Robert Pattinson and The Lost City of Z in MK2 De Los Cines Magazine

Happy reading.

Josh and Benny Safdie talk Good Time & Robert Pattinson with Cahiers du Cinema

 

Cahier du Cinema also includes an interview with Josh and Benny Safdie as part of their Cannes special issue and it’s so full of information. I can’t wait to see Josh, Benny and Rob do the press junket for Cannes, I bet Josh gets asked about that toilet way too many times:

The three brothers interview with Josh & Benny Safdie by Stéphane Delorme (Maria: Mad Love in New York is the French title for Heaven Knows What)

LCDC: We are one month away from the festival: is the film complete?

Josh: Almost: Oneohtrix Point Never made the music, and for the end they wanted a song en interaction with the film. We asked Iggy Pop, and he sings an incredible song in the style of Johnny Cash. Do you know how I learned we were in competition? Six months ago I was in Los Angeles at Robert Pattinson’s house. He has Japanese toilet that blows hot air. I had never experienced such a thing … I loved it so much that Robert said to me: if we go in competition, I buy you the same. And we were invited out of competition. Six hours before the press conference, we had a meeting to find out if we were really out of competition, because at the same time we were invited to the Quinzaine, and Rob was trying to contact me over and over again, but I was at this meeting, and suddenly he sent me a text message with a photo of the toilet! Thierry Frémaux had just announced him we were in competition. I was extremely surprised! It was extraordinary.

LCDC: Is the film hard to finance, even with a star like Robert Pattinson?

Josh: Yes, very hard. It is a genre film, but we didn’t want typical actors of genre films, we wanted people in particular, we wanted them to be related to real life. This is the film on which we spent the most time. Ten months for editing. We had to re-shoot some scenes, we added an entire section with Jennifer Jason Leigh. It was our biggest budget, but we didn’t have enough money.

Benny: And the shooting was difficult! At first it was a 26 days shoot, in the end we shot 33 or 34 days. We spent long days in the cold, it’s a nocturnal movie since the hero is a fugitive criminal. Afterwards, we remember the best moments, but they are buried under so much effort, work and difficulties! In addition, my son is born two weeks before the beginning, we shot 16 hours a day, and when I went home I changed nappies … I hardly slept. It was a very intense period and I think you can feel it on the screen.

Read Full Article

An exclusive article, with new BTS stills (featuring Rob) from photographer Aidan Monaghan, is included in the new issue of Entertainment Weekly. Click on the EW link to read the article in its entirety.

Robert Pattinson featured in Harpers Bazaar UK May issue

The UK premiere and after party for the cast of ‘The Lost City of Z’ took place at the British Museum in February and this brief write-up, with a lovely new photo of Rob, is featured in the May 2017 edition of Harpers Bazaar UK magazine.

Robert Pattinson for Dior Homme Black Carpet Collection

I love the experience when you’re reading a magazine and turn the page and see:

Thanks Posh.,

The Lost City of Z is featured in the March edition of SO FILM magazine

 

Translation via Google

Darling of movie-goers, James Gray has managed to finish his most ambitious project, the door of heaven to him – the United Artists ready to run to him and less. The journey of this little delicate intelligent redhead from Queens in the depths of the jungle deserves to take stock, looking carefully at the map, to ask yourself: what exactly is the cinema of Gray?

The films of James Gray are  always characterised by a great righteousness. His movies are straight lines indeed like those of the subway tracks sabotaged in The Yards, his second achievement in 2000. That is the first rectitude, that tragic rail, that often seems to slide without to find the good turnout for change of itinerary. If there are flights, spirals of acceleration or hot flashes excitement, Gray is naturally on frames very posed and composed. And If he is a cinephile, he is empowered as a neoclassical : it doesn’t slice references, He replays them to him suffocated, macerated in the impeccable grey-brown, the greys, his photo. Strength and limited first so: that unstoppable side in elegance and also seriously. The lips are still also straight Gray’s House: not humor and little smiles at him – if this is in the singular Two Lovers (2008). When Joaquin Phoenix played an endearing ninny wide shoulders, torn between two women, finally in the foreground without being mothers. Because this righteousness of Gray is of course before all male: for the most part,.his characters are the avatars of a manhood bit talky, cut off from his desires, making sure to give the appearance of a block When it is, in all likelihood, cracked everywhere. An old model, which film has worn and worn until the rope. Unable to grant the circumstances and unreadable hearts, These guys here cling to rigidity, whether conquering or scowling. We stick to a single line, and on the decreed right, persists to the end the end and when you care more, jump on another line – where as righteousness Paradoxically, eventually seem twisted:  Gray men are capable of abrupt,  unexplained reversals. This s not a case of duplicity: maybe they simply lack imagination. Also uncontrollable may they seem, mad dogs most often align the family home. In these circumstances, Gray does not. He must instead state that it is inevitable who always lands him top – this area grey between realism and refusal of the elucidation psychological, silence and temptation of emphasis: bullies always end by quit a big statement solemn love, at the edge of the religious revelation. The  filmmaker is too smart not to understand that This manhood there is possibly only renunciation, blindness or simply comfort. So far, Gray is itself stayed home, filming only sound New York native and family executives, In addition twice anchored in his community of origin, that of the Jews Russians. From this point of view, it is also right in the sense of honest: he does not hide homebodies inclinations. Be sincere, however, does not protect completely from the Ronron. We Own the Night (2007) in was the curious allegory: at Trac, a party animal became a COP like of other men in his family, as is it was only celebrate the strength (including neoclassical) order.