VIDEO: Robert Pattinson talks to The Academy (Oscars) about Good Time (Aug. 6)

VIDEO: Robert Pattinson talks to The Academy (Oscars) about Good Time  (Aug. 6)

This is great! There was a screening for Good Time for Academy members and Rob did a Q&A as well. The official site shared part of the Q&A and it's great of course. Listen all the way to the end....Rob talks about our hero.

Thanks Cali!

VIDEO & PICS: Robert Pattinson At The Airport Leaving New York

VIDEO & PICS: Robert Pattinson At The Airport Leaving New York

So according to the interview Rob gave with the LA Times HERE he starts shooting High Life with Claire Denis on Sunday. Wonder if that's where he's headed?

Robert Pattinson Talks To The LATimes About What's On His DVD Shelf, Working With Claire Denis & MORE

 Robert Pattinson Talks To The LATimes About What's On His DVD Shelf, Working With Claire Denis & MORE

Great interview with Rob by the LA Times where he talks about working with his favourite directors, starting work on High Life & lots more. Get comfy and have a read.....

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With the release of “The Lost City of Z” and “Good Time,” 2017 may well be remembered as the year Robert Pattinson officially became a critics’ darling.

Some might claim the shift began in 2012, when the British actor, still best known for setting hearts aflutter in the “Twilight” movies, drew raves for his change-of-pace performance in David Cronenberg’s art-house chiller “Cosmopolis.” Since then Pattinson has reteamed with Cronenberg on “Maps to the Stars,” done further career-redefining work in David Michôd’s dystopian thriller “The Rover,” and earned plaudits for his appearances in films including Werner Herzog’s “Queen of the Desert” and Anton Corbijn’s “Life.”

But his versatility has never been on such dazzling display as it has this year, first with his shrewdly underplayed supporting role as the real-life Amazon explorer Henry Costin in James Gray’s “The Lost City of Z.” He followed that with his arrestingly deglamorized star turn as an amateur bank robber in Josh and Benny Safdie’s thriller “Good Time,” which opened in theaters Friday.

The steady accumulation of prestigious world-cinema names on Pattinson’s résumé represents the fulfillment of a dream that took root during his teenage years. Well before “Twilight” sent him into the celebrity stratosphere, Pattinson says, he was an obsessive film buff with a particular passion for French art cinema. Even critics who have been slow to appreciate the actor’s talent (guilty as charged) would likely approve of his taste, which has steered him toward favorites as different as Jean-Luc Godard, Leos Carax, Claire Denis and Herzog.

This month, Pattinson is headed to Poland to begin shooting the sci-fi adventure film “High Life,” the first English-language project directed by Denis, whose films he began watching avidly as a teenager. Pattinson’s other forthcoming projects include “Damsel,” a period western costarring Mia Wasikowska and directed by David and Nathan Zellner (“Kumiko, the Treasure Hunter”), and “The Souvenir,” a two-part romantic mystery from British director Joanna Hogg.

Read More After The Cut

NEW PICS: Robert Pattinson Looking Gorgeous As Ever As He Exits His Hotel In NYC Today (13th August)

NEW PICS: Robert Pattinson Looking Gorgeous As Ever As He Exits His Hotel In NYC Today (13th August)

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Click for HQ

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Pics Source: Posh

Oscar Boyson Shares A Pic Of Robert Pattinson & Benny Safdie On Instagram

Oscar Boyson Shares A Pic Of Robert Pattinson & Benny Safdie On Instagram

Well we heard the boys talk about how Rob & Benny worked in a car wash and here's a pic of them both shared on instagram by Oscar Boyson

A post shared by OSCAR BOYSON (@skipmccoy) on

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SPOILER POST: Robert Pattinson is "astonishing", "commanding" and "tremendous" with a "career-peak performance" in Good Time

SPOILER POST: Robert Pattinson is "astonishing", "commanding" and "tremendous" with a "career-peak performance" in Good Time

Good Time is sitting pretty at 92% certified FRESH on Rotten Tomatoes! This is Rob's highest rated film and thank you lord, he's the lead. Rob was praised heavily for Cosmopolis and The Rover but this film is clearly breaking new ground....

