"The Rover" FULL Production Notes... Robert Pattinson about the film...

David Michôd about Rob....

we have the FULL Production Notes (as it was done for "Maps to the Stars)....!! meaning more great infos about the script, the production, the characters (so more on Rey...) and ALSO some Rob's comments....

So ENJOY the read..!

DEVELOPMENT and IMPLEMENTATION David Michôd talks about casting Rob as Rey (page 6)...
The next step was to build a cast around Pearce that Michôd felt confident in. The global success of Animal Kingdom opened doors for him in Los Angeles, and he was in the privileged position to be able to audition some heavyweights. Working with Casting Director Kirsty McGregor, and Lava Bear’s President of Production Tory Metzger, Michôd spent a lot of time reviewing the work of various actors, so by the time he auditioned Robert Pattinson he had worked out what he wanted for the character of Rey. Michôd had never seen a Twilight film and wasn’t overly familiar with Pattinson, but upon meeting together in LA, and after his audition Pattinson quickly became his favorite for the role. Recalls Michôd: “His performance in the tests was really great and real and moving. What I also liked about him was that it was really quite evident to me from our first conversation that he really wanted to do it.”More after the jump!

ABOUT THE PRODUCTIONRob talks about filming in isolated locations in Australia (page 7)...
The remote location was a welcomed retreat for the cast: Publicans Phil and Maz, who manage The Marree Hotel that housed the cast and crew, explain: “(The town folk) are intrigued about the development of the movie, but as far as high profile actors go, they wouldn’t really know them if they tripped over them.” 

Given the isolated location (there was only one phone line and no mobile phone reception), a sense of camaraderie developed between the locals, cast and filmmakers. Pattinson summarizes the experience: “It’s really interesting. I’ve never shot anywhere like this before, there’s just nothing for miles and miles and miles. I think it’s really fun to work with a crew in a tiny little town where everybody’s hanging out with each other all the time. You develop a great bond, and I haven’t had that for a while. You don’t get that so much with big studio movies.” 

THE STORY AND ITS PRIMARY CHARACTERS few more details about Rey, Rob’s character and the movieRey’s accent and he actually speaks some Mandarin (page 9) 

The Rover is set in a degraded world, about 10 years after a severe Western economic collapse. In a period Michôd likens to a Gold Rush or, the more contemporary periods of unrest in Sierra Leone, DRC and Guinea, the mines are one of the only industries still fully operating in Australia principally to feed the still growing economies of China and other Asian centres, and people from all corners of the globe have crawled out to work in and around them. 

With harsh economic times comes a desperate struggle for survival, and this world has dragged hustlers and criminals out to the margins of this mining world. In what is almost a de-evolution of humanity, people are forced to do whatever they need to in order to get by. Pearce expands: “The world has really fallen into mayhem. It’s desperate, and I think it’s totally possible that our world could go that way… I think The Rover is just a version of how it could have gone wrong or how it could go wrong.” 

Watts agrees that the desperation of the world of the film is a potentially realistic one: “The world of the film is really relevant given the economic collapses in 2008, and Australia has survived that crisis in part because of exports to China and the strength of its mining.”
Michôd explains: “There is a strong sort of Asian flavour in the film but, I wanted it to feel like people have come from everywhere, from all corners of the world.” Rey is a southern American who has travelled with his older brother Henry to Australia to work in the mines. Pattinson and Scoot McNairy are the only American accented characters in the film, but a lot of other accents join them, including Mandarin, Cambodian and of course, Australian. Pattinson’s character speaks some words of Mandarin, and Manyimo, who plays Caleb, has a New Zealand/Zimbabwe accent in real life which Michôd chose to keep this in the film. It was important for the world of the film that accents play across nationalities 

THE STORY AND ITS PRIMARY CHARACTERS Rob and Guy about their characters and their relationship (page 9-10)
Rob talking about Rey

Pattinson describes Rey as “a dependent who has been protected by people his entire life, but he has also burdened them, and he thinks that he can’t really live as an independent person. He’s a little slow, and very, very needy, and he feels like he needs people to look after him all the time.” 

Rey and Eric’s relationship – comments from Rob (posted above) and Guy Pearce.
The story is a seemingly simple one; it follows the physical journey of the two main characters, Eric (PEARCE) and Rey (PATTINSON), as they embark on a road trip to find Rey’s older brother Henry (MCNAIRY). But the subtle plot gives reign to the emotional development of the characters, and this can be seen predominantly through the union of Eric and Rey. Their journey together becomes an intensely emotional one, as the unlikely acquaintances are forced to deal with their own inner turmoil. The film’s setting is full of people forming some kind of pairing in order to survive and Eric and Rey will join them.
When we first meet Eric at the start of the film, he has basically reached the end of the line. As the world around him has disintegrated, Eric too has disintegrated. Pearce explains: “We find him at an extreme low point… He has nothing left in his life… The lack of justice in this world has eaten away at him.” 

Eric is, from the beginning, on an individual journey of sorts. His car is his one last possession and it carries a deep personal significance for him, so when it is stolen by a trio of petty criminals, he sets out on a ruthless mission to get it back – whatever the consequences. Eric has lost all hope and does not care about anything or anyone in this world. His hunt for his car is as much about his need for some kind – any kind – of momentum as it is about his attachment to the car itself. 

At the point the two meet, Rey’s journey is about survival. In the bloody aftermath of a heist gone wrong, Rey has been abandoned by his older brother, Henry, and friends, Archie and Caleb, who have left him to die on the side of the road. Upon finding Rey, Eric makes it his mission to seek the medical help Rey needs to survive so he can lead him to Henry and his vehicle. And so their journey together along a dusty and dangerous road begins. 

Pearce explains: “We certainly see initially how vulnerable Rey is in the world, particularly as he’s injured and he’s been left behind by his brother. Eric really has no interest… he has not one iota of compassion for this kid. He purely is using him to get back what he needs.” So the two men are forced to stick together out of necessity.
Pattinson describes Rey as “a dependent who has been protected by people his entire life, but he has also burdened them, and he thinks that he can’t really live as an independent person. He’s a little slow, and very, very needy, and he feels like he needs people to look after him all the time.” 

