'Cosmopolis' Premiere on Sundance HD

It's disappointing that one of Rob's most acclaimed film role to date was never screened in Malaysia or even made it to DVD. Therefore, here's your chance to catch Rob Pattinson as Eric Parker in Cosmopolis.

It will premiere on Sundance Channel HD, on Astro ch438. Do take note that this channel is only available to ASTRO b.yond HD subscribers only. The film's airdates are as follows:

Fri 21 Jun 2013, 10:00 PM

Sat 22 Jun, 03:15 AM

Mon 24 Jun, 00:00 AM

There's a chance that some scenes from the film may be censored, as the film is rated R in the U.S., or maybe not...

Just as a refresh, this 2012 film is directed by David Cronenberg, and received a 'Fresh' rating on critics rating site, Rotten Tomatoes.

New/Old Photos from 'Cosmopolis' Photoshoot

via RobertPattinsonAU

Cosmopolis Makes TotalFilm's '50 Best Movies of 2012' List

#37: Cosmopolis

The Movie: The second of two David Cronenberg films released in the UK this year was a return to his weird roots, as Robert Pattinson is driven across riot-stricken Manhattan so he can have a haircut. The sex, death and horrendous hand injuries were classic Cronenberg, but most people noticed only the endless talk, talk, talk...

Impact: Mass walkouts from disgruntled R-Pattz fans who didn't want to see their hero having his prostrate examined. And, alongside Holy Motors, a sudden surge in 'guy in a limousine' movies.

Read their review of Cosmopolis HERE.

Cosmopolis Clip - 'Smell Me'

via Spunk Ransom

Rob Pattinson on Jimmy Kimmel Live

Rob was on Jimmy Kimmel Live recently, moving on with the promotion for Cosmopolis. He discusses about a particular scene in the movie, as well as buying things on Craigslist, among other things.








via MSN

'Cosmopolis' Hits a Fresh Rating

Cosmopolis appears to be quite a hit with the critics, as it obtained a Fresh 64% rating on Rotten Tomatoes.

Consensus: Though some may find it cold and didactic, Cosmopolis benefits from David Cronenberg's precise direction, resulting in a psychologically complex adaptation of Don DeLillo's novel.

'Cosmopolis' Movie Tie-In Novel Now Available

The movie tie-in novel for Cosmopolis is now in bookstores. I got my copy at Popular, priced at RM31.90.

Cosmopolis Tops Specialty Box Office

Cosmopolis is currently in limited release in the US, and so far has a decent opening. The film topped the box office charts for specialty films.

Although the film only played in three theaters in New York and L.A., Cosmopolis had a gross of $72,300 ($24,100 per theater), helping it top the specialty box office, with the best average of the weekend. That number far surpassed other limited releases such as the Frank Langella-Peter Sarsgaard film, Robot & Frank, which opened in two theaters in New York and L.A. and grossed $38,234 (per theater average of $19,117).

No release date for Malaysia yet *sad*

via Gossip Cop

Boston Globe 'Cosmopolis' Interview

These interviews are getting more interesting, really. Here's one from Boston Globe.

Cult hero filmmaker David Cronenberg and “Twilight” leading man Robert Pattinson rang the opening bell at the New York Stock Exchange last week to promote their new psychological thriller, “Cosmopolis.” Both men agree that their visit was a bit strange. After all, “Cosmopolis,” based on the book by Don DeLillo, is a capitalist critique that, while having been published in 2003, speaks to the Occupy Wall Street movement and creates a disturbing portrait of the emptiness of the 1 percent.

The English actor and the Canadian director, who called us shortly after Pattinson made a much-hyped appearance on “Good Morning America,” admitted that their “Cosmopolis” experience has been odd at times and, much like their film, uncomfortable with a bit of irony. There’s the strangeness of the movie itself. Then there are the “Twilight” fans who love Pattinson enough to expose themselves to an R-rated film about the economy that involves an eccentric millionaire getting a proctology exam in the back of a limo. Adding to the weirdness is Pattinson’s involvement in a very public cheating scandal; his longtime girlfriend Kristen Stewart recently apologized for being unfaithful with Rupert Sanders, the director of “Snow White and the Huntsman.” After Stewart went public, Pattinson disappeared for weeks, was rumored to be hiding out at Reese Witherspoon’s house, then resurfaced, to the delight of the paparazzi, to promote “Cosmopolis” on the red carpet and elsewhere.

