Holy crap! SO GORGEOUS! <3
Quotes from EW
”[Water for Elephants] makes you think about opportunities and missed opportunities and how important it is to live a full life.” —Reese Witherspoon
”That was the other thing about Water for Elephants. There was something about the posture of the ’30s, something that I felt my body could fit into — it was quite languid, which I find easier. I think modern-day things generally, I don’t understand. I can watch actors move and there’s something, there’s some kind of snappy thing to it and I don’t… I’m not snappy. There is a lack of snappiness.” —Robert Pattinson
”There’s something about her. She’s just this genuinely nice person. I don’t know if she puts an effort into creating a nice aura, but her mood dissipates over the whole set. It was a completely different environment from when she wasn’t there. All the kids and the animals were just drawn to her.” —Pattinson talking about Witherspoon
”He’s dedicated. And he loves what he does. It’s amazing, he got such an incredible opportunity so young and he intends to use every bit of it to make creative choices from here on out.” —Witherspoon talking about Pattinson
”Well, it’s a boy thing, right? To have dirty fingernails and dirty hair, and his clothes were dirty all the time. It was a nice escape for him to be tan and in the sun all the time instead of the vampire gear.” —Witherspoon talking about Pattinson
Click for bigger. <3 UPDATE: Added translation of the interview :)
Translation thanks to @catruc
The real prototype of these generational mutations is Rob Pattinson: 24 years old, and Englishman in Hollywood, where he became famous worldwide playing the pale vampire Edward Cullen (and, even before, Cedric Diggory, a model student at Hogwarts in the Harry Potter series). He jokingly admits to be “nothing special, one of those who live in hotels and travel the world”. However, he created a new masculine identity, surprising even for the Facebook sub-culture who’s made him a star via the social network. Today is the eve of an important test for him: his new movie, WFE: he’s the protagonist of a melodramatic film, set in a circus, from the bestselling book by Sara Gruen. […]
Having been labelled as a teen idol, you’re now being tested as a true actor.
I had this chance to act with Cristoph Waltz and I fall in love with Marlena (Reese), his wife. Travelling with the circus, I visit areas of America far from Hollywood. There are dark secrets in this movie, as in life. And there’s this idea of life-saving love, which I believe in. I’m not cheesy, but I have a romantic soul.
Do you get on well with girls?
I grew up with two older sisters, and I have a great respect for women. I hate the lack of prudishness, I get bored when people are ostentatious of their body. Sex and feeling for me walk side-by-side.
Your rock side: people say you spend nights with your friends listening to Tom Waits, Van Morrison and the late Jeff Buckley.
Music is a key aspect of my life. I wish I could play a movie about Buckley, his voice, his songwriting gave me a lot. I’m interested in his creativity, in his existence, even in his death by drowning in 1997, in the Mississippi.
What kind of use do you do of Internet?
A practical use. My favourite movie last year was The Social Network and one day I’d like to work with David Fincher. Everything he does is interesting, and he got the best out of an actor I really admire, Jesse Eisenberg.
Mr. Pattinson, you’re an idol. Who’s yours?
Jack Nicholson. He had a huge career and he always owned his characters. Whereas, in the end, for a lot of people, I am just Edward the vampire and in my life I’m just Robert. We share the same hairstyle. But when I read an entire article about my hair, I laugh my best British laugh.
By the way: what brought you from London to Hollywood?
Difficult work perspectives. I didn’t have great experiences as an actor, I had posed rather awkwardly as a model; then, cinema. In Vanity Fair I was Reese’s son, while in this last movie I’m her lover.
To be honest, not a great curriculum.
No, and I wasn’t even sure if I wanted to be an actor; I had always thought I was going to be a writer or a musician. But then I fell In love with the adventurous aspect of cinema. And I found the discipline, the ethic, and let me tell you, the inner call, which helped me to give a proper structure to my life.
Fame was next, a non-human fame: the vampire. How did Rob Pattinson protect his persona from fans only interested in a celebrity?
