The Rover writer-director David Michôd discusses making the film with stars Guy Pearce and Robert Pattinson. Michôd explains how he developed the script, while Pearce talks about the intensive rehearsals the three conducted before production, and his experiences working with directors including Curtis Hanson and John Hillcoat.
Robert, was there anything specific you had to do to get into character?
RP: There was one thing…I only found out later, I didn’t really realize I was doing it, but all the guns were controlled by an armourer, who was obviously very serious about guns, and he got so pissed off when I started playing with the guns…and I realized that was kind of what was getting me into character, annoying the armourer (Laughs).
Robert Pattinson, Guy Pearce and director David Michôd talk to Film4 about their drama-thriller, The Rover, which follows a nameless drifter and a gang member who form an unlikely bond in a dystopian, futuristic version of the Australian outback.
Pattinson on advantages of working on a smaller, independent film: “When you have a big budget it creates expectations of how you’re supposed to be treated. When there is literally no other option than staying in a shipping container it’s kind of nice. Everyone is totally equal.”
Q: In your films you’ve portrayed talented men who burn out young – ... now James Dean and photographer Dennis Stock. Are you interested in the myth-making process that happens around these guys? Anton Corbijn: If anything, it’s unmasking because I always bring it down to very normal life. In photography I can imagine that people think I make images iconic, but with films I don’t think that’s the case. The film with James Dean is actually about the photographer. He’s the lead role, they just share screen time. I had a similar experience when I was young in Holland. I became the photographer of somebody who became the biggest rock star we ever had there (Herman Brood), so it was interesting to see how that balance works when I thought I was helping him and he probably thought he was helping me. It’s the same with this story. Q: Was it an easy process casting Robert Pattinson and Dane DeHaan in your upcoming film Life? Anton Corbijn: Dane didn’t want to take a meeting with me initially, as he couldn’t see himself in James Dean’s shoes. But he was persuaded by a mutual friend, and said yes in the end. He’s fabulous, a very good actor. Rob was interested in the film because he really wants to prove himself and for me that was great for that role. If you look at the roles he’s taking on – like the ones with Cronenberg – he really wants to do very different, non-mainstream films and get out of that pigeonhole.
City News Toronto - Interview with Julianne Moore, John Cusack, Robert Pattinson and director David Cronenberg on the red carpet for Maps to the Stars at Roy Thomson Hall during the Toronto International Film Festival.
The veteran French filmmaker shares his thoughts on the nature of celebrity and how greater resources impact his work.
Several excerpts of interview:
Q: Your next movie will co-star Robert Pattinson. Do you feel similarly about him? A: I met him in London at a very early stage before I shot "Sils Maria" while I was still working on the screenplay for my next film, but I knew I wanted him for the leading role. We had a long conversation in London about the project.
Q: Most of the financing came from ARTE, right? And for the next one?
A: No. It's a different system of financing, American financing. That'll be the first time for me.
Q: How's it going so far? A: Honestly, I'm a little nervous about it at this stage. You have to deal with business types — movie business types: lawyers, bankers, accountants, all these kinds of other types you just don't want to spend five minutes with. The thing is, I make movies because I can choose the people who I spend time with. I don't have to deal with the bullshit of everyday job stuff. So I don't want to end up making movies with people I'm not interested in. People I'm bored with who don't share my values and so forth. So I'm just trying to structure things in ways that I have to deal the producer of the film and that's it. I don't want to have conversations with anyone else.
