The Maps to the Stars team leaving the cinema after the premiere
Check out more pics from the after party over HERE
For the past year, Robert Pattinson has been trying to disappear. He says he's been actively avoiding having his photo taken, trying to erase a tabloid persona.Thanks PattinsonAW for the Variety Cover Pic
"I'm just trying to not be in stupid gossip magazines, basically, and I think the best way to do it is never be photographed ever," says Pattinson. "As I get older, I just get more and more and more self-conscious about getting photographed. I don't know why. I've done it too many times and now I feel like everyone can see through me."
Not being photographed isn't an option for Pattinson at the Cannes Film Festival: The annual Cote d'Azur extravaganza is famous for its walls of photographers and its rabid hunger for celebrity.
But Pattinson has unveiled a new, more mature image of himself at this year's Cannes. He stars in two of the festival's top films: David Michod's lean, dystopian thriller "The Rover" and, in competition, David Cronenberg's dark Hollywood satire "Maps to the Stars." In the latter, he plays a Los Angeles limo driver trying to break into the movie business.
In "The Rover," which opens in the United States on June 13, he gives arguably his best performance yet, playing a bloodied half-wit who travels across a near-future Australian Outback with a terse man bent on revenge (Guy Pearce). With a halting Southern accent, he's a mangy, wounded puppy dog of a man, loyal to his companion.
More than any film before, "The Rover" announces the 28-year-old former "Twilight" star as a talented actor of range, capable of disappearing into a complicated role.
"It's literally exactly what I wanted," Pattinson said of his Cannes, smiling atop the Palais des Festivals.
His performances have been eye-opening for many, including Pattinson's co-stars. "I wasn't aware of what he was capable of," says Pearce. "On the second day, I said to David, 'He's really (expletive) good, isn't he?'"
The new chapter for Pattinson really began with his first collaboration with Cronenberg in the 2012 stylish Don DeLillo adaptation "Cosmopolis." Since then, he says, he's been choosing parts solely by director.
"I sort of had a bit of a list," says Pattinson. "The things I'm going to do next I've said yes to them before I've even seen a script."
Along with Michod ("Animal Kingdom") and Cronenberg, Pattinson has shot movies with Werner Herzog and Anton Corbijn. He's lined up films with Harmony Korine ("Spring Breakers") and Olivier Assayas ("Carlos"). All are widely acclaimed filmmakers who mostly operate far from the mainstream.
"It takes so much of the responsibility off you," says Pattinson. "I don't like the idea of trying to make movies as, like, a vehicle. Also, I don't really know who my audience is. I don't know if I have an audience. Outside of 'Twilight,' I don't know."
"Playing the lead in 'Cosmopolis' was not at the time what he wanted to do," says Cronenberg. "I had to talk him into it. He was really looking forward to playing a smaller role in an ensemble piece. In a way, ('Maps') is kind of a perfect continuation of our relationship, which I really value."
Pattinson auditioned for Michod for "The Rover," though the screenplay's scant backstory made it difficult. Exposition is largely resisted on the characters and the nature of the "collapse" that destroyed Australian currency. Pattinson went in in character.
"But then I had to sort of ask a couple questions half in character at the beginning, like: 'Is he mentally handicapped? Before I completely make a fool out of myself?'" he recalled laughing.
"The second he started doing the character, I was getting excited," says Michod. "I was getting excited about the performance he would give, excited about the character as invented by him and excited by the prospect of taking a possibly very underestimated franchise star and letting him demonstrated what he's actually capable of."
Pattinson says relished playing a more physical part.
"I had done so many parts where I was super still — like the whole of 'Twilight,'" he says. "It's so restrictive. You do something where you have blood all over your face, you can't be expected to fit into any kind of mold."
Drafted into a global franchise at a young age, Pattinson has previously said he wasn't even sure if acting was meant for him. For one of the more famous people on the planet, he doesn't exude confidence or self-seriousness, but rather has a squinty, bemused manner and is quick to laugh at himself. Now, he acknowledges his confidence is growing.
"I'm very, very good at lower expectations," says Pattinson. "Lower expectations and over-deliver."