Throughout the film, there are several developments that progress Eric and Rey’s emotional journey. Pearce says, “Eric finds some sparks of life and love, ultimately through Rey, that don’t necessarily wake him up and change him or give him any sense of hope or positivity, but they kind of confuse him because he’s lived for so long now in a very depressed state… We see the power shift a little bit, and we actually see that Eric starts to feel something for this kid, and that is not good for Eric. He hasn’t felt anything for anybody for 10 years or so, so it becomes a really complex scenario for him.”

and you can read (and download) the FULL Production Notes HERE ...

and just bellow, you'll see the details of what (and where) you will find the others parts and so on..

Summary of "The Rover" Production Notes...

• Page 3 ➜ Synopsis 

One line synopsis
Short synopsis
Long synopsis

• Page 4 ➜ Note from Director David Michôd
• Page 5 ➜ Development & Implementation 

about the movie’s pre-production and casting process 

 comments from:

David Michôd
David Linde
Liz Watts 

• Page 7 ➜ About the Production 

Cast and crew about: 

filming in Australia
post production 

Page 9 ➜ The Story and It’s Primary Characters - 

Cast and crew about:

movie’s story
background
Eric and Rey’s relationship

• Page 11 ➜ About the Cast - Rob’s biography is on page 12
• Page 16 ➜ About the Filmmakers
• Page 21 ➜ Credits

...

traduction...
merci au RpattzClub

L'histoire et ces personnages principaux 

'The Rover' se passe dans un monde déchu, environ 10 ans après une sérieuse crise économique. Dans une période que Michôd compare à la ruée vers l'or, ou à une période plus contemporaine, les troubles en Sierra Leone, en République Démocratique du Congo et en Guinée, les mines sont une des seules industries qui sont encore pleinement opérationnelles en Australie, principalement pour alimenter la chine dont l'économie est toujours croissante et les autres pays d'Asie, et les personnes du monde entier sont à leur pied pour travailler avec eux.

Avec cette période économique difficile vient une lutte désespérée pour survivre, et ce monde a apporté des arnaqueurs et des criminels en marge de ce monde minier. Dans ce qui est presque une désévolution de l'humanité, les gens sont forcés de faire ce qu'ils peuvent pour s'en sortir. Pearce développe :"Le monde est vraiment tombé dans le chaos. Il est désespéré, et je pense que c'est totalement possible que notre monde devienne comme ça... Je pense que The Rover est juste une version de ce qui aurait pu mal tourné ou de comment il pourrait tourner mal."

Watts est d'accord que le désespoir du monde dans le film est une réalité potentielle : "Le monde du film est très pertinent compte tenu de l'effondrement économique de 2008, et l'Australie a survie à cette crise en partie à cause des exportations vers la Chine et la force de son exploitation minière."

Michôd explique : "Il y a une forte influence asiatique dans le film mais, je voulais qu'on le ressente comme si les gens venaient de partout, de chaque coin du monde." Rey est un américain du sud qui a voyagé en Australie avec son frère plus âgé Henry, pour travailler dans les mines. Pattinson et Scoot McNairy sont les seuls personnages avec un accent américain dans le film, mais beaucoup d'autres accents les rejoignent, incluant le mandarin, le cambodgien et bien sûr, l'australien. Le personnage de Pattinson parle quelques mots de Mandarin, et Manyimo, qui joue Caleb, à un accent de la Nouvelle Zélande et du Zimbabwe dans la vraie vie, que Michôd a choisi de garder dans le film. C'était important pour le monde du film que les accents se jouent par le biais des nationalités. 

...

Pattinson décrit Rey comme "une personne dépendante qui a été protégé par des gens toute sa vie, mais c'est aussi un fardeau pour eux, et il pense qu'il ne peut pas vraiment vivre tout seul de manière indépendante. Il est un peu lent, et très en demande d'affection, et il semble qu'il ait tout le temps besoin des autres pour s'occuper de lui." 

... 

L'histoire est simple en apparence, ça suit le parcours des deux personnages principaux, Eric (Pearce) et Rey (Pattinson), alors qu'ils se lancent dans un road trip pour retrouver le frère ainé de Rey, Henry (McNairy). Mais l'intrigue subtile met en avant le développement émotionnel des personnages, et ce principalement grâce à l'union d'Eric et Rey. Leur voyage devient intense en émotion, cette rencontre improbable les obligent à faire avec les tourments de chacun. Le film est plein de personnages se regroupant pour survivre et Eric et Rey vont les rejoindre

Quand nous rencontrons Eric au début du film, il a touché le fond. Alors que le monde autour de lui s'est désintégré, Eric s'est lui aussi désintégré. Pearce s'explique: “On le trouve à un moment où il est au plus bas.... Il ne lui reste plus rien dans sa vie… Le manque de justice dans ce monde le ronge”

Eric est, dès le début, dans un espèce de quête individuelle. Sa voiture est l'une de ses dernières possessions et elle a une signification profondément personnelle à ses yeux, donc quand ce trio de petits malfrats la lui vole, il se lance dans une mission impitoyable pour la récupérer – peu importe les conséquences. Eric a perdu tout espoir et il n'accorde plus aucune important à rien ni àpersonne dans ce bas monde. La chasse pour retrouver sa voiture est plus un besoin de ressentir quelque chose - n'importe quoi - qu'un attachement réel à sa voiture.

Au moment où les deux se rencontrent, la quête de Rey est celle de la survie. Suite aux conséquences sanguinaires d'un braquage qui a mal tourné, Rey est abandonné par son frère ainé, Henry, et ses amis Archie et Caleb, qui l'ont laissé pour mort au bord de la route. En trouvant Rey, Eric se donne pour mission de chercher l'aide médicale qui permettra à Rey de survivre afin qu'il le mène à Henry et son véhicule. Et c'est ainsi que commence leur voyage ensemble sur les routes dangereuses et poussièreuses.

