DID YOU READ

David Cronenberg on “Cosmopolis,” Robert Pattinson, and why it’s necessary to “betray the book”

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“Cosmopolis” hits theaters this weekend, bringing director David Cronenberg’s unique vision to Don DeLillo’s 2003 novel about a 28-year-old billionaire whose mid-day trek across Manhattan in a tricked-out limo quickly becomes a surreal, philosophical exploration of the relationship between money, power, and society.

Starring in the film is “Twilight” alum Robert Pattinson, who plays the icy Eric Parker, a young man with a lot of money and a single-minded urge to get a haircut across town. His adventure is waylaid by random sexual trysts, cold meetings with his new wife, a massive protest filled with rat-flinging anarchists, and a pair of mysterious “threats” that keep his security detail on high alert.

IFC spoke with Cronenberg about the new film and his approach to adaptations, and got the scoop on a pair of projects he worked on that will probably never make it to theaters, but are interesting all the same.

IFC: You’ve made so many films over the years based on books, what was it about this particular story that jumped out at you?

DAVID CRONENBERG: I was immediately struck by the dialogue [in DiDeLillo’s book]. It was familiar to me because Don’s dialogue is very distinctive. I think of him in the same terms as I think of David Mamet or Harold Pinter — that is to say, it’s the way people speak, but it’s also very stylized. That produces an interesting tension and rhythm. But those two guys are dramatists, and you hear their dialogue spoken often on stage and in movies, whereas Don is a novelist. You don’t hear his dialogue spoken ever, because he hasn’t had a movie made out of one of his books before.

IFC: Does that raise the level of difficulty in making a movie like this?

CRONENBERG: No, not at all. I’m really thinking of that in retrospect now. I wasn’t thinking so much about that at the time. What I was thinking was, I would love to hear that dialogue spoken by some really terrific actors. I think it would be really intriguing and interesting and compelling. That was the hook for me. It wasn’t the theme of the story or anything like that. I like the restriction of one street, one limo, one day, because I don’t shy away from that and rather like it, but I think it was the dialogue first and foremost that was the hook. And the dialogue in the movie is 100-percent from the book.

IFC: You mentioned wanting to see great actors speak the dialogue, and the movie is filled with them. But I’m curious about Robert Pattinson, who’s still a young actor and doesn’t have nearly as much experience as some of the supporting cast, but has a massive following. When you have a project like this, do you do more tailoring of the script to fit his strengths, or more work with him to match his abilities and talents to the material?

CRONENBERG: For all the actors, you don’t really know what you’re going to get. Except for some auditions that a few actors did for certain roles, I never heard the dialogue spoken until we were shooting. With Rob in particular, I never heard that particular dialogue spoken until we were shooting. You go into filming with confidence that you have the right guy, but you don’t know exactly what’s going to happen. There’s a very organic thing that goes on in “Cosmopolis” that’s very spontaneous, because until Robert’s sitting in the limo with the actual actor opposite him who he’s playing the scene with — and there are so many different actors who come in and out of that limo — he doesn’t know how he’s going to react, because he’s not acting in a vacuum. He’s reacting to the other actor. . . . For example, the very first scene we shot was in the limo with Jay Baruchel. Rob was shocked by how Jay was playing it, because he was playing it with so much emotion and vulnerability, and Rob had never anticipated that. So he had to react to that. That’s the excitement of the movie: you mix all of these things that are potent and good, but you don’t really know what you’re going to get from that.

IFC: It’s sort of like cooking…

CRONENBERG: [Laughs] Yes, it is. It’s like cooking a meal you’ve never made before.

IFC: You’ve done so many adaptations over the years, and many of them have differed significantly from their source material, but were great movies all the same. How do you balance the need to stay faithful to the source material against the need to make a good, original, interesting movie?

CRONENBERG: I learned very quickly when I did “The Dead Zone,” my first adaptation, that you have to betray the book in order to be faithful to the book. The reason for that is that the two media are really different. Literature and cinema, they are not the same. They are related, and they might seem to be closer together than they are, but when you’re really working in both of the fields, you can see they’re tremendously different. To take the most obvious example, even a bad novelist can do a convincing inner monologue where you’re in the person’s head and he’s walking down the street and thinking about his mistress and his bank account, and so on. You can’t do that in a movie. The usual failure is that you resort to a voiceover, where someone is reading the novel to you like a kid at bedtime. To me, that’s an admission of failure. You couldn’t find the cinematic translation or equivalent or whatever. You have to be brutal. When there’s something you know won’t work, you have to get rid of it or rethink it or reconfigure it. That’s what the key is: recognizing the differences of cinema and what its strengths are and weakeness are, and coming to grips with that.

IFC: On the subject of changes form the source material, I’m going to get into spoiler territory here for a moment and ask you about the end of the movie and how it differs from the book. The movie leaves things more uncertain than the book, it seems…

CRONENBERG: It’s hard to discuss without spoilers, but it would’ve been very easy to put a gunshot on the soundtrack and you would know that Eric was murdered. And in the book you know that he’s murdered, or at least if you believe Benno, he’s been murdered — but that’s the thing, because Benno is not exactly a trustworthy narrator. In the book there is still some scope for uncertainty as to Eric’s fate, but as we were shooting that last scene, I loved that these two guys were frozen in that last moment — almost frozen in an eternity of uncertainty. They’re bound together. They’re locked together in this sort of archetypal moment. I thought the moment should be eternal.

IFC: I can picture you going, “And cut it right… there!”

CRONENBERG: [Laughs] Basically, yeah. So it was more like that than a dramatic thing. It wasn’t like, “Oh, I can’t stand to have this character killed,” or “Rob’s fans won’t like it if I shoot Robert,” or anything like that. I wasn’t worry about that stuff. It was really spontaneous. As I mentioned, we could’ve easily made it clear that he’s killed, cutting to black with the sound of a gunshot.

IFC: One of your other projects that’s been im the news lately is “Eastern Promises.” There’s been some indication that a sequel might happen…

CRONENBERG: That’s dead, so it’s not worth discussing it other than to say that was something I really wanted to do and was looking forward to doing, but it’s not going to happen.

IFC: The remake of “Total Recall” was released recently, and while I was doing some research on it, I was surprised to learn about the version of the film that you were planning to make with William Hurt that pre-dated Paul Verhoeven’s film. I’d love to know what your take on “Total Recall” would’ve been like…

CRONENBERG: I haven’t seen the new one, so i can’t say anything about that. But I’m a big Philip K. Dick fan, and the difference [in what I was planning to make] was that I wanted to cast William Hurt and they cast Arnold Schwarzenegger. That’s the difference.

IFC: That’s… that’s a pretty big difference.

CRONENBERG: That’s really the difference.

IFC: So what’s next for you after “Cosmopolis”?

CRONENBERG: At the moment, because “Eastern Promises 2” collapsed, I really don’t have anything that’s remotely close to being green-lit. There are projects, maybe, but nothing that’s close enough to discuss other than the novel I have to finish by the end of the year. It’s been sold to a lot of countries, but I haven’t finished it yet. So that’s what I’m going to do: I’m going to be a novelist for the rest of the year.

IFC: That’s not a bad plan to have.

CRONENBERG: No, it’s not too bad at all.

“Cosmopolis” hits theaters August 17.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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