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From Roger Ebert:
Having said that, most of what shines so well about “Good Time” can be traced back to Robert Pattinson’s performance, the best of an already-impressive career. He is impossible to ignore from his very first scene, expressing Connie’s ability to only keep digging himself deeper and deeper into trouble. Connie makes choices instantly, and one gets the impression that it’s an instinctual ability that has helped him at times but will only prove his downfall on this particular night. “Good Time” is essentially one long chase movie—the story of a man trying to evade capture for a bank robbery and get his brother out of the predicament into which he threw him—and Pattinson perfectly conveys the nervous energy of being essentially hunted by your own bad decisions without ever feeling like he’s chewing scenery. Like Pacino in the ‘70s, there’s something in the eyes and the body language, an unease about what’s going to happen next, an inability to sit down. It is a stunning performance, and one of the best of 2017 by far.

From Los Angeles Time:
“Good Time” is Pattinson’s breakthrough, the most sustained and revelatory transformation of the actor’s career and, not coincidentally, the most extreme of his recent efforts to thwart the audience’s sympathies.

From Entertainment Weekly:
Pattinson anchors Good Time, completely selling Connie from the moment he bursts into the frame and delivering the best performance of his career. (This coming only a few months after a quiet, assured turn in The Lost City of Z.)

From Variety:
A career-peak performance from Robert Pattinson

From The Wrap:
Pattinson delivers a manic, adrenalized performance in the vein of Robert DeNiro in “Mean Streets,” a film to which “Good Time” often pays homage.

From Time:
Good Time offers plenty of sweaty suspense laced with a few bittersweet laughs. But Pattinson is the real reason to see it: his Connie, wiry and intense, with beady, cracked-out eyes, is the kind of guy you'd cross the street to avoid.

From Little White Lies:
The tipping point arrived in James Gray’s The Lost City of Z, in which [Pattinson] insouciantly stole the film from underneath bulky lead Charlie Hunnam with a breathtaking and unshowy supporting turn. Good Time marks the full transition, as if his acting dirty laundry is now completely ice white once more and he can make great movies without the burden of his formative CV. He’s nothing short of tremendous here, taking cues from Robert De Niro circa Mean Streets as he channels a sense of constant exasperation, but in the most tamped down and poised way imaginable. He doesn’t ever strain to stretch this character too far or give him too much mystery or depth, emphasising that when it comes to his single-minded motivations, he’s something of a twinkle-toothed open book.

From SFist:
As Pattinson plays him, you also can't help but root for him, even as he's using everyone around him to get what he wants through a combination of charm and mania.

From Rolling Stone:
By now, Robert Pattinson shouldn't have to prove he can act. Cosmopolis, The Rover, Maps to the Stars and The Lost City of Z – they all show that his brooding Twilight days have passed into teen-movie myth. But if doubters still need proof, check out the Pattinson tour de force in Good Time...It's a wild, whacked-out ride that cements the reputation of the Safdies as gutter poets with a flair for tension that won't quit. But it's a never-better Pattinson who gives the film soul and a center of gravity.

From The Playlist:
And in Robert Pattinson‘s central performance, these Kerouacs of current-day Queens find their Neal Cassady. After a long period of ascent in which the signal to noise ratio for the young actor has been consistently out of whack, here he turns in his first unequivocally commanding lead performance: bringing absolute commitment, wolfish energy and Method-y charisma. Robert Pattinson is, finally, fantastic.

From The Film Stage:
Robert Pattinson gives the performance of his career thus far as Connie Nikas, a wired, erratically dangerous, and unpredictable pariah who looks like he could use a good night’s sleep.

From AP:
And in close-up, we see Pattinson more clearly than ever before. His performance — sensitive and controlled amid the chaos— is easily the best of his career.

