Basic Camera Angles
WONDER WOMAN Director Patty Jenkins Not Signed for Sequel
Sources say Warner Bros. will soon begin negotiations with Jenkins, who will have major leverage thanks to the movie's historic opening weekend.

Warner Bros. executives enlisted Jenkins for just one film, a decision that could end up costing the studio millions of dollars if Jenkins’ reps drive a hard bargain for her to return.

Warners execs also may have been a bit unprepared for the level of success and acclaim Wonder Woman has achieved; initial tracking reports predicted Jenkins’ $150 million-budgeted film would open to about $65 million domestic, solid but hardly a reason to begin planning a long-range strategy.

Some insiders say it was only in recent weeks that Wonder Woman buzz began to grow on the Warners lot in Burbank, so the studio wanted to wait for the opening weekend results before initiating any negotiations.


Children of Men: Don’t Ignore the Background - Nerdwriter

A very interesting look at Alfonso Cuarón’s use of camera movement to linger on the background of a scene and his technique of taking references from iconic art pieces and grounding them in the film’s reality. Pay attention to how all of the techniques mentioned serve the story and bring authenticity to the world he creates.


In Good Time, the actor proves once again the extent of his game. And he enjoys seeing people surprised by his talent! Very frank interview. 

Robert Pattinson laughs a great deal. We did not expect it. Like everyone else, we thought he would be melancholic, distant, taciturn - in short, like the vampire Edward Cullen who made him famous in Twilight. Of course, it’s been five years since then, five years that he’s had several spectacular performances with prestigious directors: David Cronenberg in 2012 and in 2014, James Gray this year … one would believe that by this stage, his reputation would be made. But no. As he emphasizes so joyously–every new film, amazement, everyone realizes that Robert Pattinson is a good actor. And ultra-friendly, moreover. 

The phenomenon has not failed to recur with his latest metamorphosis, Good Time, in French theaters this Wednesday. Selected to be in competition at the last Cannes Film Festival, this thriller was inspired by Pattinson, working with brothers Joshua and Benny Safdie, a promising duo that Martin Scorsese himself took under his wing (he will produce their next film).

Pattinson is playing Connie, a nice boy capable of the worst. To prevent his brother Nick, who suffers from a mental handicap, from being interned in a specialized institution, he drags him into a bank robbery. The money, he says, will be used to buy a farm. Except that Nick is caught and imprisoned. And that, to make him escape, Connie will make all the possible wrong decisions - including dyeing his hair peroxide blonde! Add to that a face streaked with acne scars and a dull beard and you will get a Robert Pattinson so unrecognizable that he could walk the streets of New York without anyone stopping him for an autograph.

Interview with the Le Point: Your performance in Good Time was unanimously well received. What’s funny is that people seems to discover that you are a good actor with every new film …

Robert Pattinson: I wonder how much people think I’m a bad actor to be so surprised by each of my films. Do you think that in ten years they will still say: “Woah, he’s not that bad!”? (He bursts into laughter.) But that’s pretty good, isn’t it? It’s great to be able to surprise people, it gives you a lot of energy. It puts pressure on me in a positive way.

LP: Is it possible for an actor to get rid of the audience’s prejudices? Of the perception it has of you?

RP: I always thought that you had to accept the fact that people who saw you in a role will have a certain idea about you, some expectations. But I think we have more control than we think. It just takes time and work. It’s clear that after five movies in the same vampire role, we can’t expect that people won’t identify him to me. But it would be the same for any role.

LP: People may underestimate you because of Twilight, but it seems that you yourself tend to think you are bad!

RP: Absolutely. (Laughs) I don’t know why. For example, for this film, even if I love it and it was selected in Cannes, my brain couldn’t  help but whisper to me: “It’s going to be a disaster, maybe this film is shitty.” And, as I arrived in Cannes, I was in a terrible mood, ready to fight with everybody. The day before the public screening, I felt pathetic and I was so angry that I was arguing with people about nothing. I don’t know why this happens to me, it’s a strange kind of stress.

LP: Lots of actors avoid reading the reviews about them so as not to feel depressed. You, on the contrary, you devour them …

RP: Yes, and when they are good, I look for the bad ones! (Laughs.) Some reviews are really interesting: they don’t just give an opinion, they are well written and make you think. Besides, I stole quotes from critics several times to bring them out in interviews! (Laughter.)

LP” Today, these reviews say you are at your best, that Good Time is your best role so far. Is it your feeling too?

RP: I don’t know. It’s such a strange industry because it totally depends on what others do. We can only be good to the extent of the opportunities we are offered. With each film, I expect it to be my last one.

LP: You hate doing auditions …

RP: I’m awful during auditions. I really can’t do them. Before Twilight, I had 10,000 auditions and I only got nine jobs. I even lost my agent several times because I was so bad. It’s an anxiety problem. And then I don’t like the balance of power in these auditions: 20 people in front of you who judge you, it’s very humiliating, how can you not feel terribly bad?

LP: Fortunately, today you no longer need this: almost all the directors would be delighted to have you in one of their films, right? Your name is synonymous with fame, fans …

RP: If someone hires me thinking that I’m going to bring an audience with me, it makes me nervous. I can’t guarantee it, nobody can. But I think the people who hire me no longer think about it, so they can’t be disappointed in the end! I should do romantic movies again so that could work! (Laughter.)

LP: You should do a romantic comedy!

RP: I love rom-coms! The other day, I was watching ‘You Got Mail,’ it’s a really great movie, but nobody writes like that any more…

LP: Do you get a lot of offers? How do you choose your projects?

RP: I’m very pro-active. You go crazy if you just wait for something to happen. I try to find directors or screenwriters who are not too well known yet. I set up my Twitter account to follow many journalists who specialize in cinema and I literally spend my days reading reviews and watching movies. For the Safdie brothers, I came across a still from one of their films. I asked my agent if she knew them, but apparently no one had ever heard of them. So I rushed to my phone to ask them for a role, whatever it was!

LP: Are there directors with whom you still dream to work with?

RP: It’s strange because there are a lot of French directors who interest me. I would really like to work with Maïwenn, I think her last film incredible. And Maren Ade! Toni Erdmann is so great. I would like to play in a comedy too …

LP:   It’s so uncommon that a “Hollywood” actor is so attract by European cinema!

RP:  It’s just that I get bored very easily. I don’t like to watch predictable movies. I find it crazy that many actors never watch movies. How can you enjoy being an actor and not enjoy movies? I can honestly say that’s the only thing that interests me!  

My translation of the LePointe interview

Episode 81: Baby Driver with Edgar Wright and Christopher Nolan

Director Edgar Wright discusses his new film, Baby Driver, with fellow Director Christopher Nolan. The film tells the story of a young getaway driver named Baby who meets the girl of his dream. Hoping to leave his criminal life behind, he is coerced into one last getaway job. But when things go awry, all of his skills will be put to the test if he has any hope of survival.

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