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So you think you can dress like Robert Pattinson as a Wiki in #TheLighthouse
The Lighthouse opens in select US theatres in NY and LA this weekend and had a wider release next weekend. Let the promo begin. A24 has shared a few new stills in their Notes on “So You Think You Can Dress Like a Period-Accurate 19th Century Lighthouse Keeper“. Head on over to read about oils skins, underwear and cable knit sweaters.
Filmmaker Matt Reeves has found his Riddler for The Batman. Paul Dano has signed on as the classic villain, Warner Bros. announced Thursday. Dano’s version of the character will be named Edward Nashton, the man who in the comics later goes by the name Edward Nygma and adopts the villainous persona. Frank Gorshin and John Astin played the villain on the 1960s TV series, while Jim Carrey played him in 1995’s Batman Forever, which was directed by Joel Schumacher.
And in other The Batman news THR also confirmed that Matt Reeves has chosen previous co-collaborator Michael Giacchino to compose the music for the film:
Composer Michael Giacchino has said yes to The Batman. Filmmaker Matt Reeves surprised the crowd Friday at an event at London’s Royal Albert Hall, where Giacchino and and fellow composer David Arnold were engaging in some friendly competition by comparing works they’ve done.
When Reeves took the stage, he got down on one knee in a mock proposal, asking Giacchinoto board his project, as captured in a video from an attendee, and reported by Empire journalist Chris Hewitt.
Ryan Pfluger photographs Robert Pattinsonfor the NYTimes
Ryan Pfluger says he only had 13 minutes in which to shoot these photos of Rob, what an amazing time management skill he has – these shoot is glorious. Love that he shared these photos in colour – the one above is an outtake the one below we’ve obviously seen here before in black and white.
Robert Pattinson talks to Alissa Wilkinson from Vox
Rob talks to Alissa Wilkinson from Vox. Here’s an extract of her interview but you can read the full transcript HERE.
Alissa Wilkinson What kind of prep do you have to do to shoot a movie like this?
Robert Pattinson I was doing a lot of crazy things. Pretty much every scene is a high-intensity psychological breakdown. I stayed in that zone a lot of the time when I was shooting it, a lot of walking around in circles kind of muttering to myself.
Alissa Wilkinson Do you do anything in particular to put yourself in that brain space?
Robert Pattinson When I first read the script and was figuring out something to connect to, I was listening to all these different Maine lobster fisherman accents. It sounded like a contorted accent, and you had to contort yourself to get the accent right, like in your face. Then it translated over to your body.
And so to feel like I did when I first read the script, I just kept doing these weird body contortions, which seemed to be the trigger [for me] to feel like this guy. But I guess it was kind of bizarre for people to see me kind of twist myself up before every single scene. A lot of contortions!
…
Alissa Wilkinson Did you at least also get lobster while you were there, to eat?
Robert Pattinson You’re the only person who’s asked me that. I mean, the lobster there tastes phenomenal. It’s like nothing you’ve ever tasted. Also, I didn’t realize you’re supposed to cook lobster in … this sounds so disgusting, but you have to cook it in the saltwater that it came from. It tastes way nicer. I feel like I’m revealing that I’m like a cannibal, but it was especially delicious, even though it came with a lot of shame.
…
Alissa Wilkinson How does this role fit into the kind of roles you like to play? You’ve worked with a lot of directors who favor a very stylized kind of movie.
Robert Pattinson Yeah. I loved The Witch. I do like working with people who’ve got an extremely individual style, because then you can’t rely on anything you’ve relied upon before in different performances. It helps you grow. So I definitely like these iconoclastic directors.
There’s also so much detail in Robert [Eggers]’s work. He’ll take these massive punts on a movie. There’s so much density to the films he’s made. The writing in this, it seemed like there was just so much there that it was really, really inspiring. Then when you add to that writing ability, the production design ability … It’s one of the most beautiful sets that I’ve ever seen. You open up any drawer, it’s filled with cutlery that’s from the Lighthouse Department in 1890 or whatever.
He’s such a stickler for detail. He would be just discussing period underwear. He was sort of telling me, “Which batch of the underwear do you like the most? Which do you think you would wear?” and I’m like, “What are you talking about? No one’s even going to see this, and also, I cannot tell the difference.”
It’s lovely working with somebody like that, because it just gives you so much material to work with, and it’s transportive.