From Paste:
Connie is played by Robert Pattinson in a performance so locked-in from the first second that it shoots off an electric spark from the actor to the audience: Just sit back, he seems to be telling us. I’ve got this under control.

From Collider:
It features a strong performance from the criminally underrated Robert Pattinson...Pattinson certainly doesn’t have it easy as Connie. His character is a parasite whose only redeeming value is his love for his brother. How he finds the subtle nuances to even suggest he’s more than that is all sorts of remarkable even if those trumpeting his work here as a career best are overlooking his stellar turn in The Rover.

From The Thrillist:
None of it would work without Pattinson powering the motor.

From Slate:
With this movie, both Pattinson and the Safdie brothers have broken new ground in their careers; if you haven’t been keeping track of what either of them is up to, Good Time would be a good time to start.

From JoBlo:
Proudly displaying their Scorsese influence (who’s thanked in the closing credits), GOOD TIME is a bit like MEAN STREETS if it had focused solely on Robert De Niro’s Johnny Boy. Shockingly, star Robert Pattinson makes for an ideal De Niro stand-in, with his Connie Nikas a staggering change-of-pace for the actor.

From Indiewire:
The actor is astonishing in the Safdies' rambunctious heist thriller, which takes place in a single frantic New York night.

From Slant1:
Connie is a mediocre criminal with an undeniable talent for drawing strangers into dicey situations, and the marvel of Pattinson's performance is how precisely the actor navigates the lies and pleading conviction innate in his character's bravado. Pattison's shaggy charisma is indebted to a slew of New York films from the 1970s and '80s, and Connie's dark journey through the night (something like if Ratso Rizzo or Sonny Wortzik were inserted into After Hours) is both candy-colored and scrupulously designed to address how the urban poor interact and negotiate with city services.

From Slant2:
The actor is a physical and emotional force throughout the film. Pattinson’s Connie exudes a simultaneous intelligence and cunning and a hopeless inability to comprehend his own limitations. The actor avoids empty posturing and homes in on his character’s sense of practicality—because the paranoiac Connie never stops thinking about and carefully calculating his next move. There are other memorable characters in Good Time, in particular the perpetual fuck-up drug dealer Ray (Buddy Duress), who Connie breaks out of Elmhurst accidentally, but the film is at its strongest when it keys its intoxicating aesthetic to Pattinson’s performance.

From HeyUGuys:
As Connie, Robert Pattinson is tremendous. He completely dominates the film and is in virtually every scene. As all his schemes unravel, his desperation and desire to escape is palpable. Connie quickly adapts to new situations and assumes different identities: polite young man, charmer, bank robber, security guard, tough guy. Pattinson laps up the challenge and gives the performance of his career.

From Vulture:
Most of this is on the shoulders of Pattinson, doing some of the best work of his post-franchise-journeyman career. His Connie is both capable and foolhardy, empathetic and scuzzy in the extreme.

Robert Pattinson as Connie and Jennifer Jason Leigh as his sometime girlfriend, Corey. Both elevate the material enormously. Pattinson - even scruffier than usual, but with an authentic New York accent and determined stare - is pure, panicked intensity.

From MaraMovies:
In the electrifying crime-drama Good Time, the actor finally shows that he has range beyond that of a brooding, sleepy-eyed vampire. Playing a small-time crook on the run in the most desperate night of his life, he gives his most commanding performance yet. Indeed, Pattinson, using his best East Coast dialect, is in virtually every scene of this adrenaline rush of a movie. A rock-synth musical score, neon lights, choppy editing and guerilla-style cinematography all factor into the frazzled story. It’s not until the film hits the brakes that we’re able to breathe and appreciate his virtuoso work.

From Sight & Sound:
Pattinson is playing for keeps, throwing himself into the Safdies’ shabby, stylised spin on street-level realism. Comparisons have been made with Robert De Niro’s star-making role in Mean Streets (Martin Scorsese sits atop the ‘Gratitude’ list in the credits), but where Johnny Boy was an unpredictable firecracker, Pattinson imbues Connie with an enigmatic, desperate, directionless energy.