It’s been a strange trip, but Cronenberg and Pattinson seem wonderfully comfortable — at least with each other — amid all the awkwardness.

Q. You both have said that you filmed this movie in chronological order, and I know that with many movies, the last scenes are shot first. Was that a luxury — to film from start to finish?

Cronenberg: One of the trickiest things that I had to learn as a director was exactly that. I mean, suddenly you’re forced to shoot the last scene of the movie first. And it’s hard for the actors because they don’t know who they are yet and they’re doing their death scene. As an actor myself, I was in Clive Barker’s movie “Nightbreed,” and the first thing we shoot was my character getting killed. And I said a typical actor thing. I said, “How can I know how to die when I haven’t lived yet?” So it is kind of a luxury. I think Rob can talk about that.

Pattinson: I agree. (Laughs) I don’t think I can add to that.

Q. You have both been very candid in interviews about the fact that you didn’t necessarily know how this novel would translate to film and what it meant to you. Do you have a different interpretation of the text now that you’re finished with the film?

Pattinson: Well, I like it. I don’t think that confusion is necessarily a bad thing. We’ve done hundreds of interviews now and I still find myself coming up with new things to say.

Cronenberg: Those statements that we made, which were very candid, can be misinterpreted as meaning we were inept, incompetent. But not at all. You know, I don’t do storyboards, for example. I don’t really know what I’m going to do at every set up and every shot. It’s all very spontaneous and of-the-moment, even what lens to use. That’s what we’re talking about. We don’t have it all mapped out. We’re trusting the script and trusting the dialogue that is all 100 percent Don DeLillo’s and taken from the novel directly. We know that if we respond directly to that . . . the movie will have its coherence.

Q. You just rang the opening bell at the New York Stock Exchange. What was that like? And what do you think the people there would think of this movie if they saw it?

Cronenberg: All through the halls of the stock exchange they have these monitors built into the walls, and they were all showing clips of “Cosmopolis.” All of the people there who were marshaling us were incredibly excited about the movie and really wanted to see it. And they were incredibly friendly and sweet, and I was suddenly thinking, “This is the wonderful, friendly face of capitalism. I don’t know why I’ve been fighting it for so long. I think I’m going to buy some stock.” [Pattinson laughs.] And the stock exchange is about marketing. To link the starting of the day with some product that’s being marketed was a no-brainer. And the fact that it might be rather ironic that we were opening the stock exchange; I don’t think it occurred to them.

Q. Mr. Pattinson, what did you think of the visit?

Pattinson: I’m so clueless about anything to do with that world. I was kind of just terrified that I was somehow going to mess it up. And also to see people’s enthusiasm. It’s so alien. Even people’s attitudes there. It seems so alien to me. I mean, I’ve met traders before, but in their own environment — everyone’s extremely happy, which is not what I expected. It doesn’t seem stressful at all. They were all excited about seeing who was going to ring the bell this morning. They had the American gymnastics team closing it that day. It looks like a really fun place to work.

Q. You guys seem like you like each other a lot. You seem so close during this publicity tour. I was thinking, when I looked at pictures from the stock exchange visit, that you actually look like relatives.

[Cronenberg and Pattinson laugh.]

Cronenberg: We get along pretty well and we were kind of wearing the same suit. They were Gucci suits that were connected with the movie — the character wears them — and so, we were Tweedledum and Tweedledee at that point.

Q. Mr. Cronenberg, where do you most enjoy promoting your films? You don’t have to say America.

Cronenberg: I have a huge enthusiastic fan base in France. My first films were horror films and genre films, and in France they never had any prejudice against them, whereas in North America, in the old days when I started especially, there was prejudice against them. They weren’t taken seriously as good cinema. So I suppose I feel more comfortable, weirdly enough, in France releasing a film. The level of discourse there is very intelligent, very intellectual, sometimes humorously so, but I like playing that game there.

Q. Mr. Pattinson, how have you taken to the Cronenberg fan base? I imagine that it’s strange to see “Twilight” fans with people who love David Cronenberg movies.

Pattinson: Absolutely. We were in London and we did a Q&A and it was two very diverse groups of people who suddenly came into contact with each other for I think probably the first time. And, I don’t know . . . David’s horror film fans . . . and general “Twilight” female fans . . . are actually quite a good pairing. I think both of them didn’t see anything in each other first of all, but they’re quite a good, odd couple. When you see a bearded guy with long hair, who absolutely will weep [for Cronenberg] . . . and then a “Twilight” fan who will weep at that, they actually look like a couple.