Pearce s'explique “Dès le début, on voit clairement à quel point Rey est vulnérable dans ce monde, en particulier comme il est blessé et abandonné par son frère. Eric n'a vraiment aucun intérêt… il n'a pas une once de compassion pour ce gamin. Il l'utilise purement et simplement pour récupérer ce dont il a besoin” Les deux hommes sont donc obligés de rester ensemble par pure nécessité.

Tout au long du film film, il y a plusieurs développement qui vont faire progresser Eric et Rey dans leur quête émotionnelle. Pearce affirme, “Eric trouve quelques étincelles de vie et d'amour, finalement avec Rey, ce qui ne le réveille pas vraiment, qui ne le change pas ou lui donne un peu d'espoir et d'optimisme mais ça le rend un peu confus car il a vécu tellement longtemps dans un état de dépression … On voit le pouvoir changer légérement, et on finit par voir Eric commencer à ressentir des choses pour ce gamin et ce n'est pas bon pour Eric. Il n'a plus rien ressenti pour personne depuis environ 10 ans donc ça devient un scénario complexe pour lui.”

source: @Gossipgyal via RPL
source update: Pattinson AW

"Maps to the Stars" FULL Production Notes... Robert Pattinson about the film...

David Cronenberg and Martin Katz about Rob...

Yesterday, we a short overview of the Production notes for "Maps to the Stars"... which was very interesting.... because we learned a bit more about the movie, the main characters, the storyline and the writer.

BUT today, we have the FULL Production Notes (42pages)....!! meaning more great infos about the script, the production, the characters (so more on Jerome Fontana...) and ALSO some Rob's comments....

I'll just post Rob's part... he talks about his co-star, Julianne (Moore) Mia (Wasikowska), about working as Jerome... and we've got David Cronenberg and Martin Katz talking about working with him...!

So, Enjoy the read....!!
from Pathe Films.ch

THE LIMO DRIVER 

“Plus we’re both dual-disorder” 

When Agatha Weiss returns to Los Angeles, she makes an instant connection with the first person she encounters: her limo driver, a would-be screenwriter who chauffeurs the far more successful, and who becomes increasingly entangled in her larger-than-life drama.
Taking the role of Jerome is leading star Robert Pattinson, who wanted to work with Cronenberg again on the heels of taking the lead role in Cosmopolis (coincidentally, Pattinson played a billionaire who is a limo passenger throughout that film.)  

He was one of the first cast members to sign on, which Martin Katz says helped buy the project. “Robert’s enthusiasm for Maps to the Stars is one of the things that really got us underway. Jerome is not a large role but it’s very significant in the story and his joining the cast gave us a terrific amount of momentum,” recalls the producer. “In a sense he is playing Bruce Wagner, who was himself at one time a limo driver and unemployed writer.”  

Cronenberg was thrilled to reunite with Pattinson, and in such a different kind of role. “I think Rob was really happy to be part of an ensemble,” he says.“But Jerome is also a critical character, a lovely character and it was a chance for Rob to give a more naturalistic performance. I knew he would be fabulous and he was.”  

Pattinson’s experience working on Cosmopolis with Cronenberg was so profound that he agreed to the role of Jerome before reading the script. But when he finally sat down to read it, he recalls, “Within two pages I was thinking wow, this is so unbelievably different and hilarious. I don't even know what people are going to make of this, but it feels dangerous. It’s sort of satirical but it’s also a ghost story and it’s also a kind of thriller. It defies genre.”  

He came to see Maps To The Stars as more than just another L.A. story. “It’s really about people who lie to themselves – right up until the end,” he summarizes.  

Yet within all that, Pattinson sees Jerome as the most ordinary of the film’s roster of outrageously deluded and desperate characters -- typical of a certain kind of everyday L.A. dreamer, a regular guy with a regular job who nevertheless always believes he is just one move away from becoming a major actor and writer.  

“Jerome would never accept that he is just a limo driver. I think he feels he’s just waiting for his break,” Pattinson observes. “And yet, he’s seemingly the only one in this story who's not going insane -- or who isn’t a ghost. He's a fairly normal guy, which is slightly odd for me, as well.”  

Working with his fellow cast members was another big draw for Pattison. Of Julianne Moore, he says: “She’s hilarious and also very sane, which is kind of ironic given who Havana Segrand is. And she shifts so subtly into character, you barely notice what she is doing. It’s kind of amazing.” 

He worked most closely with Mia Wasikowska as Agatha, who comes to rely on Jerome as her sole friend in the city. “I knew Mia was going to be wonderful in this,” he says. “She’s so lovely that it was horrible for me to watch Agatha be bullied by her entire family.”  

For Cronenberg, the chance to work with cast members like Pattinson and Gadon multiple times is one of the most gratifying aspects of his career. “It's really beautiful for me to see that blossoming and the evolution of actors as I work with them,” he concludes. 

ABOUT THE CAST

ROBERT PATTINSON (Jerome Fontana) is best known for his portrayal of the vampire Edward Cullen in The Twilight Saga . Most recently, Pattinson appeared on screen in David Cronenberg’s Cosmopolis and will be seen this summer in David Michôd’s The Rover , in which he’s paired with Guy Pearce. He recently wrapped work on Werner Herzog’s Queen of the Desert opposite Nicole Kidman. Currently, Anton Corbijn is directing Pattinson in Life , a film about th e friendship between Life magazine photographer Dennis Stock, played by Pattinson, and James Dean, played by Dane Dehaan. 

Pattinson gained industry notice at 19 years of age when he joined the Harry Potter franchise in Mike Newell‘s Harry Potter and the Go blet of Fire, playing Cedric Diggory, Hogwarts’ official representative in the Triwizard Tournament. Last year, Pattinson starred in Water For Elephants , joining director Francis Lawrence and costars Reese Witherspoon and Christoph Waltz in bringing the Ne w York Times bestselling novel to the screen. Prior, he headlined the drama Remember Me , directed by Allen Coulter, appearing opposite Pierce Brosnan, Chris Cooper and Emilie De Ravin. Pattinson starred in Bel Ami , a film based on the novel of the same nam e written by Guy de Maupassant in which he played a young journalist in Paris who betters himself through his connections to the city’s most glamorous and influential women, played by Uma Thurman,Kristin Scott Thomas and Christina Ricci. 