From IrishTimes:
Against that, he adores his brother and is imbued with the charisma of Robert Pattinson, who has never been better. “I always wanted to look like I’ve been street cast,” said Robert Pattinson told the press conference after Good Time premiered at Cannes. Well, mission accomplished. They shot the film guerrilla-style on the streets on New York with one of the planet’s hottest stars and not one person spotted him.

From The Hollywood Reporter:
Led by Robert Pattinson, giving arguably his most commanding performance to date as a desperate bank robber cut from the same cloth as Al Pacino's Sonny Wortzik in Dog Day Afternoon, this is a richly textured genre piece that packs a visceral charge in its restless widescreen visuals and adrenalizing music, which recalls the great mood-shaping movie scores of Tangerine Dream.

From The Skinny:
The film stars an unrecognisable Robert Pattinson as low-level bank robber Connie, and the actor offers up his most accomplished performance to date.

From AVClub:
Pattinson is enthralling in the part; he lets us see not just the caged-animal attitude of the character, who’s in survival mode for the entire running time, but also the improvisational spark of his intellect. Edward Cullen is a tiny speck in his rearview mirror.

From Telegraph:
Instantly riveting, Pattinson bristles his way through the movie, saying some truly ridiculous things. “Don’t be confused or it will make things worse for me!”

From Vanity Fair:
I’d argue that Pattinson had already proven his mettle this spring in James Gray’s near-perfect The Lost City of Z, in which he plays a laconic supporting role with a centered intelligence, communicating a calm thoughtfulness that was a vast improvement dead-eyed work as Edward Cullen. But Good Time certainly builds on that promise, and is an example for other young (or not!) actors out there looking to do a career renovation that the best path forward is oftentimes smaller, riskier films done with the right auteurs. (It certainly makes it easier to do this if you never have to earn big popcorn paychecks again because you’re stinking rich from doing five vampire movies.) Pattinson has shown discerning taste these last few years, and with Good Time’s glowing reception on the Croisette, he’s finally reaping the benefits of it.

From TimeOut:
Pattinson is great in this, surely his best post-‘Twilight’ performance to date: he’s quick and coarse yet he also lends the character a glint in the eye and a spark in the brain – he’s always more than just bad.

From The Guardian:
Robert Pattinson gives a strong, charismatic performance.

From Common Sense Media:'s Pattinson, shaking off the last of his Twilight-drenched past, who gives a Pacino-worthy performance full of street smarts and fast talk, but with a human soul.

From Reason:
Robert Pattinson does his best work to date in Good Time, a raw, roaring new movie from the Safdie brothers.

From Cinemalogue:
Good Time also provides a showcase of Pattinson’s versatility, as his ferocious transformation leaves behind the brooding British heartthrob persona on which he established his career.

From Movie Nation:
Pattinson, who never lets on that he’s wearing an alien accent, gives Connie just a hidden hint of charm. Like the actor himself, women just get lost in those blue eyes, and he can talk them into anything.

From We've Got This Covered:
...A career-expanding role from Pattinson...Pattinson vanishes behind a gritty, kicked-in-the-teeth anti-hero, desperation his cologne of choice. Baggy hoodies his uniform. You’ve never seen this Pattinson in a very James-Franco-from-Spring-Breakers way – and you damn well should.

From Buzzfeed:
Good Time starts and ends with Nick, but the film belongs to Connie, and to Pattinson, who lives and breathes the young man's poisonous desperation. It's the kind of performance that sticks with you, like a layer of grime that needs to be washed off.

From Screen Crush:
It would be inaccurate to say Pattinson is unrecognizable as Connie – the YA heartthrob has too handsome and recognizable a face to totally disappear into a role. But there’s something remarkable about how well Pattinson’s good looks meld with his seedy, lowlife character. He’s disarmingly handsome, which he uses to manipulate others including an underaged teen (Taliah Webster), but when you get up close you can see the ruthlessness in his eyes.

