Premiere Magazine France - May 2014
'Maps to the Stars' Film.com
"I don’t believe in this idea that you have to alternate between the two.
The public doesn’t care if you do a
“big” film or a “small” film.
People just want to see you in a good film."
Interview with Robert about his recent work
(Translated from a French magazine)
April 14th, 2014. It’s been fourteen minutes since Robert Pattinson disappeared into one of the rooms of this huge warehouse,
transformed into a photo studio to get his make-up done. When he finally steps out, his face covered in black and white paint that
will fade moments later when we finish throwing litres of water & Gatorade at his face. It is clear that the teenage idol from the
Twilight saga has completely disappeared. He left in his place an actor that is more and more fascinating, an artist – He is the one
who imagined the different staging of the session with the photographer Danielle Levitt – whose filmography is starting to seriously
impress. Since the beginning of the year, he’s filmed with Werner Herzog (Queen of the Desert) & Anton Corbijn (Life), to which
he’ll soon add Harmony Korine and James Gray (The Lost City of Z). After presenting Cosmopolis there in 2012, he is making his come
back to Cannes with two films: Maps to the Stars, which marks his reunion with David Cronenberg, and The Rover, the new feature film
of the Australian prodigy David Michôd (Animal Kingdom, 2011). A western of tetanized anticipation in which Pattinson, more baffling
that ever, proves that the future belongs to him.
PREMIERE: We left you two years ago in the back of the limousine in Cosmopolis and we find you once again driving one in the new
film by David Cronenberg, Maps to the Stars. Did he do it on purpose?
ROBERT PATTINSON: Maybe we’re building a trilogy around limousines… I don’t know if it was a conscious decision on his part or not.
PREMIERE: The recurring aspect is that in each film, you sleep with an accomplished actress…
ROBERT: That scene with Julianne Moore was so funny. And we had just met one another before we had to shoot it.
PREMIERE: It was also the case with Juliette Binoche when you filmed the sex scene in Cosmopolis. Is it your new way of welcoming
actresses on set?
ROBERT: I remember seeing Julianne before we started shooting the scene. She was giving me advice: “Keep choosing classy projects
and filming intelligent films.” And suddenly, David says “Action!” and we start fucking like beasts in the car. Very classy, that’s
right… (Laughing). On top of that, it was boiling hot. I was sweating like crazy and huge drops of sweat were running down my
forehead. I asked myself if I wasn’t having a heart attack. Every time a drop was falling, I was trying to stop it from ending up on
Julianne’s back. It was ridiculous. After a while she turned back in my direction, worried and asked me: “Are you okay? Are you
having a panic attack?” I was out of breath, completely drenched, meanwhile her, not at all.
PREMIERE: You don’t seem like the type of actor who only does half of the job.
ROBERT: Exactly. It’s my own sweat that you see on the screen. In The Rover, my problem was the flies. I had never seen anything
like it. We were constantly covered in fake blood and once we came out, fifty flies started surrounding us. All day long, it
PREMIERE: The glamorous side of the Australian outback.
ROBERT: We really shot the movie in the middle of nowhere. Most of the people you see in the movie were recruited on the same day,
like this small guy who sells a gun to Guy Pearce and walks and grumbles: “Fuck, fuck, fuck!” He really was like that. There was
also this guy with the with the crazy face we see in the shop. They found him while they were looking at the place. He came into
the house thinking it was deserted and came face to face with this guy and his wife, who were naked – They found out later that she
PREMIERE: One of the strength of the movie is its minimalism. Was it already that way on paper?
ROBERT: Yes, this impression of desolation was coming off the script, which had stricken me with its “hungry” side. The film is
extremely bare but it manages to create an extra-terrestrial world of its own. A quality, which in a way, reminded me of Cosmopolis.
PREMIERE: This film clearly marked a turning point in your career. You told us once that it had “given you balls”. Are they still
ROBERT: When you are in a blockbuster, you contribute to an ensemble without really knowing how. With the small films I do now –
and it probably is because of their ambitious sides – I feeling like I’m creating something. It is way more palpable. David Michôd
let me try a lot of different things in The Rover, like having rotten teeth or shaving the back of my head because I thought it made
the character more vulnerable to have the nape of his neck exposed that way.
PREMIERE: The Rover seems like a new stage of your career. It is also how you feel?
ROBERT: The first time I ever felt like I was seeing an adult when I looked at myself on screen, was when I discovered the Dior ad
that I filmed last year, directed by Romain Gavras. The Rover confirmed this feeling, which continued on Life, the film I just shot
with Corbijn. I think I have more confidence in myself and these Cannes selections are helping a lot. After being dissed for years
because of Twilight, my ego was a little bruised.
PREMIERE: Do you see this festival like an honour?
ROBERT: You have no idea… It’s a huge recognition. For a long time, I wanted roles without really knowing if I could play them.
Today, I feel ready to take risks and assume these choices.
PREMIERE: Two years ago, you were telling us that you were desperately trying to contact Romain Gavras. You finally succeeded.
