source: @IsJustKelly / Spunk Ransom
In the Cannes Film Festival press kit for the film All Is Lost, there was a bio for one of the cinematographers, Peter Zuccarini.
In the bio, they mention he was the DP (director of photography) for a commercial directed by Romain Gavras. What commercial? Oh nothing big. Just DIOR STARRING ROBERT PATTINSON.
Josh: "Do you have a favorite among these?and of course... in his itv with Les InRockuptibles
Rob: "I mean, ... I love Romain Gavras who did the M.I.A. video."
RP: (...) And I saw a bit of the Justice set. I love their videos.
Q: The one directed by Romain Gavras?
RP: Yes, Stress. Another French that rocks.
Blackrod author Kate Long on how Bad Mother made her a better mum
What inspired your first book?
I decided to write The Bad Mother’s Handbook because I felt no one was really writing about the struggle of ordinary women – lower middle/working class mothers who might have to hold down a job and run a household single-handed.
There were plenty of books on the market about London mums who had fabulous careers and nannies, but I wanted to create a world where the clothes labels were C&;A or Topshop rather than Issey Miyake and Ghost. I didn’t actually set out to make it northern, though. The characters themselves announced it, speaking with Bolton accents. So my home ground of Blackrod became the novel’s ‘Bank Top’.
The story itself follows the lives of three members of the same family, a grandmother who is in her late 70s, a 30-something mother and a teenage daughter, and the story reveals what happens to them during the course of a year.
Is the bad mother you, your mother or a complete work of fiction?Characters have to be flawed or they’re boring. No, chaotic Karen’s not me, not in any sense, and her teenage daughter Charlotte’s a lot cooler than I ever was. That said, some of the stories Nan tells about the past – using Lancashire dialect – are ones my grandma told me, so there is something of her in Nan. They were tales of old Blackrod that I didn’t want to disappear.
Was it difficult to get published?I wrote for ten years, winning the odd competition but not making much headway with my novel. Then I signed up for an Arvon residential course and had a week working with two professional authors. Their response to what I’d produced was very positive and gave me the impetus to finish The Bad Mother’s Handbook. After that, things happened quickly. I bagged a top agent, had four offers and signed a contract with Picador just before Christmas 2002.
The novel was their lead fiction title for 2004, was serialised on Radio 4’s Book at Bedtime, became a number one bestseller and was nominated for a British Book Award. It’s since been sold to 27 countries and in 2007 it was screened as an ITV drama with Catherine Tate.
I’ll be honest, I had trouble initially keeping up with the novel’s success. I’m quite a shy person. The frequent travelling up and down to London also meant I had to give up my teaching job because my two little boys were still at nursery and at a demanding age, and I just couldn’t fit everything in. But the result was that I was around more for them, which turned out to be a wonderful bonus. The Bad Mother probably gave me space to be a better mother in the end.
Tell us about your new book?I wrote Bad Mothers United in response to readers’ letters and emails asking what happened next, so there was a weight of expectation which was slightly daunting. In addition the character of Daniel Gale, Charlotte’s boyfriend, was played in the TV film by Robert Pattinson and this had led to Daniel having a fan base all of his own. He has his own Facebook page, I was surprised to learn, and his own Twitter account. I can’t tell you how weird that felt, to see a person I’d invented living his own life away from me.
Do your Lancashire roots play a part in your writing?I’ve written seven novels and three of them have been based completely in Lancashire (the Bad Mother books and Swallowing Grandma). Then there’s Queen Mum which, though set in Chester, features a family who come from Bolton. I love the Lancashire accent. I can hear it in my head so clearly that the dialogue virtually writes itself.
What was it like seeing your work on adapted for television?It was fascinating to watch. They shot the outside action in Otley because the funding was coming from Screen Yorkshire – oh, the irony! It was thrilling to meet established stars like Catherine Tate and to hear them speaking lines I’d only ever heard in my own head. Of course we didn’t realise what a star-in-the-making we had among us in R-Patz; Robert Pattinson was only 20. A striking-looking young man, though. I felt very proud to have my story broadcast on a mainstream channel to an audience of millions.