Pattinson began his professional career with a role in Uli Edel’s Sword of Xanten, opposite Sam West and Benno Furmann. He also appeared in director Oliver Irving’s How to Be, winner of the Slamdance Film Festival’s Special Honorable Mention for Narrative Feature. Pattinso n played the lead role of Salvador Dali in Little Ashes, directed by Paul Morrison. His television credits include “The Haunted Airman” for the BBC. 

As a member of the Barnes Theatre Group, Pattinson played the lead role in Thornton Wilder’s “Our Town.” Ot her stage credits include Cole Porter’s “Anything Goes,” “Tess of the D’Urbevilles” and “Macbeth” at the OSO Arts Centre.

The FULL Production Notes of "Maps to the Stars"is a really interesting read with great info about the script, production and characters and comments from Rob, the rest of the main cast, director David Cronenberg and producer Martin Katz.

and you can read the FULL Production Notes HERE ...

and just bellow, you'll see the details of what (and where) you will find the others parts and so on...

Summary of the Production Notes...

• Pages 1 - 3       ➜ Script and production

comments from:

Bruce Wagner
David Cronenberg
Martin Katz

• Pages 4 - 10     ➜ Characters
• Pages 4 - 5       ➜ Havana and Clarice 

comments from:

Julianne Moore
David Cronenberg

• Pages 5 - 8       ➜ The Weiss Family

 comments from:

Mia Wasikowska
John Cusack
Evan Bird
Olivia Williams
David Croneberg
Martin Katz

• Pages 9 - 10      ➜ The Limo Driver 

comments from:

Rob
David Cronenberg
Martin Katz

• Pages 10 - 11    ➜ Cronenberg and Katz talk about filming in Los Angeles
• Pages 12 - 20    ➜ The Cast biographies of the main actors (Rob's biography is on page 19)
• Pages 21 - 26    ➜ Filmmakers
• Pages 27 - 42    ➜ Full credits

...
traduction (faite par Le RpattzClub)

Notes de Production de "Maps to the Stars"

via Pathe Films.ch

LE CHAUFFEUR DE LIMOUSINE 

"De plus, nous avons tous les deux un dédoublement de la personnalité" 

Quand Agatha Weiss retourne à Los Angeles, elle établit une connexion immédiate avec la première personne qu'elle rencontre: son chauffeur de limousine, un scénariste en devenir qui conduit des acteurs plein de succès et il va rapidement se retrouver empêtré dans l'énorme drame qu'est sa vie à elle. 

Dans le rôle de Jerome on a la star Robert Pattinson, qui voulait retravailler avec Cronenberg après avoir eu le rôle principal dans Cosmopolis (coïncidence, dans ce film, Pattinson a incarné un milliardaire qui est le passager d'une limousine tout au long du film.)
Ce fut l'un des premiers acteurs à avoir signé, et Martin Katz dit que cela a aidé à vendre le projet. "L'enthousiasme de Robert pour Maps to the Stars est vraiment une des choses qui nous a faites avancer. Jerome n'est pas un grand rôle mais il est important dans l'histoire et le fait qu'il s'est joint aux autres acteurs nous a donné un élan incroyable," se souvient le producteur. "D'une certaine manière il interprète Bruce Wagner, qui lui même, à une époque, a été chauffeur de limousine et un scénariste sans emploi." 

Cronenberg était ravi de refaire équipe avec Pattinson, et dans un rôle tellement différent. "Je pense que Rob était vraiment ravi de faire partie de l'aventure," dit il. "Mais Jerome est également un personnage crucial, un personnage adorable et ce fut l'occasion pour Rob d'offrir une performance plus naturelle. Je savais qu'il serait fabuleux et il l'a été." 

L'expérience de Pattinson et son travail sur Cosmopolis avec Cronenberg était tellement profonds qu'il a accepté le rôle de Jerome avant même de lire le script. Mais quand il est enfin venu faire une première lecture, il se souvient,"A peine 2 pages plus tard et je me disais 'Waouh', c'est incroyablement différent et hilarant. Je ne sais même pas comment les gens vont réagir, mais ça semble dangereux. C'est en quelque sorte satirique mais il y a aussi une histoire de fantômes et c'est aussi une sorte de thriller. Ça défie tous les genres." 

Il a considéré Maps To The Stars comme autre chose qu'une énième histoire sur L.A. "Ca parle vraiment des gens qui se mentent à eux même – du début à la fin." conclue t-il
Et malgré tout cela, Pattinson voit Jerome comme le plus ordinaire des personnages du film, tous plus outrageusement délurés et désespérés les uns que les autres -- typique d'un certain genre de rêveur qu'on peut trouver quotidiennement à L.A., un mec banal avec un job banal qui cependant croit toujours qu'il est à deux doigts de devenir un important acteur et scénariste. 

"Jerome n'accepterait jamais de n'être qu'un simple chauffeur de limousine. Je pense qu'il croit qu'il attend tout simplement de pouvoir percer," observe Pattinson. "Et pourtant,il semble être le seul dans cette histoire à ne pas devenir fou – ou qui n'est pas un fantôme. C'est vraiment un mec plus que banal, ce qui est légèrement étrange pour moi aussi." 

Travailler avec ses autres collègues fut un autre attrait pour Pattinson. De Julianne Moore, il dit : "Elle est très marrante et très saine d'esprit, ce qui est assez ironique vu son personnage Havana Segrand. Et elle se met avec subtilité dans le peau de son personnage, on voit à peine ce qu'elle fait. C'est assez impressionnant." 