Q. Mr. Pattinson, I have to ask, in reference to all of the talk show hosts who are asking you personal questions right now: I’m always fascinated by the ability of celebrities to just disappear during a controversy. How do you do that? Is there a tunneling system? Where do you go to hide when you’re so watched?

Pattinson: There is a netherworld where celebrities go. They’re the only ones that have access to it. A mysterious little network of boroughs. (Giggles.)

via Boston Globe

L.A. Times Interview with Rob and David Cronenberg

NEW YORK — Jon Stewart tried to bait him with Ben & Jerry's Karamel Sutra. "Good Morning America" host George Stephanopoulos offered him Cinnamon Toast Crunch. But maybe French fries would have been a better ploy to get Robert Pattinson to spill some juicy personal details about his breakup with costar Kristen Stewart.

"Media culture is a monstrous thing," Pattinson lamented Wednesday afternoon, jamming fries into his mouth between puffs on his electronic cigarette. "You can't win. The annoying thing is that you can't attack them, but you can't defend yourself. The best thing you could possibly do is punch a paparazzi and give them their big payday."

The 26-year-old actor has run a gantlet of publicity this week that was nominally about promoting his new film, "Cosmopolis," which opens Friday. But the promotional blitz, which also included a New York premiere and other stops, seemed to be as much about proving his emotional resilience in the wake of the tabloid bonanza that exploded after photos surfaced of Stewart in compromising positions with 41-year-old Rupert Sanders, who directed her in "Snow White and the Huntsman."

Sitting alongside Pattinson for moral support at the Mandarin Oriental hotel on Columbus Circle was "Cosmopolis" director David Cronenberg. The Canadian filmmaker, whose challenging art house films almost never garner such wide attention, was there as a sort of buffer but also appeared to be quietly amused by the media circus. The actor's manager would not allow Pattinson to sit alone for an interview with The Times, and even suggested that reporters not ask him about his personal life, or "Twilight."

But "Twilight," of course, is how Pattinson has become perhaps the most widely recognized young actor of his generation. In the movie franchise, based on Stephenie Meyer's bestselling young adult novels, he plays a brooding vampire who falls in love with a human girl (Stewart). The film series has grossed over $2.5 billion worldwide since launching in 2008 and will conclude in November with a fifth installment, "Breaking Dawn — Part 2." Pattinson's off-screen romance with Stewart only stoked the popularity of the vampire movies.

When the Stewart-Sanders affair burst onto the cover of Us Weekly in July, it initially seemed like there was little upside for Pattinson. But Stewart's public apology generated not only sympathy for the man wronged but also a fresh wave of interest for "Cosmopolis," which had premiered to mixed response at the Cannes Film Festival in May.

That could help Pattinson as he strives to craft a post-"Twilight" career. While both of his "Twilight" costars, Stewart and Taylor Lautner, have each taken center stage in studio pictures, Pattinson has mostly stayed in the indie world. His biggest non-"Twilight" film to date was last year's "Water for Elephants," a modestly budgeted period romance with Reese Witherspoon that took in a respectable $117 million worldwide. Pattinson's less-commercial projects, however, have tanked at the box office — the Sept. 11 drama "Remember Me" only collected $8 million domestically in 2010, and the 19th century-set drama "Bel Ami" flopped in June, never expanding beyond 15 theaters.

In "Cosmopolis," Pattinson plays a young billionaire on the verge of financial ruin who self-destructs over the course of one day, and he has earned some of the best reviews of his career for his performance as the detached whiz-kid.

Cronenberg, who adapted "Cosmopolis" from Don DeLillo's book of the same name, said he felt Pattinson was right for the part largely because of his good-looking face, which appears in nearly every frame of the movie. Before casting him, the director watched all of the films the London native has appeared in, and viewed a number of interviews with Pattinson on YouTube to get a better sense of his personality.

"The strength of the 'Twilight' movies is not the acting," acknowledged Cronenberg. "But it's not understood that doing 'Twilight' requires presence and professionalism. Are you saying this is an Academy Award performance, or Alec Guinness? That's a whole other discussion. But you throw somebody on a grueling set like that — a normal person would be dead in an hour."

Warming to his own defense, Pattinson interjected: "With this movie people keep saying, 'Is this gonna be the movie where he can prove he can act?' It's like, 'What do you think I have been doing?'"