“I’m quite good at doing meetings,” he says. “If I’m just meeting someone about a job I’m like a dog, especially if my agent’s said to me: ‘A lot of people want this job.’ Then I’m like: ‘Oh yeah? Then I will do anything to get it!’” What’s his technique? “I don’t know, I just become a bullshit artist!” he laughs. “That’s when I start acting! I’m really much better at doing it when the cameras aren’t rolling …”
“For whatever reason, I think there’s something profoundly satisfying about being able to watch something you’ve done afterwards, or to just do a scene and feel like: ‘Oh, I just had an out-of-body experience for a second!’Just for one second. And generally people don’t even notice. It feels literally like you’ve been asleep for a second.” He recalls such a moment while shooting this film. “It’s not the biggest scene, it’s not even in the movie, it was the rehearsal. And me and Guy had just been going so nuts – we’d been out in the desert and we’d become like crazy homeless people. And I turned around and looked at him and just realised actually, we’re not acting any more.” He laughs. “And why did that feel so good? It’s so weird.”
Occasionally he tries to write something himself. “I was trying to write a play the other day and I showed it to my assistant and didn’t quite realise how bad it was.” He laughs and laughs. “I was writing it totally by myself in the middle of the night thinking: ‘This is how you do it! You just stay up all night and keep writing!’ She came in the next morning, and I’d been up all night writing. I said to her: ‘You have to read this! It’s amazing!’” He could tell it was perhaps not, he says, from her facial expressions as she read. “And then she said: ‘It’s not in English … and half the time you haven’t even put the character names in so it’s just a stream of consciousness …’” But he would like to be in a play, he says. “Something in a really small theatre. I don’t think I could do something on Broadway … But I’d quite like to do something kind of shocking.”
Robert Pattinson and Guy Pierce stopped by to talk to XFM about their new film The Rover, and brought with them some SCARY tales.
Robert revealed to XFM's Dan O'Connell that a psychic told the star he had amazing psychic abilities himself, which culminates in a series of SPOOKY coincidences that also include Guy Pearce. WATCH IT IF YOU DARE.
Thirty titles will screen at the 52nd edition of America's second-oldest film festival, including many carryovers from Cannes.
The Film Society of Lincoln Center has revealed its full slate of films that will screen at the 52nd New York Film Festival, which will run from Oct. 26-Nov. 12. In addition to the three previously announced marquee attractions -- the world premiere of David Fincher's Gone Girl (20th Century Fox) as the opening film film on Sept. 26, the world premiere of Paul Thomas Anderson's Inherent Vice (Warner Bros.) as the centerpiece film on Oct. 4 and the U.S. premiere of Alejandro Gonzalez Inarritu's Birdman (Fox Searchlight) as the closing night film on Oct. 12 -- the fest will feature 27 other titles that will play throughout its 17 days, including many North American, U.S. and New York premieres.
Among the films coming to the Big Apple from Cannes -- following possible stops in Telluride and/or Toronto and/or Venice -- are Foxcatcher (Sony Classics), which stars Channing Tatum and Steve Carell, and for which Bennett Miller was named best director; Alice Rohrwacher's Italian Grand Prix Award winner The Wonders (still seeking U.S. distribution); Mr. Turner (Sony Classics), the Mike Leigh film for which Timothy Spall was awarded the best actor prize; Maps to the Stars (eOne Entertainment), the David Cronenberg film for which Julianne Moore was chosen as best actress; and the Belgian brothers Jean-Pierre Dardenne and Luc Dardenne's Two Days, One Night (Sundance Selects), which many expected to claim a major honor, but which did not. The winner of Sundance's grand jury prize and audience award, Damien Chazelle's Dear White People (Roadside Attractions), was also selected.
“I’m picking things so strange, they can’t be judged in normal terms. If anything’s relatable in a mass way, I don’t know if I can do it. That’s just not how I relate to anything. If there are certain character beats, I’m not going to be able to achieve them. So I like making it my own game. You can invent a new set of emotions that don’t even really make sense to you.”
“Your last job is your last job, and you’re potentially not ever going to get another job again. So, you know, ‘I worked with Werner Herzog’ — that’s better than saying, ‘I’m doing Whatever 3’, when you get a bunch of money and shoot for 11 months and promote for eight months and then everyone says it’s shit. I think doing a movie for anyone except yourself is crazy.”
“I can’t deal with criticism very well. I’ve already got it from one angle. I don’t need it from anything else.”