I am a cinephile, I’ve always loved cinema. It’s a passion. Cinema has the most important, and the truest communicative task: it makes us dream, it broadens our imagination, and yes, it can help us become better people. I started studying French just because I was interested in the nouvelle vague director Godard. All of this doesn’t make me a “celebrity” even if I later entered the Hollywood system.
How important was your family in your education?
I have a solid family behind me, two sisters, Lizzie is a musician like me; yes I play piano and guitar and I even wrote songs for Twilight. I remain an Englishman, I still remember my days in a public school, the Harrodian, where I wasn’t an extraordinary student, but always curious and open to cultural variety. My family taught me a sense of reality, of duty, the refusal of any kind of hysteria and I’ve never considered myself superior to Americans because I’m from London. I hate every kind of snobbery: it has often racism behind it.
We know very little about your life. As a man and an actor, how would you describe yourself?
My father Richard sold cars for years, my mother works as an agent in the show business. I started acting almost by chance at school and I played in a band. I never asked for too many clothes and shoes, and I’ve never been a social climber and I’ll never be. I read a lot and I still do; my favourites are the Russian writers, Dostoevskij, Nabokov. They make fun of me on set because I’m always reading stuff. Lately I’ve been reading again my favourite English writer, Martin Amis. His books are extraordinary accounts of contemporary life and psychology.
What was the turning point from the status of young actor to superstar?
I came to a point where I said: I’m going to be a professional actor, looking for the origins of my characters, making something real out of this ephemeral job. This will allow me to live the life I want to live, to be active in green politics, to be a citizen of the world. Fame is an handicap, not a privilege, it often complicates things. I try to not fall in the web of top class hotels, first-class flights, designers sending you tons of stuff, thousands of girls everywhere..
Can you resist everything? Can you define yourself by what you refuse? You’re immune to gossip?
My private life is off-limit. I’ve never spoken about my flirts, I’m not a man for short and superficial love affairs. I don’t talk about my relationships with female friends, not to mention how I don’t talk about my relationship with Kristen Stewart, an actress I admire because she’s a real person, and a real actress. It was the chemistry I had with her helped me to get my role in Twilight. I don’t let people take pics of the houses I rented both in New York and London. When I’m in L.A. I live mostly in hotels. You can live very well in the anonymity of a hotel room, especially when you have a piano to play.
How important do you consider your style, the clothes you wear?
I like dressing Calvin Klein, English shoes, Tshirts and comfortable jeans. I’ve always been influenced by James Dean’s look. Yesterday elegance was conformism, today it’s individuality. Maybe we should find a balance.
Memorable travels around the world?
I avoid going on vacation to trendy places, I prefer road trips with friends, like students who choose nice motels, cafes in the depths of America, where a lot of people can’t even recognize me. Simple people who teach me how life is not Twilight. I travel to keep my feet firmly on the ground.
Are you interested in the real world?
I’m still interested into green politics and animals, preferably without paparazzi following me around. I have a dog, my true life companion, that’s never going to be in a photo shoot. This whole animal welfare thing is deeply in my heart: it was a real joy to be able to work with so many different species in WFE. I have a democratic and liberal concept of my life.
Congratulations. But don’t you think this is a super-serious attitude for an actor famous like you?
This is me, just me: I’m not interested in casual relationships, I need to know people, I’m not making an existential statement here: simply, I want a family, with 2 or 3 kids. Not funny? I really wish I could talk to animals more than to people who think they know me just from my movies.
Cosmopolis, Cronenberg’s move, is really going to be super-serious, from DeLillo’s novel, a metaphorical trip into America before 9/11.
I portray a contemporary man: ambitions, velleity, subterranean anxiety. Great stuff.