"By the way," Cronenberg added, "he's a British guy doing an American accent. People don't realize that there are a lot of very good actors who cannot do accents, and they don't give Rob credit for that."

"Oh, give me anything!" Pattinson said with a laugh and taking a drag on his cigarette, which glowed an electronic red with each inhale.

Still, it's clear Pattinson sometimes questions his acting ability. Before production began on "Cosmopolis," he said he was so unsure of his ability to pull off the role that he sat "trembling, absolutely terrified" during the first screen test.

Full interview at LA Times

Rob Pattinson and David Cronenberg Interview by NextMovie

In casting Robert Pattinson, you have an interesting tension between a big percentage of his fanbase — teenage girls, many of them — and a film they might find inscrutable. Is that conflict appealing to you?

David Cronenberg: It was not really an issue at all, in terms of casting. On the other hand, what was interesting was while we were shooting the movie, all these "Cosmopolis" websites popped up that were created by "Twilight" fans and Rob fans, and they were reading the book and exchanging notes about the book and how it might work in the movie. Really, I wasn't thinking that this was necessarily going to be an audience for this movie, but then I started to think, "Well, some of them, it definitely is going to be." And that was exciting 'cause these are young girls who maybe had read "Twilight" and "Harry Potter," and suddenly they're reading Don DeLillo. That's pretty good.

I don't really have an audience in mind when I'm making a movie ... I'm making it for me and all of us who are excited about the script. I'm making it for an audience, but that's kind of an unknown and amorphous audience, so anybody who's part of that audience is okay with us, let's put it that way.

Robert, knowing that younger fans will cross genres for you, do you worry that you need to choose parts carefully? Is that on your radar?

Robert Pattinson: It's like I feel a responsibility to myself. If you're doing stuff just purely for money, you're probably disrespecting your audience as well. It's not good for anyone. It's not even really good for you. The only thing I really know is what I think I would find interesting to watch and if I try and make that, I feel like I learn a lot out of doing it and watching it. And so , I don't know, I think I fulfilled my responsibility.

I think you do [have a responsibility] in a lot of ways. Not a massive one. But you know, I think your responsibility can also include failures as well. I mean, you can learn something from doing a sh**ty movie, too.

Before making "Cosmopolis," did you consider the effect your involvement might have on skewing its audience?

RP: No, I basically was consumed with terror about me being bad in it. I mean, that's what I was thinking right up until Cannes. The night before the premiere at Cannes, David was like, "Oh, yeah. I'm fully expecting walk-outs."

I knew I already liked the movie a lot, but I was still terrified then, mainly because I'm, like, going to have to have a fight with 3,000 people, if they started booing or something [laughs].

You were expecting people to get up and leave? Because your character is so unsettling? He is arguably a sociopath.

RP: I think the walk-out thing actually is just the culture of filmmaking, I mean, it's become a consumer thing. People think they're being insulted when there's a challenging movie. It's so weird.  People sit in a movie which they know is s**t and know they're gonna talk to all their friends and say it's s**t, but to sit there and watch a piece of s**t [laughs]. They'll watch one which they know is kind of good and don't really get it and have to walk out and be so offended. I don't think I've ever walked out of a movie in my life. And people will be so offended by it, they can't take it anymore.

DC: I think the walk-outs, I only know about from some of the Twi-Hard websites, because the girls are saying, "I was so shocked these people walked out of the movie." They walk out because it's too much talk. They can't absorb it, and [don't] let it wash over them and just not worry about that, which is really the way you handle that. Everything that's said in the movie actually makes sense and is pretty intelligent, of course, from DeLillo, but there's no way you can absorb it all. It comes at you so fast and so articulate, you know.

RP: People are panicking.

DC: Yeah, you should just let it wash over you, and naturally it'll soak in or it won't. It's not gonna hurt you, but they can't take it. I don't think it has anything to do with the character that Rob plays, because, I mean, Hannibal Lecter's pretty chilling and nobody walked out of that. Though [Rob's character] Eric is ... cuter.

Read full interview at NextMovie.

Rob Pattinson on MTV First

Get More: Movie Trailers, Movies Blog

via MTV

TIME Interviews Rob Pattinson and David Cronenberg

From TIME:

Eric Packer, the icily charismatic asset manager played by Robert Pattinson in Cosmopolis, does a great many interesting things in a single, fateful day. In his white stretch limousine, he attempts to traverse Manhattan in gridlock traffic amid violent Occupy-like protests, and all in search of a haircut. He forfeits hundreds of millions of dollars in a suicidal currency-speculation bid. He enjoys afternoon sex with a comely security specialist wearing a body-armor vest with a stun gun on hand. He also has sex with Juliette Binoche. He also endures a weirdly erotic prostate exam while staring into the eyes of a sweaty associate. He gets a pie in the face from a “pastry assassin” who travels with a crew of paparazzi. He is stalked by an actual would-be assassin as well.

