” he says. “You just do it. It doesn’t really matter if you fail.”
Source / Traduction / Via
“Out of the blue,” he says, came the script for “Cosmopolis” from David Cronenberg, the revered Canadian director of psychological thrillers (“Videodrome,” “Eastern Promises”) that often pursue the spirit through the body. Pattinson, having never met or spoken to Cronenberg, did a little research: He looked him up on Rotten Tomatoes “and it was like 98 percent approval,” he says.
“It was like: OK, that’s my next job,” says Pattinson.
Pattinson now has the unenviable task of releasing his most ambitious movie, his most adult role, into a media storm that instinct would suggest should be run from like a pack of werewolves. Promoting “Cosmopolis” puts Pattinson in front of cameras and microphones for the first time since his “Twilight” co-star and girlfriend Kristen Stewart last month publicly apologized for having a tryst with director Rupert Sanders.
The awkward circumstance, he says, is “dissociated” from the film, and he’s thus far declined to use the attention to make any kind of public response to the scandal. Rather, he’s sought to deflect it to “Cosmopolis,” a film that, in an earlier interview before it premiered at the Cannes Film Festival, he said “changed the way I see myself.”
If Pattinson is understandably guarded about his private life, he’s refreshingly openhearted and humble about his anxieties as a young actor. At 26, Pattinson may be one of the most famous faces on the planet, but he’s still getting his bearings as an actor _ a profession, he says, he never pined for, fell into by chance and has always found uncomfortable. His unlikely trajectory began with “Harry Potter and the Goblet of Fire” and “Little Ashes,” in which he played Salvador Dali.
“Then I got `Twilight’ and it suddenly became a massively different world to navigate,” Pattinson said in a recent interview in New York. “Most people who get their big hit have figured out what their skills are, and I hadn’t, really.”
“Cosmopolis” is a radically different kind of film that will surely confuse not only the hordes of diehard “Twilight” fans who will line up on Friday to see it, but art house moviegoers, too. Pattinson himself has watched it four times to try to get his head around it.
The first movie adaptation of a Don DeLillo novel, “Cosmopolis” is about a sleek financier, Eric Parker (Pattinson), slowly making his way in the airless sanctuary of his white stretch limo across a traffic-jammed Manhattan with the simple goal of a haircut. But the journey, which includes visits with his new wife (Sarah Gadon), a prostitute (Juliette Binoche) and Occupy-like protesters (Mathieu Amalric), is a kind of willful unraveling for Parker, who dispassionately watches his fortune slide away on a bad bet on the Chinese yuan.
“He’s an egomaniac who wants to see some kind of spirituality in his egomania,” says Pattinson. “It’s kind of like how actors feel about themselves.”
Pattinson is in every scene of the film, which relies on his callow, hyper-literate performance to carry the movie through its limited setting and DeLillo’s heightened dialogue _ much of which Cronenberg transcribed verbatim from the novel. Though some reviews have found the film static and impenetrable (perhaps intended responses), most critics have praised Pattinson’s performance, with many citing it as proof that the heartthrob can indeed act.
T
he stylized language and atypical nature of the film made it a risky and intimidating choice for Pattinson.
“I couldn’t hear the voice of the character at all. There was nothing,” he says. “It was scary to say yes to something which you didn’t know what it was. I knew it was interesting, I knew there was something special but I had no idea how to do it or what I could add to it. But when you start saying no to Cronenberg because you don’t think it’s good enough, it’s a stupid decision to make.”
It’s clear that his “Twilight”-fueled celebrity weighs heavily on Pattinson, who says he knows people watch his films “through a cultural context.”
“Rob, he’s popular,” says Cronenberg with deadpan understatement.
“I couldn’t have cast Rob without `Twilight’ just as I couldn’t have cast Viggo (Mortensen) without `Lord of the Rings,’” says the director whose previous three films _ “A History of Violence,” “Eastern Promises,” “A Dangerous Method” _ starred Mortensen. “The fact that somebody who has clout is willing to do a movie that’s difficult is a gift to a director because you’re not only getting the right guy as an actor, but you’re getting financing interest and you get to make the movie. This is not an easy movie to get made.”
Pattinson seems energized by the freedom of choice in front of him following the final “Twilight” installment, which will be released in November. He’s lined up parts in gritty films far from blockbuster size: “Mission: Black List,” a military thriller, and “The Rover” by Australian director David Michod (“Animal Kingdom”), a role he says he fought for more than any before.
Embarking on “Cosmopolis” appears to have been a process of letting go for Pattinson _ of self-awareness, of worry, of fear. Asked if he now feels certain he’s an actor, he quickly replies, “No.”
“As soon as you start existing in a certain world, you feel like you have tremendous amount of baggage all the time,”he says. “You get stuck in this rut where you want people to think you’re something else, but you’re too scared to do what that is to actually be the other person.
“Then you get a gift like this movie where it’s way easier than I thought it was,” he says. “You just do it. It doesn’t really matter if you fail.”
Source / Traduction / Via
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