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Respecting Rob because actions speak louder than words.
I don’t know about you, but whoever decided that “fuschia” was the way to go in the treatment of the film’s title really needs to have their job re-evaluated.
Arte (France and Germany) interviewed David Cronenberg in Toronto to talk Cosmopolis. I can’t embed but I’ve included both the French – Nobody Move! and German – “Rewind” vids below – just click on relevant pics. They are dubbed which is highly annoying, so you choose which one is the lesser of two evils. Both interviews are the same. The shows are being screened on Sunday 20 May 2012 and you can click on the links above to check times.
“Nobody move!” heads for Toronto, not to fill up with maple syrup but to meet Mr. David Cronenberg. On the eve of his return to the Croisette for Cosmopolis , adapting the novel by Don DeLillo (with Robert Pattinson in the role main, yes ladies!), David Cronenberg tells us his film and his irresistible attraction to violence tinged with strangeness. Cosmopolis is of that caliber. Capitalism, chaos and paranoia: it promises to be a great shock formal, a sort of “urban hallucination”. As a preview, in David Cronenberg’s “Nobody move!”.
“”Rewind!” makes his way to Toronto – but not to increase its stocks of maple syrup, but to meet with David Cronenberg. Just before he was for “Cosmopolis”, the screen adaptation of the novel by Don DeLillo (with Robert Pattison in the lead role), again sets out on the Croisette in Cannes, the director talks about his filmmaking, and the irresistible attraction that strange-looking violence on it exerts. “Cosmopolis” falls into this category. Capitalism, chaos and paranoia – the film is already formally a very shocking, announced as a kind of “urban hallucination.” The talk in Toronto is a kind of preview for Cannes.”
Before everyone jumps on that last comment – 3 out of 5 stars ain’t so bad. We know this film is under a very big microscope and I feel very very nervous for Rob.
“A cronenberg as brilliant as he is firm.
Each in their own genre, David Cronenberg and Don DeLillo are silversmiths of fantastic, unhealthy and sometimes dark atmospheres. As well as of the science of language and characters in shambles and – let’s not forget – of controversy.
It’s then pretty obvious that one would end up adaptating the other’s work. Cosmopolis is the ghostly and hypnotic story of a day in the life of a golden boy who is about to lose his empire because of the crisis, indifferent to the world that surrounds him. He’s hypochondriac and schizophrenic. His long journey across a chaotic New York, rythmed by meetings with his wife, his mistresses and his employees, will lead him to a point of no return. In a perfect balanced cinematic movement, David Cronenberg decided to adapt to the letter the extremely rich prose of Don DeLillo. He filmed with an incredible ingenuity this stifling and unsetlling closed-door.
This preconception to stay faithful to the text of the author is amazing but not without any danger. Especially in the last part of the film, where one could definitely get lost in a verbal flood that becomes complex for the viewer and for Robert Pattinson – who was perfect until then – but seems, all of the sudden, to lose control.
As always with Cronenberg, there’s no in between, no second place, no way out. Cosmopolis gets appreciated at full or not at all. Take it or leave it.”
Update: Ephie has kindly clarified some of the translation which now makes much more sense
“Hi girls. I’ve read the French article and the translation is mostly accurate. In the last comment they have used the verb mastering. So to translate it it says that Rob was impeccable up until the last scene where all of sudden he seems to be “mastering nothing anymore”.
Also the word used to describe the final Verbal flood is not complex. In English it translates as abstruse which means esoteric.
It gave me great pleasure to read the word IMPECCABLE in relation to his acting. Very pleased indeed…”