C'est de Mia Wasikowska (Agatha) qu'il a été le plus proche sur le plateau, qui finit par se reposer sur Jerome qui sera son seul ami en ville. "Je savais que Mia serait formidable dans ce film," dit il "Elle est tellement adorable que c'était horrible pour moi de voir Agatha mise à mal par toute sa famille" 

Pour Cronenberg, la chance de travailler avec des acteurs comme Pattinson et Gadon à plusieurs reprises est l'un des aspects les plus gratifiants de sa carrière. "C'est vraiment beau pour moi de voir cette éclosion et cette évolution d'acteurs avec qui je travaille," conclue t-il.

source: Laura via RPL

source update: Pattinson AW

"The Rover.... Production notes....

...

like for "Maps to the Stars" yesterday, we now have the Production Notes for "The Rover"...
to learn a bit more about the movie, the main characters, the storyline and the writer...

Enjoy the read...

from filmtv.it

Note di produzione 

THE ROVER: LE CONSEGUENZE DEL COLLASSO ECONOMICO IN UN FUTURO PROSSIMO

Diretto da David Michôd e basato su una storia scritta dallo stesso regista in coppia con Joel Edgerton, The Rover è ambientato in Australia dieci anni dopo il crollo dell'economia occidentale, in un contesto in cui le miniere sono ancora attive e hanno attirato gli uomini più disperati e pericolosi e in cui la sopravvivenza è una lotta quotidiana. Protagonista della vicenda è Eric, un vagabondo che si è lasciato tutto alle spalle e che è pieno di rabbia per il furto da parte di una gang della sua auto, l'unica cosa che gli era rimasta. La sua unica possibilità di ritrovare l'auto è data da Rey, uno dei mebri della banda che è stato abbandonato dopo essere stato ferito. Costretti dalle circostanze, i due uomini faranno coppia per un viaggio di cui nessuno avrebbe mai potuto prevedere il risultato.
Nonostante si svolga in un futuro prossimo, The Rover è nelle intenzioni degli autori un'opera sulla contemporaneità, sulla capacità delle economie occidentali di autodistruggersi a causa della loro stessa avidità e sul cambiamento inevitabile degli equilibri di potere a livello globale. Parlando di tematiche che spaziano dalle brame di potere alla distruzione dell'ambiente passando per i disperati tentativi dell'uomo per non affondare in tale disastrata società, The Rover non è però un film distopico e la situazione descritta, quella di un mondo saccheggiato e vuotato da forze e sistemi del tutto reale, appare plausibile e possibile. 

Come in una sorta di futuristico western, a far da sfondo alla vicenda è l'outback australiano, dove individui di tutto il mondo arrivano per lavorare nelle miniere che alimentano il nuovo ordine mondiale nelle mani dell'Asia: la stessa Australia ha in parte evitato il collasso economico nel 2008 grazie alle esportazioni verso la Cina e la forza della sua industria mineraria. 

Fotografato da Natasha Braier, che ha optato per il formato Super 35, The Rover è stato girato nell'arco di sette settimane (dal 28 gennaio al 16 marzo 2013) nel deserto meridionale dell'Australia, nella catena dei monti Flinders. Tra i vari luoghi che hanno fatto da location, il più importante è la cittadina di Marree, a otto ore di auto da Adelaide e vicina al lago Eyre. Popolata da soli 90 abitanti, Marree è l'ultima frontiera di civiltà prima di arrivare nel deserto e ha ospitato volentieri la troupe di Michôd, mettendo a disposizione della scenografa Josephine Ford le abitazioni e un piccolo albergo.

I PERSONAGGI PRINCIPALI 

Personaggi principali di The Rover sono due uomi molto diversi tra loro. Il primo, Eric, è un australiano violento ed amareggiato, un ex soldato misantropo che ha perso la sua fattoria e la sua famiglia e che, da antieroe, non desidera altro che riottenere indietro ciò che gli è stato rubato da tre criminali: l'auto con un misterioso sacco. Il secondo, Rey, invece è un semplice e ingenuo giovanotto americano, la cui età non gli permette di ricordare il tempo in cui le cose stavano diversamente. Come molti altri degli individui di The Rover, Rey è arrivato in Australia insieme al fratello maggiore Henry per trovare lavoro nel settore minerario e si è ritrovato ad interagire con cinesi, cambogiani e ovviamente australiani, finendo con il ritrovarsi imbrigliato nelle azioni poco lecite di Henry e dei sue due amici Archie e Caleb. 

Interpretati rispettivamente da Guy Pearce e Robert Pattinson, i due uomini si lanciano all'inseguimento di individui pericolosi, ritrovandosi coinvolti in una serie continua di azione, tensione, pericolo e colpi di scena. Lungo la strada, inoltre, si ritrovano a dover affrontare anche le pieghe della loro confusione emotiva. 

L'attore Scott McNairy interpreta Henry, il fratello maggiore di Rey, mentre il cast principale di The Rover comprende i nomi di David Field (è Archie), di Tawanda Manyimo (è Caleb), e di Gillian Jones, Anthony Hayes e Susan Prior.

rough translation (Google translator)...

Production Notes 

“THE ROVER: THE CONSEQUENCES OF ECONOMIC COLLAPSE IN A NEAR FUTURE 

Directed by David Michôd and based on a story written by the director himself paired with Joel Edgerton, The Rover is set in Australia a decade after the collapse of the western economy, in a context in which the mines are still active and have attracted men more desperate and dangerous and where survival is a daily struggle. The protagonist of the story is Eric, a drifter who has left everything behind and who is full of anger at the theft by a gang of his car, the only thing he had left. His only chance of finding the car is given by Rey, one of the Mebra band which was abandoned after being injured. Forced by circumstances, the two men will pair up for a trip that no one could have predicted the outcome. 

Notwithstanding take place in the near future, The Rover is the intention of the authors work on the contemporary, the ability of Western economies to self-destruct because of their own greed and the inevitable change in the balance of power globally. Speaking of issues ranging from the lust for power to the destruction of the environment through the desperate attempts of man to not sink in that dysfunctional society, The Rover, however, is not a dystopian film and described the situation, that of a world pillaged and drained forces and systems quite real, plausible and possible. 