So much to talk about! But overshadowing Pattinson’s press tour for Cosmopolis — directed by the great David Cronenberg and adapted from Don DeLillo’s 2003 novel — is the recent tabloid frenzy surrounding his breakup with Twilight co-star Kristen Stewart. (The final film in the Twilight franchise is out in November.) TIME sat down with Cronenberg and Pattinson — fresh-faced, sweet, totally affable, smoking an electronic cigarette — in Manhattan’s SoHo neighborhood the day after the New York City premiere of Cosmopolis. We mostly stayed on topic, if occasionally tiptoeing awkwardly around the heartbroken vampire-elephant in the room.

TIME: Cosmopolis was published in the first year of the war in Iraq, and in a wave of novels that were all described as being “post–Sept. 11” in one way or other, but now the story maps on remarkably well to Occupy Wall Street and other protest movements around the world in 2011. David, at what point did you encounter the book, and when did you know it was a movie?

David Cronenberg: It was about three years ago, and the attraction wasn’t that the novel was prescient or because of its historical place. It was the characters, the dialogue, the intensity, the humor — it’s constantly funny. I wasn’t looking to make any kind of statement. Inevitably, though, if you’re making something with integrity, it will say something about the time it’s being made in. When the novel came out, people were saying, “All this demonstrating-on-Wall-Street stuff isn’t very convincing.” Now it’s obvious.

Robert, DeLillo’s dialogue is hyperstylized, very formal and often steeped in theory. How did you approach it?

Robert Pattinson: The first thing I connected to was the humor. Everything else seemed kind of arbitrary. I liked that it was absurd and unrelatable in a lot of ways. I thought that Eric doesn’t understand himself, so that was my angle — play the part as if you don’t understand the part. [Cronenberg laughs merrily.] Try to remain lost. I noticed that every single time I came into a scene with an idea or an angle about how to do it, it would feel wrong, and David would know it was wrong. When I was kind of somewhere else, not thinking at all — that was when it felt right.

What’s relatable about Eric might be that his world is so mediated by technology — he experiences the world at a remove, through screens, and so he’s struggling to feel something, whether it’s through sex or shooting a gun or gambling away his fortune. Do you think people can relate to that kind of alienation and wanting something real?

DC: One of the investors in the movie is a genuine French billionaire named Édouard Carmignac. He’s known as the French Warren Buffett. He wanted to be involved with this movie because he said it was absolutely accurate. He knows many people who are like this character, who have created this strange bubble that they live in. Within that bubble, they’re very alive and in control, and yet they’re completely disconnected from normal humanity, normal relationships. So Eric Packer says things to his wife like, “This is how people talk, right?” He’s trying it out, because he really doesn’t know. He’s dealing with billions of dollars, but he’s never actually touching real money, and he doesn’t know how to actually pay for things. Of course, Carmignac doesn’t think of himself as that person, but he recognizes it completely. So I take him at his word that it’s not such a stretch. People create a limo for themselves, a little spaceship, a little bell jar in which they insulate themselves from things that hurt.

RP: I think Eric is confused between genuine power and ego. He’s mixing the two up. I think a lot of people in that job find that empathy is a weakness, so he realizes that it’s a strength. I’ve read things that describe Eric as a monster, but I always thought the story was a hopeful progression. His biggest problem is that he’s totally self-obsessed. But he’s taking baby steps toward coming to terms with it. He’s had an extended adolescence in a lot of ways, and he’s really smart — he’s a savant. Some people are so entrenched in what they think they are, and he realizes that the only shock that can snap him out of himself is that someone is going to kill him.

Do you also see Cosmopolis as a story about fame? Eric is in a bubble, people he doesn’t know know him, they spin narratives in their head about him, and —

DC: No, I don’t think so. It’s like the London whale — nobody knows what that guy looks like, nobody knows where he lives. That’s his strength as a trader: nobody can predict him, nobody understands him. I think Eric is like that. On the outside, his limo looks like everyone else’s. He just got this one guy who wants to “pie” him, who’s got the paparazzi with him. But Eric can have dinner and no one’s around, he can go to the diner with his wife and nobody bothers him. He’s got the one security guy, but that’s it. He doesn’t have fans.