PRINT INTERVIEW: Robert Pattinson On Connie's Character Development & Staying Under The Radar To The Huffington Post

PRINT INTERVIEW: Robert Pattinson On Connie's Character Development & Staying Under The Radar To The Huffington Post

On his whirlwind of interviews at the Good Time Press Junket Rob spoke to The Huffington Post. Check out what he said to them below.

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From The Huffington Post
Robert Pattinson, I’m sorry.

Outside the Bowery Hotel in downtown Manhattan, where I interviewed Pattinson on Thursday morning, a cabal of paparazzi clutched their cameras in anticipation. For this I felt persuaded to apologize by way of introduction. It must feel suffocating to sit on the other side of such vultures.

Pattinson pled ignorance. “I just came in and they weren’t there,” he said, playfully defiant. “I’m almost certain it’s not about me, though.”

Who else would they be looking for?

“I go in and out, and I’m like, ’They’re not following! It’s clearly someone else,’” he said, almost proud at the realization that maybe there’s somebody more sought-after in the building. Doubtful. If anything, his comment proved that he’s all too familiar with the dance that occurs between shutterbug and famous subject. After all, this is the man who, according to a GQ profile published last week, rode around in the trunks of cars and parked rental vehicles throughout Los Angeles in case he needed to make a quick getaway. He’s depressingly well-trained in the art of paparazzi circumvention.

It made sense that Pattinson was semi-incognito when I met him in a discreet corner of the hotel’s bar. Dressed in a chunky gray sweatshirt, jeans and a ratty black baseball cap that covered his forehead and concealed his signature mane, Pattinson was calm about the pap situation but exhausted from the many interviews he’s given in recent weeks to promote “Good Time,” his new movie. “I’m terrible right now,” he said, laughing.

“Good Time” is a film that begs discussion, because of its contents and because it confirms that post-“Twilight” Pattinson will not be pigeonholed into any sort of Hollywood box. By nature, it feels weird to declare one’s love for “Good Time,” a grubby indie drama in which Pattinson plays Connie, a mostly irredeemable goon flitting through Queens, trying to evade the police after robbing a bank with his deaf, mentally challenged younger brother, Nick (Benny Safdie, who co-directed the movie with his brother, Joshua). Connie calls the shots, but Nick is the one who lands in jail, sending Connie on a goose chase to secure $10,000 to bail him out.

Read the Rest After The Cut

At once unnerved and expressionless, this is the fiercest performance of Pattinson’s career, which has taken him from “Harry Potter and the Goblet of Fire,” “Water for Elephants” and four of those uber-famous vampire flicks to the comparatively obscure art-house scene. Since the “Twilight” series ended in 2012, Pattinson has solidified his range via two movies directed by sci-fi weirdo David Cronenberg (“Cosmopolis” and “Maps to the Stars”), a dystopian revenge drama (“The Rover”) and a few arty biopics that not many people saw, including this year’s excellent “Lost City of Z.”

If popularity is the metric, Pattinson’s IMDb page makes it look like he hasn’t done much over the past five years. It’s not because he isn’t in demand: Pattinson said he reads about eight scripts each week ― that’s more than 400 per year.

He can’t define his taste, not even to his agents: “I’m only looking for things that surprise me, really.” He’s instructed his reps to pass along scripts that feature character descriptions along the lines of “tall, 31, pedophile, gross.” It’s a joke, of course, the point being that Rob Pattinson has no interest in conventional roles. He wants to play the last person you think he’d play.

That’s “harder” today, he confirmed, than it was in 2008, when the inaugural “Twilight” movie opened. Back then, Hollywood was only just beginning its franchise takeover, where familiar properties with ballooning budgets ― reboots, spinoffs, interminable sequels, single books split into two or more movies ― eroded a lot of the space occupied by fresh stories. In fact, “Good Time” came about because Pattinson saw an image from the Safdie brothers’ previous film, the heroin-junkie romance “Heaven Knows What,” and reached out to say he liked their style.