As a sort of futuristic western, as a backdrop to the story is the ‘outback ’Australia, where people from all over the world come to work in the mines which supply the new world order in the hands of Asia: Australia has the same partially avoided the economic collapse in 2008 thanks to exports to China and the strength of its mining industry. 

Photographed by Natasha Braier, who has opted for the Super 35 format, The Rover was shot over seven weeks (from 28 January to 16 March 2013) in the southern desert of Australia, in the chain of the Flinders Ranges. Among the various places that were the location, the most important is the town of Marree , eight hours drive from Adelaide and close to Lake Eyre. Populated by only 90 inhabitants, Marree is the last frontier of civilization before arriving in the desert and gladly hosted the crew of Michôd, providing the designer Josephine Ford homes and a small hotel. 

THE MAIN CHARACTERS 

The main characters of The Rover are two very different men. The first, Eric, is a violent and bitter Australian, a former soldier Misanthrope who lost his farm and his family and anti-hero, not want to regain back what was stolen from three criminals: the car with a mysterious bunch. The second, Rey, is a simple and naive American youngster, whose age does not allow him to remember the time when things were different. Like many other individuals of The Rover, Rey arrived in Australia along with his elder brother Henry to find work in the mining sector and is found to interact with Chinese, Cambodians and of course, ending with the Aussies find themselves in legal actions soon harnessed by Henry and his two friends Archie and Caleb. 

Played by Guy Pearce and Robert Pattinson, the two men throw in pursuit of dangerous individuals, finding himself caught up in an ongoing series of action, tension, danger and plot twists. Along the way, also, find themselves having to face even the folds of their emotional confusion. 

The actor Scott McNairy plays Henry, the elder brother of Rey, while the main cast of The Rover ’s David names includes Field (Archie), Tawanda Manyimo (Caleb), and Gillian Jones, Anthony Hayes and Susan Prior.”

...
traduction... une fois encore merci au RPattzClub

via Filmtv.it

NOTES DE PRODUCTION 

The Rover: Les conséquences de l'effondrement économique dans un futur proche

Réalisé par David Michôd et adapté d'une histoire écrite par le réalisateur lui même en collaboration avec Joel Edgerton, The Rover se déroule en Australie, une décennie après l'effondrement de l'économie occidentale, dans un contexte où les mines sont encore actives et où elles ont attiré les hommes les plus dangereux et les plus désespérés dans un monde où la survie est une lutte quotidienne. Le protagoniste de l'histoire est Eric, un vagabond qui n'a rien laissé derrière lui et qui est plein de rage après qu'un gang lui ait volé sa voiture, sa dernière possession. Son unique chance de retrouver sa voiture lui est offerte par Rey, l'un des membres du gang Mebra qui a été abandonné après avoir été blessé. Par la force des choses, les deux hommes vont collaborer pour un voyage dont personne n'aurait pu prédire l'issue.

Malgré le fait que cela se passe dans un futur proche, The Rover a l'intention par le biais de ses scénaristes d'évoquer un monde contemporain, la capacité des économies occidentales à s'auto-détruire à cause de leur propre avidité et du changement inévitable dans l'équilibre des forces mondiales. En parlant des soucis issus de cette soif de pouvoir et de la destruction de l'environnement par la biais des tentatives désespérées de l'Homme à ne pas sombrer dans cette société dysfonctionnelle, The Rover, cependant, n'est pas un film dystopique et il décrit la situation, celle d'un monde pillé et drainé de ses forces et des systèmes assez réalistes, plausibles et possibles.

En quelques sorte un western futuriste, avec l'arrière pays australien en tant que toile de fond à l'histoire, où les gens venus du monde entier viennent travailler dans les mines qui offrent le nouvel ordre mondial dirigé par l'Asie: l'Australie a même partiellement évité l'effondrement économique de 2008 grâce aux exportations Chinoises et la force de son industrie de la mine.

Photographié par Natasha Braier, qui a opté pour le format Super 35, The Rover a été tourné sur plus de 7 semaines (du 28 janvier au 16 mars 2013) dans le désert du sud de l'Australie, dans les chaines montagneuses des Flinders Ranges. Parmi les nombreux endroits retenus pour le tournage, le plus important fut la ville de Marree, située à 8h de voiture d'Adelaide et proche de Lake Eyre. Avec une population d'environ 90 habitants, Marree est la dernière frontière de civilisation avant d'arriver dans le désert et elle a accueilli l'équipe de Michôd avec bonheur, procurant à la designer Josephine Ford des maisons et un petit hôtel.

LES PERSONNAGES PRINCIPAUX 

Les personnages principaux de The Rover sont deux hommes très différents. Le premier, Eric, est un australien violent et amer, un ancien soldat Misanthrope qui a perdu sa ferme et sa famille, un anti-héros, qui veut récupérer ce qui lui a été volé par trois criminels: la voiture avec une mystérieuse cargaison. Le 2ème, Rey, est un jeune américain simple d'esprit et naïf, dont l'âge ne lui permet pas de se souvenir de l'époque où les choses étaient différentes. Comme de nombreux individus dans The Rover, Rey est arrivé en Australie avec son frère ainé, Henry, pour trouver du travail dans le secteur de la mine et il s'est retrouvé à interagir avec des chinois, des cambodgiens et bien entendu, il a fini avec des australiens qui se sont retrouvés dans des actions illégales rapidement dirigées par Henry et ses deux amis Archie et Caleb.

Incarnés par Guy Pearce et Robert Pattinson, les deux hommes se lancent à la poursuite d'individus dangereux et se retrouvent pris au piège dans une série d'action, de tension, de danger et de retournements de situation. En chemin, ils se retrouveront aussi à face à leur émotions contradictoires.

L'acteur Scott McNairy incarne Henry, le frère ainé de Rey, et les autres acteurs de The Rover sont Field (Archie), Tawanda Manyimo (Caleb), et Gillian Jones, Anthony Hayes et Susan Prior.

source: @sallyvg via Spunk Ransom
source update: Pattinson AW

"Cosmopolis" ... PRODUCTION NOTES - NEW details... NEW quotes...from Robert Pattinson, David Cronenberg and more....