"Twelve Years a Slave" de Steve McQueenCON MUCHAS POSIBILIDADES
"Nymphomaniac" de Lars von Tier
"Knight of Cups" de Terrence Malick
"Amour Fou" de Jessica Hausner
"Snowpiercer" de Bong Joon-ho
"Welcome to New York" de Abel Ferrara
"Night Moves" de Kelly ReichardtCON OPCIONES
"Her" de Spike Jonze
"Under the Skin" de Jonathan Glazer
"The Rover" de David Michod"Oldboy" de Spike Lee
"Abus de faiblesse" de Catherine Breillat
"Un intervalle de 9 minutes" de Corneliu Porumboiu
"Serena" de Susanne Bier
"Tom à la Ferme" de Xavier Dolan
"The Double" Richard Ayoade
"A Perfect Day for Plesiosaur" de Kiyoshi Kurosawa
"An Enemy" de Denis Villeneuve
"White Brid in Blizzard" de Gregg ArakiREMOTAS PERO CON POSIBILIDADES
"Calvary" de John Michael McDonagh
"Queen of the Dessert" de Werner Herzog
"The Assassin" de Hou Hsiao Hsien
"The Wind Rises" de Hayao Miyazaki
"Nude Area" de Urszula Antoniak
"Yves Saint Laurent" de Bertrand Bonello
"The Dallas Buyers Club" de Jean Marc Vallee
"A los Ojos" de Michel Franco
"Manto Acuifero" de Michael Rowe
"The Zero Theorem" de Terry Gilliam
"A Field in England" de Ben Wheatley
"The Wolf of Wall Street" de Martin Scorsese
"A Most Wanted Man" de Anton Corbijn
"Spiritismes" de Guy Maddin
"The Grand Budapest Hotel" de Wes Anderson
"Adieu au Langage" de Jean-Luc Godard
"A Pigeon Sat on a Branch Reflecting on Existence" de Roy Andersson
#rpatz #polly @tamratam this city ain’t the same without youtaken in New York City....
@whoisgambles @tamratam you all look like innocent little children, then there's grumpy in the corner haha
Cosmopolis is the 2012 sci-fi drama directed by David Cronenberg starring Robert Pattinson as Eric Packer, Paul Giamatti as Benno, Juliette Binoche as Didi, Samantha Morton as Vija, and Sarah Gadon as Eric’s wife, Elise.
Love him or hate him, and I’m sure there’s a fair amount that could go either way, Robert Pattinson is here to stay.
Pattinson’s performance in Cosmopolis is near-perfect. That is to say – this film adaptation of the novel of the same name by Don DeLillo is strangely literal. Not all written dialogue sounds as good when spoken aloud as it does in your head. With Cosmopolis, if you ever do adjust to the cadence and language of its cast of characters, you may have already given up on the plot. People seem to have confused this oddness with Pattinson’s (et al) ability to act.
This is a mistake.
The film – its acceptance or rejection – is down to David Cronenberg, best known for his work in the body horror genre (The Fly, Rabid, Dead Ringers), who – acting as screenwriter and director, was the visionary force behind Cosmopolis. His decision to maintain Don DeLillo’s awkward dialogue lends a coldness and distance to the work making it next to impossible for people not in touch with the subject matter or references to access and draw from.
The result for most is a film that feels staged and unrelatable.
I meant what I said. Pattinson’s performance as Eric Packer is cold on the surface but emotionally flammable internally. Oh you see what I did there? You may think I’m referencing Pattinson’s Twilight days, but the truth is there is no Edward Cullen to be found in his performance. In fact, Pattinson’s stoicism is so fragile in its construction, it takes but little to bring forth the cracks where the heat bubbles up. Pattinson easily turns it on and turns it off, at once miserable and yet exultant. Back and forth and back again. Pattinson proves he is not afraid to be ugly and be seen doing ugly things.
Cosmopolis is peppered with public outcry and prone to its own “occupy” crowds that close in on Eric’s limo to deface and damage it. This should be delightful for those who have felt the crunch since the 2008 financial collapse. It should feel like getting a pound of flesh. But it doesn’t. Because we rarely see beyond the walls of the limo, we remain as cold and detached from the experience as Eric.you can read the whole review here ...