Thankfully, he’s had the paychecks to bankroll his interest in independent projects. Pattinson and co-stars Kristen Stewart and Taylor Lautner reportedly earned $25 million apiece, along with 7.5 percent of the massive theatrical grosses, for the two-part “Breaking Dawn.” But Pattinson had no idea in 2008 that “Twilight” would help to define Hollywood’s new bigger-is-better economic model.

“I remember when ‘Twilight’ first came out, it was the first time I’d really heard film series be referred to as ‘franchises,‘” Pattinson said. “And then you see everyone talking about the word ‘franchise’ as if it’s this revered term. ‘Franchise’ should not be about a movie. That’s a fast-food restaurant. Everyone was like ‘the franchise, the franchise’ the whole time. I just thought, ‘Shut up!’ It’s rote. All these actors are saying ‘franchise’ ― it’s like, what are you doing? You’ve drunk the Kool-Aid!”

Pattinson may be franchise-free now, but that could change, if Lionsgate gets its way. An executive from the studio, which distributed the “Twilight” films, recently said “there are a lot more stories to be told” in the series, assuming author Stephenie Meyer is keen. This was news to Pattinson.

“Really?” he asked. He then thrust his hands into the air and yelped in faux-enthusiasm: “Yes!”

So, that’s a “no thanks,” right?

“Well, you never know,” he said, backtracking. ”It did inspire me at the time. And, really, it’s kind of awesome. It’s the way people interpret it. People would excuse you for not taking something seriously if it becomes this mainstream thing and everyone’s fiending. I took it just as seriously — more seriously — than other things I’ve done.”

Having developed a sort of paparazzi PTSD from the whole experience, you’d think Pattinson would dismiss any “Twilight” talk out of hand. Instead, he grasps the cultural role it plays, and he clearly respects the fan base ― largely teen girls ― who bought $3.3 billion in tickets worldwide. If nothing else, he understands his reputation is forever linked to that of Edward Cullen, and there’s no point in condemning that.

“It’s also like, you fucking did it,” he said. “It’s you! At the end of the day, the behind-the-scenes shit doesn’t matter. It doesn’t matter.”

Because Pattinson backed away from movies that carry the potential to top the box office, he was surprised to learn that talk shows would still book him to promote “Good Time.” Was anyone still interested, he wondered.

“I do sort of live in my own world a lot of the time,” he said. “I’m pretty ignorant. It’s funny ― I’ve basically, as far as I can tell, been really under the radar for years. I’m kind of surprised at it all. [...] I thought I had really reached a hyper-saturation point. And also I think you just keep repeating yourself all the time, and you need to re-form yourself before you have anything to say. I didn’t have anything to say for years. I still don’t really have anything to say.”

Except he does. “Good Time” was his most immersive filmmaking experience to date. A London native, Pattinson embedded himself in Queens, mastering the New York borough’s native accent, losing weight so Connie would look slightly malnourished, and living in a low-rent basement apartment. The story takes place over the course of a single night, including dashes through the streets in unchoreographed shots that let Pattinson interact with his surroundings organically. In terms of bystanders, he went largely unnoticed. At last, invisibility was his.

Indeed, Pattinson, like his co-star and ex-girlfriend Stewart, has made peace with his fame. Now he’s just working to ensure it doesn’t affect those who orbit him ― presumably his current girlfriend, singer FKA Twigs, though he didn’t mention her by name, and probably wouldn’t.

“That’s why I’m always relatively open about stuff about myself, and I always try to contain it to that,” he said. “You can never tell how someone’s going to report something, and how anyone else around you is going to react, because they didn’t ask to be talked about. I can take responsibility for stuff I say about myself, but it’s the same way I don’t like people talking about me.”

Pattinson laughed as he said that last sentence, at which point his publicist announced that our allotted interview time had ended. I shook his hand and strolled out of the Bowery Hotel. It had been less than half an hour since I arrived, and the paparazzi lineup had doubled in size. Pattinson’s new moon isn’t without its old tricks. At least there was no need to be sorry.
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