This is really great to read...! 

These are the parts where Rob is mentioned.

You can read the complete production notes (about 30pages) by downloading the full doc HERE

CAST David Cronenberg and long-time collaborator, casting director Deirdre Bowen, have assembled a remarkable cast, with talent from America, Canada, England, and France. The script is character-driven—much of the plot involves short, intense encounters between the protagonist and the secondary characters. The dialogue is central and often demanding. Eric Packer’s personality and psychological journey unfolds in a series of close interactions with the people of the cosmopolis—his employees, lovers and enemies. Choosing the lead actor was crucial, of course, and because the rest of cast would have to work briefly but intimately with the lead, supporting roles also required strong casting. 

“Casting is a black art,” proclaims David Cronenberg. “You can kill your movie by making a mistake before you’ve even shot film.” When Robert Pattinson’s name was proposed for the lead role of Packer, Cronenberg watched much of his work—including the young actor’s role as Salvador Dali in Little Ashes—and he was sold: “Rob was the most interesting and exciting actor suggested for COSMOPOLIS, and I knew that he would bring something wonderful to the screen—maybe even something he didn’t know he had.” Under David’s direction, Robert delivers an edgy, understated performance. In fact, Robert notes that he has never felt “utilized to this degree as an actor,” and fellow cast member Paul Giamatti describes Robert’s casting as “genius.”

Robert Pattinson—Eric Packer
Eric Packer is a selfish young member of the ruling class, at the top of the super-rich 1%. He is an anti-hero whose privileged reality is decadent and isolated. Casting Robert Pattinson in this unsympathetic role wasn’t obvious. Robert’s super-stardom perhaps gives him some insight to the pressures of success, but his pressures include the attention of a zealous fan base that might expect him in a different role. And he is younger than Eric Packer was envisioned, an age difference that influences the rest of the casting process. On the other hand, young billionaires and tech-savvy traders are not unusual in today’s society. Plus, casting Robert presents an opportunity to attract a new generation to Cronenberg’s work.
Ultimately, the choice rested on Pattinson’s talent and experience, with or without celebrity. Cronenberg found Robert mature and willing to challenge himself: “...Rob is not deluded about his fame; he understands that popularity is not the essence of being a good actor, and recognizes the danger of taking projects to please others rather than himself.”Bringing the egomaniacal Eric Packer to life required Pattinson to forget being a sympathetic character.
Cronenberg observes, “Some actors worry about not being appealing or sensitive, but that was never an issue for Rob; it was always about finding the often unlikable truth of who Eric is and what it means to be a 25-year-old billionaire.... Rob is incredibly likable, but he doesn’t need to be liked.” So Eric Packer, a financial god, perhaps soulless but with feet of clay, is realized by the charismatic, modest Robert Pattinson. 

Robert was surprised and excited by the COSMOPOLIS offer. He recounts receiving the screenplay about a year earlier and thinking it was “one of the most original scripts” he’d read. However, he doubted he’d get the part: “Then the offer came out of the blue and I was amazed!” Praising David’s consistently “thought-provoking” and innovative work, Robert says he was certain about taking the part; however, he admits, “I had no idea how I was going to play it.... I was scared at first, mainly because I could interpret the script and play it so many different ways....” He didn’t have much time with David before shooting, but he knew he was in good hands. His trust in the director, as well as David’s in Robert, was wellfounded. “I could feel David moulding it as we shot, and that made me really comfortable because it meant there was no specific right or wrong way. Eventually, I was very relaxed, especially for it being such an intense piece.”

Pattinson wanted a project that would take him to the edges of himself, and COSMOPOLIS provides the character to do it. Eric Parker is inscrutable and contradictory, both calculating and reckless. Robert had to find the emotional core of a man who is desensitized, a man who interprets the world in terms of numbers and acquisitions. Robert notes, “I think Eric has an all-consuming ego.” He lives an artificial existence, and Eric’s success seems a product of detachment and cold rationality. Yet his odd quest for a haircut is risky, irrational. He normally makes people come to him, including a physician for a daily exam, but he insists on seeing an old-fashioned barber on the opposite side of town, despite the risk to his personal safety. 

Rob notes his character’s grasp of contemporary events, business and politics. Eric Packer’s knowledge of the world, however, comes primarily through technology, and he sees most things as mere information, “some kind of list or matrix,” Rob suggests, about which he is dispassionate. Rob describes Eric “Watching screens informing him of current data all the time. I think he ends up taking drastic measures just to feel something because he’s become so desensitized.” He knows, and somewhat owns, many people but seems to have no friends. Even his new wife feels distant, an acquisition, someone to use or ignore. He is the master of his cosmos, but is he lonely at the top? Does he care? The enigma of Eric’s character is central to the film, and his interaction with secondary characters both shapes that puzzle and perhaps gives clues to solving it.   

Supporting Cast Cronenberg assured Pattinson of his directorial support in creating an authentic Eric Packer. He also promised Rob “fantastic actors” to work with on COSMOPOLIS -- and delivered. In addition to the masterful Paul Giamatti, Robert performs with cast ranging from the fresh talents of Sarah Gadon and Jay Baruchel to French luminaries Juliette Binoche and Mathieu Amalric. Pattinson sums up the ensemble cast: “All the actors come from different backgrounds, have different personalities and have all done completely different kinds of movies. They didn’t know a lot about the film, but everybody wants to work with David and that’s why they’re here.” 

DIRECTING STYLE There are many ways to direct a film. Cronenberg’s way does not involve rehearsing, improvising dialogue or using story boards: “I want the actors to have input into how they move around on set; their body language is as important as dialogue.” Only after that time on set alone with the actors do they bring the crew on set and perform the scene like a piece of theatre. 

