Friday, June 1, 2012

More Of Rob On The Cosmopolis Set, Sarah Gadon Interview

It's dubbed but you can hear his answers. Translation via/via

Rob: I was interested in the script because it looked like a long and mysterious poem. Usually when you read a script you suddenly get what it’s about, where it’s going and how it will end.

Rob: This time was different because the more I kept reading it the more I didn’t seem to understand where it was going but more I wanted to be in the movie. That movie doesn’t belong to any genre it’s on its own.

Rob: It was hard to interpret a character who doesn’t go trough an evident evolution or follow a predictable path, I mean it does but it’s an incredible evolution that doesn’t happen in the same in which the characters usually change. David was able to control the whole thing I’ve never worked with a director that has such control over his movie and consider himself the head of every aspects of it.

Sarah Gadon also talked about Rob and Cosmopolis in a new interview with the Toronto Standard:

So what commentary does the film make? The book is pretty condemning—

SG: Yeah! This is for the one percent descending from their yacht at Cannes to watch a film that points to a gap in society. I think the movie lends itself to a meta-critique of the film industry. Take casting someone like Rob at the centre of this film. He is the symbol of pop cinema, the symbol of capitalism. The film is about the breakdown of that.

And his character’s so hubristic. He tries to tap into this technological system that’s supposed to order the world around him, the dollars and cents of his life, the free market. And we watch it all fall—really hard.

SG: When I read critiques of the film, I think people miss what you’re saying. They ask, “Why is Robert Pattinson in this movie?” Even for David to cast somebody like me who is blonde, blue-eyed and twenty-five and normally reads scripts where I am hyper sexualized or solve everyone’s problem with my smile. He cast me as a character who will not allow her romantic lead to project anything onto her that she will absorb, it’s kind of unheard of. And there is a difference between [Elise] in the book and the Elise that David wrote. In that the last scene between Eric and Elise, in the book, Eric projects onto an accepting Elise. For me, the best part about ending their narrative in the restaurant, in the movie, is that she ends it and she’s out and that’s it.

Read Part 1.

She mentions Rob in Part 2 of this interview as well:

I know I keep pressing the question, but would reading the book have dampened that type of performance?

SG: It’s not really my job as an actor to think, How is this literary adaptation going to affect the entire story and how people will see it differently. It’s more about what’s on the page. I can read the book and that can be part of the well of knowledge that goes into the character, but I can’t change the fact that I’m doing a Cronenberg film, Rob is the lead, and I’m acting opposite him. These are the tangible things happening I guess you can draw from it, but you can’t let it define your work—because it doesn’t.

Read Part 2.

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