When I first met Francis, we met at the elephant sanctuary where Tai the elephant lived. I got along with him really, really well in the car. We arrived at this place, met the elephant and he was showing us all the tricks that it was going to do in the movie—it was such an incredible day and just the environment of being around elephants was the first major thing. I loved the idea of working on such a peaceful set because just being around them is incredibly peaceful. Also, having done so many stressful things over the previous year, when I read the script and the book and loved them both, it just felt like I could add something to it. Then it had Reese and Christoph on it and I felt like you can’t really get a better cast, and that was about it. I thought it was kind of a no-brainer, really.
It’s interesting to hear you talk about the animals because one scene that stands out is the first time you walk through and meet all the animals by yourself. You just seemed so comfortable in that circus environment.
There was something about where we were shooting and just the wildness the story created—there’s something kind of magical about it. We were shooting out in the middle of the desert and everything was in this authentic ’30s circus tent and there was hardly any kind of modern day film equipment anywhere. You could really believe that you’re in the ’30s. There was just something about the way the light comes through the tent. There’s this real mystic quality and then there’s extremely hot, tired animals, exotic animals in these period cages. There is something incredibly beautiful and strange when you see a hyena and tigers and zebras and they’re all in the same room together all passed out sleeping—and a baby giraffe at the end. One thing about that scene specifically, the baby giraffe was completely clueless to the fact that there’s the tiger in one cage and lion in the other cage directly opposite it. They’re both staring at the giraffe during the scene and I was just trying to make the giraffe not realize what was happening and keep him looking in one direction.
That sounds like a metaphor for something, although I’m not exactly sure what.
It’s funny because the giraffe wasn’t born in the wild or anything so it had no idea of the threats posed about four feet away from him. I mean, everyone always talks about, “Never work with children and never work with animals,” but I just found that it’s always been a part of me. I enjoy working with children and animals more than adults the majority of the time because they’re a constant source of inspiration because they’re just doing their own thing. They don’t know they’re in a movie.
They’re the ultimate method actors.
They’re really, really, into their characters. [Laughs]
As a kid, did you want to run away with the circus?
Not really. I only went to the circus once when I was about six or something. The clowns were in this little car and the car door blew off and my sister told me that the clown had died, which is completely untrue but I thought it was true up until a year ago. I think that was one of the things that set me off from ever going to the circus again. It’s funny because so many people always think the circus is creepy and then you watch Water for Elephants and it doesn’t seem even like a circus, really. Some people have asked me, “Is it scary? Are there freaky clowns?” No. Why is that the first thing that comes to your head when you think about a circus? That is just very strange.
So many people are afraid of clowns. What happened to them when they were kids?
I know. It’s so weird. Maybe in my generation, most people want to be miserable all the time so they’re scared of someone trying to make them laugh. One of my favorite movies was It when I was younger. I kind of always liked the idea of a psycho clown.
I think I actually do blame It for a lot of that. I remember watching that when I was really young and just being terrified—especially of spiders, too.
I watched it again recently and it’s really not very scary. I was terrified of it when I was younger for years.
My parents let me read that book when I was ten. I don’t know what they were thinking. I wanted to ask you, this film has such an American feel to it. Since you’re from London, I was wondering what you drew on to give it this great ’30s frontier spirit?
I think it’s always been my favorite period of America. Whenever I’m driving through the countryside in America and just see flat land going for ages and ages and tiny little towns with their little gas station and stuff. That’s what my idea of America is. I never think about New York or any of the cities. That’s what it seems to me. That period, that’s the end of the Wild West. That energy I find really attractive. I like the idea of romanticizing America because England in the ’30s, there’s nothing I particularly want to romanticize. There’s something about America at that point in time that seems very symbolic of hope for some reason. As soon as I saw the way Jack Fisk the production designer created the sets, and also just the days and the times of the day we chose to shoot on-we were always shooting in magic hour-it just felt incredibly American all the time and I really liked it. I don’t know if you could make a modern movie feel the same. I don’t what you do to make something seem really American if it was modern day. Before the ’40s, people are essentially still cowboys and that’s what Americans are to me. And then it became all white picket fences and something totally different. But the ’30s are cool.