With the episodic nature of COSMOPOLIS, and no rehearsal, actors would come in for a couple of days not knowing the stylistic tone. Pattinson appreciated Cronenberg’s method: “There was a natural process of getting to know each other which worked brilliantly, especially on this film where there are so many long scenes with so much dialogue, obscure tone and rhythm. Generally, he picked up on it when it felt right for me and he always liked those takes.” 

Cronenberg clarifies: “Especially with an experienced actor like Paul Giamatti there are so many layers, so much depth, levels of emotion that he can convey in a line of dialogue – that’s fascinating – and gives me a sense of how to shoot it. Whether it should be a close up or a wider shot, to see a detailed view of body language.” 

Giamatti found the experience on Cronenberg’s set “liberating.” He explains: “I’ve never worked with such a confident director who has the courage to take full responsibility for the film, which takes the pressure off as an actor, so you’re free to do whatever you want.”
Pattinson comments on David as an auteur: “It never feels like David’s taking notes from producers to make the movie appeal to a certain quadrant. It’s understandable when it does happen, but it’s really only because of David that a film like this can be made. I really felt like an actor on this film and felt like I was a part of a creation, rather than just a bunch of stuff strung together with music stuck on.” 

A LIMO IN ELEVEN PIECESUnder the direction of Production Designer Arv Greywal, two pristine white limousines were purchased to create the main setting of the film. The first is seen in exterior shots of Eric getting in and out of the limo, driving through city streets, into a riot in Times Square. This car is eventually vandalized, beaten and burned, generally mirroring Packer’s own breakdown and descent into destruction. 

The second car was promptly carved into eleven pieces. Each piece was customized and modular so it would come apart to facilitate shooting from various angles within in the limo against a green screen. In post-production, Mr. X. Visual effects team would transform the green screen into Manhattan streets all the way across town. 

Space limitations meant that Cronenberg couldn’t be in there with the actors. So, he listened with headphones and communicated through an intercom system while watching the action on a monitor. Of course, he was only a few feet away from them and spoke to them personally a lot of the time. 

Robert Pattinson found the system worked beautifully: “I was in a car for the majority of the time, and David was out by the monitors on an intercom, and yet he was incredibly sensitive to every little thing we did, even when we weren’t conscious of it. He always seemed to pick up on things when they were getting interesting, and that was very reassuring.”
In addition, Pattinson found shooting in the car helped his characterization of Eric: “I became familiar with the car and comfortable in my seat, while each of the other actors had to come in and figure it all out for themselves. Everyone else felt alien in ‘my’ domain.”

Given the nature of the story, this seems a fitting dynamic in which to work. There was however, a claustrophobic element that made shooting in the limo no easy task says Samantha Morton: “Truly the most challenging role I’ve ever had! So much dialogue in my head and the limo moving and people running around! Thank heavens for David’s comforting voice on the intercom!” Furthermore, most of the actors are only in the limo.
Cronenberg joked that this was his version of Das Boot and encouraged people to see Lebanon, which takes place in a tank. 

After shooting mostly in the limo for over a month, Pattinson found it “refreshing” to get out and work with other actors experiencing a new set with him in Benno’s space and the barber shop, also meticulously created on set by Arv Greywal and his team.

WARDROBE With a lead character in the same wardrobe for the duration of the film, costume designer Denise Cronenberg recognized the need for perfect choices – and several of them - from day one. Gucci delivered on both fronts: seven black slim cut suits, white shirts, and black ties, belts and shoes. Denise comments: “I needed multiple costumes for Rob's character so whatever creative choices and possible breakdown of clothing were made during shooting, we would be equipped.”

No Rob mention, but very interesting about the movie

ADAPTATIONWhen asked how COSMOPOLIS came into his life, David Cronenberg smiles: “COSMOPOLIS is one of those gifts that come out of the blue,” the kind one hopes for, but which are rare. Paulo Branco—a recognized Portuguese producer whom Cronenberg knew of but had never met—approached him with the rights to DeLillo’s Cosmopolis. Branco thought David was perfect to adapt it: “I knew David’s artistry would balance the novel’s sensitivity and violence on screen.” 

David knew DeLillo’s work but not Cosmopolis. Within two days he’d read it and agreed to write the adaptation and direct the film. David wrote the screenplay in an astonishing six days. “Adapting COSMOPOLIS went so beautifully because Don’s book has a cinematic core with the most amazing dialogue that stood on its own, so I spent the first three days transcribing dialogue and the next three days filling in the descriptions of the scenes. And that’s pretty much the script we shot with.” 

However, Cronenberg acknowledges that in “reinventing the story for the cinema...in a strange way I think you have to betray the book in order to stay faithful to it.” David explains that some material in the novel wouldn’t translate to the screen: “Specifically, there is a lot that goes on inside the heads of certain characters, and that’s not something a movie can do without a voiceover, which to me is not the solution. I think the film should feel like the book, so I was quite prepared to be brutal in cutting things out to preserve the essence of the story.” Although David closely adheres to what Producer Martin Katz calls DeLillo’s “terrific concentration on thoughtful, clever, stagey, theatrical dialogue,” the story had to be altered for the screen. Because of the changes, David cautioned the actors against reading the novel. Nevertheless, DeLillo was supportive throughout the filmmaking process and told Cronenberg he approved of the script when they met at Paulo Branco’s Estoril. 

Don DeLillo’s Cosmopolis was published in 2003 and seemed to foretell events to come in 2008 and beyond—criminal activity on Wall Street, IMF scandals, the impact of technology on market fluctuations, and the crises of the American and European economies. 

Cronenberg notes, “It was spooky, almost eerie working on COSMOPOLIS because so much has played out in reality.” For example, the anti-globalization protests in the novel parallel the global Occupy movements, one of which occurred just blocks from the Toronto studio while COSMOPOLIS was filming. The director calls DeLillo’s novel “prophetic—in that he pretty much predicted the economic crisis, yet it’s all absolutely fresh right now.” As for DeLillo, when he screened it for the first time, he declared COSMOPOLIS a “great film” of which he was “proud to be a part.”

source: Gossipgyal via CosmopolisFilm.com