Pattinson (in his second film with Cronenberg after Cosmopolis) brings a sly humour to his role as the young actor on the make, genial but as much on the make as anyone else....This is high class soap opera with a cerebral twist. Its sudden shifts in tone are disconcerting but it is funny, ghoulish and has plenty of satirical bite.Movie City News:
Robert Pattinson, Cronenberg’s oddly appropriate muse, no longer needs to prove his authenticity as a proper actor. Finally, we need to see more of Evan Bird, witnessed here in his breakout role as a hilarious asshole narcissist. To be sure, Cronenberg’s navigation combined with Wagner’s pen (“it’s a fucking art film!”) make Maps to the Stars both a standout of Cannes 2014, and the best film the director has made since 2005.Way Too Indie:
...great fun, and an invigorating addition to Cronenberg’s offbeat filmography.Want more reviews? More of everything?
Cannes 2014: David Michod's grimy road movie joins “Maps to the Stars” as an opportunity for indie-driven reinvention
After the last couple of days at Cannes, it's easy to see why Robert Pattinson is on the cover of French Premiere with the headline “la metamorphose.”
The two movies that have brought Pattinson to the Croisette are weird, dark, supremely edgy and nothing like what we might expect from an actor who became famous as the vampire dude in the “Twilight” movies.
His reinvention (at least when he strays into the indie world) is indeed a metamorphosis. And Cannes has become an accessory to his intriguing makeover, which actually started a couple of years ago when he came to the festival with David Cronenberg's austere and arty “Cosmopolis.”
This year, he's back with Cronenberg's “Maps to the Stars” and David Michod's “The Rover” which premiered on back-to-back days at Cannes. Both are bloody, brutal and strange, and both are terrific.
And the remarkable thing is that “Maps to the Stars,” in which Pattinson plays a chauffeur driver and aspiring actor who ends up having sex with Julianne Moore in the back seat of his car before almost everybody in the whole movie self-destructs spectacularly, turns out to be only the runner-up in the competition to see which of Pattinson's Cannes movies is darker and edgier.
The dark ‘n’ edgy crown really goes to “The Rover,” a brutally brilliant and brilliantly brutal post-apocalyptic road movie that crawls along creepily before periodically erupting into violence. Nobody in this movie walks away clean – but then, nobody walks in clean, either.
That's hardly a surprise, given that Michod burst on the festival scene in 2010 when he took the black and provocative crime drama “Animal Kingdom” to Sundance, starting a run that gave him some real heat and landed Jacki Weaver an Oscar nomination.
“The Rover,” which is screening out of competition and will be released in the U.S. by A24, is more ambitious than that tightly-wound family-that-kills-together story. Set in a grimy time described only as “10 years after the collapse,” his new film creates a vision of a ravaged future in which nothing is shiny and everyone you meet will happily rip you off, rob you blind or leave you in a pool of blood.
A lone traveler played by Guy Pearce has his car stolen at the beginning of the film and leaves a trail of bodies as he tries to get it back; early in the journey, he picks up a passenger in Pattinson, a none-too-bright drifter with a drawl, a dopey grin and a few of his own reasons for making the trip.
Of course, you can't make a road movie about a savage post-industrial, post-disaster Australia without summoning up the ghosts of “Mad Max” and “The Road Warrior” (if not “Mad Max Beyond Thunderdome,” which occupies its own ignoble niche). But George Miller's '70s and '80s movies had better cars, more stylish wardrobes and much more of an action-flick sensibility; Michod isn't afraid to rachet up the tension with long stretches in which not much happens.
(What is it with brutal minimalism at this year's Cannes? Lisandro Alonso's Un Certain Regard entry “Jouja,” with Viggo Mortensen as a Danish officer trekking through the South American looking for his daughter, hits some of the same notes but is so minimalist as to qualify as an art project as much as a movie.)
Pearce is an excellent anchor for this angry trip through a vicious and parched landscape, but we knew he would be. But Pattinson, who Cronenberg sometimes seemed to use specifically because of a certain blankness (particularly in “Cosmopolis”), gets a weird and meaty role and turns out to know what to do with it.
While “The Rover” played at a Cannes screening on Monday afternoon, incidentally, high winds buffeted the canvas sails and panels that made up part of the salle de Soixantieme screening room. At times it sounded as if the building was about to come down in some massive conflagration – and they couldn't have been showing a more appropriate movie if it did.Thank you, Deb, for the screen cap!