ROBERT: That ad for Dior was the only way I found to successfully contact him. I told myself: “Now, he’s finally going to reply to
me.” I kind of feel like I bought that call… (Laughing)
PREMIERE: Where did the idea come from to make you look like a young Belmondo?
ROBERT: From Dior, even the original concept was much more sophisticated. We really changed things along the way. The way Romain
works with his director of photography gives this extremely lively result. You have to know that we weren’t really allowed to shoot
the part where I’m driving on the beach. Romain did this at 7 in the morning, and he wouldn’t stop screaming: “Hurry up, we’re
losing the light!” What light? It’s 7am! The sand was wet, the car was getting stuck in it. So, I had to drive at 100 km/h with the
two models in the back while Romain was screaming: “We’re losing the light! We’re losing the light!” I never thought I’d ever find
myself in that kind of ad, but I have to admit that it was a really positive experience. Dior gave us a very incredulous amount of
PREMIERE: During our last interview, you were telling us that one of your dreams was to work with James Gray, which is happening
soon. (Pattinson will soon have appear alongside Benedict Cumberbatch in ‘”The Lost City of Z”)
ROBERT: They moved the shoot back to January, again, and I’m kind of getting tired of waiting. It will take place in Colombia, it’ll
be crazy. In the meantime, I might film something with Harmony Korine, with whom I’ve been dreaming to work since I was 17, like
with James Gray. I keep asking him what the film is about but he doesn’t want to tell me.
PREMIERE: You just added Werner Herzog to your resume! (“Queen of the Desert”, with Naomi Watts!…)
ROBERT: I wasn’t expecting that at all. It’s a very small role but I loved working with him. Whatever the subject it, he will always
have an improbable story or an anecdote to tell. We were filming when the trial of Amanda Knox (An American accused of killing one
of her roommates in Italy) was re-opened and Herzog told us very seriously: “I saw documents that the public has never seen and I
can guarantee you that she’s guilty.” (laughing). Evidently, I didn’t believe him at all.
PREMIERE: Are you still popular with paparazzi or has the hysteria died down?
ROBERT: I got better at not being seen. The last time I went back to London, I wasn’t photographed a single time. My best friend
told me: “The next time you get your picture taken, remember this period of time when you were left alone. Don’t think of it as a
prolongation of all the years you had your picture taken but as an isolated incident.” He is right. Before, I was sometimes going
crazy when my picture was taken in the streets. It’s different when you’re a guy because beyond the intrusion of your private life,
it’s also your masculinity that is ridiculed in a way. You end up face to face with guys that take pictures of you with no care in
the world and you can’t do anything about it… There were moments where I literally wanted to kill them. I calmed down since then.
Well, I think so, but it might only be because it’s rarer. What’s twisted in all this, is that my job is to get paid to play other
people. How do you want the public to find this credible, if, every day, my face is in tabloids showing me grocery shopping?
PREMIERE: So you end up having your groceries delivered at home?
ROBERT: No, I order from Domino’s Pizza every day. (Laughing)
PREMIERE: We often see actors accept blockbusters in between independent films, explaining that it’s necessary in order to be able
to be in more “artistic” projects. In your case, it’s like you’ve decided to abandon big studio movies…
ROBERT: Yes, because I don’t believe in this idea that you have to alternate between the two. The public doesn’t care if you do a
“big” film or a “small” film. People just want to see you in a good film. Sometimes, some actors move from one big movie to another,
until one day where everything stops at once. And in that moment, they end up helpless: “I don’t understand, I played the game.”
Except there’s no rules. Everything can come crashing down at any time. The advantage if it happens to me is that I can always make
some hundreds of dollars by going to sign autographs at Twilight conventions. (Laughing)
PREMIERE: How long do you think, will it take Hollywood to remake the saga?
ROBERT: I have no idea. I think the era of vampires is over, don’t you? It’s funny, a few days ago I was remembering filming a scene
from Twilight with someone. I think it’s the first scene of the last movie, when Bella wakes up and sees Edward, a little like an
apparition. We had been filming for a month in Canada in the freezing cold, I was this close to going depressed, and the only thing
I found to feel better was going to take my breakfast at McDonald’s every morning. After four weeks of this, the moment came to film
that scene and I was wearing a white shirt with light coming from behind me. When I watched the scene right after, I realized you
could see the outline of my love handles freshly acquired. I recently saw the movie on TV and they are still there now.
PREMIERE: After all these year, I’m surprised to see there are still anecdotes to tell about Twilight…
ROBERT: When I think the first movie came out six years ago and that I got the role in 2007, it seems crazy to me. The major part of
my twenties will have been focused on this. When the second movie came out, I understood it would take me at least ten years to be
myself again and move on to something else.
PREMIERE: The two films that you’re going to present at Cannes prove that you will have needed less than ten years to achieve it…
ROBERT: I’m really excited at the idea of going back to the festival. I would love if all of my films were selected. For now, the
last three films I shot since the end of Twilight have been. I will do everything I can to maintain this objective.