DID YOU READ

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

032212_cosmopolis

Posted by on

“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.

Commuters_105_MPX-1920×1080

Grow TFU

Adulting Like You Mean It

Commuters makes its debut on IFC's Comedy Crib.

Posted by on

Jared Warner, Nick Ciavarella, and Tim Dean were once a part of Murderfist, a group of comedy writers, actors, producers, parents, and reluctant adults. Together with InstaMiniSeries’s Nikki Borges, they’re making their IFC Comedy Crib debut with the refreshingly-honest and joyfully-hilarious Commuters. The webseries follows thirtysomethings Harris and Olivia as they brave the waters of true adulthood, and it’s right on point.

Jared, Nick, Nikki and Tim were kind enough to answer a few questions about Commuters for us. Here’s a snippet of that conversation…

Commuters_106_MPX-1920x1080

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

Nick: Two 30-somethings leave the Brooklyn life behind, and move to the New Jersey suburbs in a forced attempt to “grow up.” But they soon find out they’ve got a long way to go to get to where they want to be.

IFC: How would you describe Commuters to a drunk friend of a friend you met in a bar?

Jared: It’s a show about how f*cking stupid people who think they are smart can be.

IFC: What’s your origin story? When did you all meet and how long have you been working together?

Jared: Nick, Tim, and I were all in the sketch group Murderfist since, what, like 2004? God. Anyway, Tim and Nick left the group to pursue other frivolous things, like children and careers, but we all enjoyed writing together and kept at it. We were always more interested in storytelling than sketch comedy lends itself to, which led to our webseries Jared Posts A Personal. That was a show about being in your 20s and embracing the chaos of being young in the city. Commuters is the counterpoint, i guess. Our director Adam worked at Borders (~THE PAST!!~) with Tim, came out to a Murderfist show once, and we’ve kept him imprisoned ever since.

IFC: What was the genesis of Commuters?

Tim: Jared had an idea for a series about the more realistic, less romantic aspects of being in a serious relationship.  I moved out of the city to the suburbs and Nick got engaged out in LA.   We sort of combined all of those facets and Commuters was the end result.

IFC: How would Harris describe Olivia?

Jared: Olivia is the smartest, coolest, hottest person in the world, and Harris can’t believe he gets to be with her, even though she does overreact to everything and has no chill. Like seriously, ease up. It doesn’t always have to be ‘a thing.’

IFC: How would Olivia describe Harris?

Nikki:  Harris is smart, confident with a dry sense of humor but he’s also kind of a major chicken shit…. Kind of like if Han Solo and Barney Rubble had a baby.

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

Nikki:  I think this is the most accurate portrayal of what a modern relationship looks like. Expectations for what your life is ‘supposed to look like’ are confusing and often a let down but when you’re married to your best friend, it’s going to be ok because you will always find a way to make each other laugh.

IFC: Is the exciting life of NYC twentysomethings a sweet dream from which we all must awake, or is it a nightmare that we don’t realize is happening until it’s over?

Tim: Now that i’ve spent time living in the suburbs, helping to raise a two year old, y’all city folk have no fucking clue how great you’ve got it.

Nikki: I think of it similar to how I think about college. There’s a time and age for it to be glorious but no one wants to hang out with that 7th year senior. Luckily, NYC is so multifaceted that you can still have an exciting life here but it doesn’t have to be just what the twentysomethings are doing (thank god).

Jared: New York City is a garbage fire.

See the whole season of Commuters right now on IFC’s Comedy Crib.

BVSS-106-Stitching-web2

C'mon Fellas

A Man Mansplains To Men

Why Baroness von Sketch Show is a must-see.

Posted by on

Mansplaining is when a man takes it upon himself to explain something to a woman that she already knows. It happens a lot, but it’s not going to happen here. Ladies, go ahead and skip to the end of this post to watch a free episode of IFC’s latest addition, Baroness von Sketch Show.

However, if you’re a man, you might actually benefit from a good mansplanation. So take a knee, lean in, and absorb the following wisdom.

No Dicks

Baroness von Sketch Show is made entirely by women, therefore this show isn’t focused on men. Can you believe it? I know what you’re thinking: how will we know when to laugh if the jokes aren’t viewed through the dusty lens of the patriarchy? Where are the thinly veiled penis jokes? Am I a bad person? In order: you will, nowhere, and yes.

BVSS 101_14c

Huge Balls

Did you know that there’s more to life than poop jokes, sex jokes, body part jokes? I mean, those things are all really good things, natch, and totally edgy. But Baroness von Sketch Show does something even edgier. It holds up a brutal funhouse mirror to our everyday life. This is a bulls**t world we made, fellas.

BVSS_101_13

Oh Canada

After you watch the Canadian powerhouses of Baroness von Sketch Show and think to yourself “Dear god, this is so real” and “I’ve gotta talk about this,” do yourself a favor and think a-boot your options: Refrain from sharing your sage wisdom with any woman anywhere (believe us, she gets it). Instead, tell a fellow bro and get the mansplaining out of your system while also spreading the word about a great show.

BVSS 101_9_c

Dudes, that’s the deal.
Women, start reading again here:


Check out the preview episode of Baroness von Sketch Show and watch the series premiere August 2 on IFC.

IFC_Doc-Now_S2E1_1920x1080_v01_web

Happy Tears

Binge Don’t Cringe

Catch up on episodes of Documentary Now! and Portlandia.

Posted by on
Photo Credit: GIFs via GIPHY

A brain can only take so much.

Every five minutes, all day, every day, ludicrously stressful headlines push our mental limits as we struggle to adapt to a reality that seems increasingly less real. What’s a mind to do when simple denial just isn’t good enough anymore?

Radical suggestion: repeal and replace. And by that we mean take all the bad news that keeps you up at night, press pause, and substitute it with some genuine (not nervous, for a change) laughter. Here are some of the issues on our mind.

Gender Inequality

Feminist bookstore owners by day, still feminist bookstore owners by night, Toni and Candace show the male gaze who’s boss. Learn about their origin story (SPOILER: there’s an epic dance battle) and see what happens when their own brand of empowerment gets out of hand.

Healthcare

From Candace’s heart attack to the rise of the rawvolution, this Portlandia episode proves that healthcare is vital.

Peaceful Protests

Too many online petitions, too little time? Get WOKE with Fred and Carrie when they learn how to protest.

What Could Have Been

Can’t say the name “Clinton” without bursting into tears? Documentary Now!’s masterfully political “The Bunker” sheds a cozy new light on the house that Bill and Hill built. Just pretend you don’t know how the story really ends.

Fake News

A healthy way to break the high-drama news cycle is to switch over to “Dronez”, which has all the thrills of ubiquitous adventure journalism without any of the customary depression.

The more you watch, the better you feel. So get started on past episodes of Documentary Now! and Portlandia right now at IFC.com and the IFC app.

Powered by ZergNet