RP: The world would be a much better place, I think, if all these bankers and billionaires were followed by paparazzi and studied as carefully. As soon as people look at something very closely, the whole thing just crumbles.

I might be thinking about Cosmopolis as a parable of fame in part because Robert is cast in the role, and Robert has a very intense and specific kind of global celebrity.

DC: The element of that that’s important is, you want to finance the movie. To attract investors, you can’t do that without an actor who is known. Beyond that, we want to disconnect. When we are making the movie, we are in our limo, our little bubble. There’s nobody else around. It’s just us. At that point, Rob’s other movies are nonexistent and my movies are nonexistent. I’m not thinking about the connections between them.

Speaking of your other movies — Cosmopolis has some affinities with David’s film Crash, in that it takes place inside a car, and the car is a very eroticized space. There’s an amazing sex scene with Eric and the security specialist, Kendra. Is a scene like that highly choreographed down to every movement, or is there room for improvisation?

RP: That was probably one of the most difficult scenes in the movie. It wasn’t a sex scene in the script. In the script, we’d finished having sex, and we were getting dressed. [To Cronenberg:] I think you only told me like the day before or something. [Laughter.]

DC: Well, I don’t think it pays to panic my actors. There’s nothing you can do to prepare anyway. It’s not like if I’d told you the week before —

RP: I’d have done some sit-ups.

DC: Yeah, well, that wouldn’t have helped. I said that the scene becomes more interesting and trickier and better if you’re actually having sex. When Kendra says that it’s erotic to be so close to a man somebody wants to kill, it’s obviously better than if they’re on opposite sides of a room getting dressed.

RP: I like the moment of climax — it seems so obvious to have the peak and then his line is, “Do you find this interesting?” I kept laughing.

Tell me about the limo. It’s amazing — like J.G. Ballard designed the Death Star. Robert, was it claustrophobic to spend so much time acting in that space?

RP: The seat was kind of tilted back, so you could never look entirely comfortable and powerful, so from any angle, you were kind of like [slumps and leans back slightly, looking befuddled]. I was constantly trying to present power, but I was always sort of halfway in between positions. I liked that after a while, but I remember the first time I sat down, I thought, [whispers] “S—, I can’t sit in this, it’s like a throne, it doesn’t work.”

DC: It was designed like a throne. I wanted there to be a visual equivalent to his sense of power and the idea that he’s created a bubble in which he is the absolute master, and he forces people to come into that space for sex, for conversation, for business. The car was a set, and it all came apart into about 25 pieces, so you could get angles and lights in there and take it apart. I was shooting with very wide-angle lenses.

RP: Most of the time the camera is on a crane, so it’s remote-controlled. Normally, if there’s a camera there, you’re trying to connect with the eye looking through the lens. But to have that removed, it becomes a strange thing where you have a relationship with a machine, and there’s a dehumanizing — even the sound inside the limo was so dead, it was like being in a recording studio. Everything was like, “I’m numb.” The sound guy was always crawling on the floor and squished into a corner, and that was the only person who was there most of the time. I’m just looking at this little French guy squirming away from me, and that’s my only other major relationship on the set.

DC: I was helping him with the disconnect thing. I like to help my actors.

How did you help Robert with the prostate-exam scene? There doesn’t seem to be as much choreography involved with that one.

DC: There was! It was kind of complex. Finding the right angle wasn’t easy.

Full Interview at TIME.

Rob and David Cronenberg Answers Facebook Q&As

via Pattinson Online

The Times Center Q&A with Rob Pattinson and David Cronenberg

via Livestream, Pattinson Online

New 'Cosmopolis' Clip

Cosmopolis - Clip No. 1


Moviefone via Pattinson Online

Rob Pattinson on 'Good Morning America'

via RPLife

Rob Pattinson and David Cronenberg at NYSE - August 14th

via NYSE Facebook

Rob Pattinson and David Cronenberg Ringing the NYSE Opening Bell

As a promotion for the film Cosmopolis, Rob and David Cronenberg have been invited to ring the opening bell at the New York Stock Exchange. 

Official video:

Longer video:

via ROBsessed, RPLife

'Cosmopolis' Red Carpet Premiere - New York, August 13th

Get More: 

Movie Trailers, Movies Blog

via MTV, Thinking of Rob