New Interview With Robert Pattinson In Les Cahiers Du Cinéma (France) & NEW BTS Still From Good Time

New Interview With Robert Pattinson In Les Cahiers Du Cinéma (France) & NEW BTS Still From Good Time

The June issue of Les Cahiers Du Cinéma features Rob on the cover and a new interview from Cannes inside. It also has a new BTS pic from Good Time.
Read the translated interview below.





Click For HQ



Translation (Thanks to Pattinson AW)

Good Time burst into the Cannes competition just as Robert Pattinson appears in the movie: overexcited, disheveled and in the middle of a race. When we met him two days later, the actor found back his gangly figure, as he defines himself: lanky, thin and ready for separation. His shyness is not feigned and his nervousness explodes in flashes in a warm expression He is one of these actors that seem to be embarrassed by their beauty, who doubt their acting qualities. As for us, for a long time now we have no doubt about this. The very physical character in Josh and Ben Safdie's movie is an additional metamorphosis in the ever-richer filmography of the English actor, who chooses the roles with an obvious taste for innovation. The interpretation prize would have come at the right time to salute his trajectory since the worldwide success of 'The Twilight Saga', which made him a superstar and lead him towards more adventurous movies with David Cronenberg, James Gray and Werner Herzog. But Pattinson will not stop there. While waiting for 'High Life' by Claire Denis and 'Idol’s eyes' by Olivier Assayas (he will be playing alongside Sylvester Stallone), he has already announced a collaboration with Ciro Guerra, the Colombian director of 'Embrace of the Serpent'. 

(Robert Pattinson asks the first questions) 

Rob: Did you have fun at the festival? 

CDC: Yes, even if the movies in competition were not really good this year… Luckily we had a good time watching 'Good Time'! 

Rob: And what other movies? 

'The Day After' by Hong Sang-Soo. 

Rob: Oh yeah, Claire Denis told me about it, she loved it. I must see it. 

At the Quinzaine there was the very good film by Claire Denis, 'L'Amant d'un jour' by Philippe Garrel and 'Jeannette' by Bruno Dumont… 

'Jeannette'?! I was told it was bad! 

On the contrary, it’s brilliant!

Well I must see it then…

'Good Time' created a buzz in the competition. 

You probably know that, in the beginning the movie was not in competition. If it had been shown at special screenings, the response by the audience would have been different, it would have been seen as a fun movie. But it's a more serious film. 

You were the one who contacted the Safdie’s to work with them? 

I had seen a poster of 'Heaven Knows What' on the Internet and I told myself that if they were using that kind of image for the promotion then their sensitivity was interesting to me. The trailer was incredible, really energetic. I met them and in a matter of seconds I knew it was cool. It's the kind of things you feel right away. I hadn't seen the movie yet but during this first meeting I told them: let’s do something together, whatever it is. They have this rare quality of reacting and taking decisions pretty quickly. Usually you are told, it's okay, and then it takes a lot of time. With them it was like: "Let’s do this!" and one month later I received the first version of the script. The original idea for 'Good Time' was very different, I was Buddy Duress' brother and we took interpretation classes, it was strange (laughs). 

Josh Safdie sent you a biography of your character, before the script? 

Yes, I think it was before. It was part of their writing process. Josh wanted me to learn these five or six pages about Connie's life, which explain why he went to prison at the age of 12 for example. I felt like an undercover cop who had to learn his cover. Nothing extreme happened to the character. I knew how he grew up, what were the names of his family members. From the second version of the script, I was constantly exchanging emails with Josh and Ronnie Bronstein. I wanted to be sure to go in a certain direction so I told them about my idea of an ideal script. They always answered me, staying very open minded.

Did it last long?

About eight months. We were talking daily when I was in Colombia shooting 'The Lost City of Z', because there was nothing much to do there. It helped me throw myself into the script and feel really connected to the story. 

There was from the beginning a mix between impulsivity and lapses of time. 

Yes, that’s how they work. I think most of the other actors didn't read the script, except Buddy maybe. Five minutes before shooting, Josh explained the scene. It’s quite crazy, I had never seen that, this way of putting the set under pressure, I don’t even understand how it works! (Laughs). On my part, I prepared myself for the role quite conventionally. I loved the dialogues, but Ronnie and Josh were ready to give them up. Josh could tell me: I love the voice you used in this scene, go ahead, do whatever you want, own the dialogue! But I wanted to speak the exact written words. Everyone was improvising around me, though I tried to keep the thread. It was a bit scary. When your partner is improvising and the scene is supposed to go in a certain way and you could be sure he was going to say the opposite of what was written in the script! So I had to constantly do rework on the intentions, which was exciting. 

Did you work with the other actors before shooting, for example with Buddy Duress? 

No i didn't. I think Buddy was in jail just before the shooting, and I think we had to postpone the starting of the filming because we had to wait for him to be bailed. Most of the actors were playing roles that are close to who they are in real life. They are mostly New-Yorkers and I was scared not to fit in with them. It was my biggest fear during the shoot. It’s not nothing to be a real New-Yorker, everyone is looking at you to see if you’re faking it. We worked for so long… I learned the Queens accent while being there. It didn't come from the role but more from daily life. Everything comes easier when you have time. 

Your character is metamorphosing all the time during the movie. Are some of these transformations your idea? 

Josh and Benny have a really specific universe, a kind of environment that I knew I wanted to be part of, to be included in, to be able to go in the streets, to interact with the passers-by. In my other set experiences in New York, people recognized me, as everywhere else in the world – people wanted to take pictures of me. It was one of my fears, especially working with non-actors. I would have become a curiosity for everyone around. So we tried on costumes and make-up, I would go in the street to see if people recognized me. One day, we were doing camera tries without authorization in a car wash station, I was in my character's outfit, with Benny, I had marks on my face, a dyed beard and I could see in people's eyes that they did not recognize me. I used the character to hide. 

Connie is constantly trying to hide, like a chameleon and running away from himself. Like you? Did it become a personal role?

Yes, he is like an actor without realizing it. He also is like a dog running after his own tail. It’s always fascinating to see, this animal going faster and faster in such an obsessive way. You are right, there’s something very personal here but I can't really define it. Lots of elements were removed from the movie, they were dreamlike sequences where the character seems more mystical… When you live isolated from others, the imagination gains more and more space and you just loose contact with reality. We talked about it with Josh, for example the scene where Connie is at the hospital, he bumps into a police officer and tells him he was with his father in a room and that there is a problem with the tv… but for me he is not lying: in his head it happened. On one side he is immersed in reality but he is constantly in an imaginary world too. And that’s something I share with him. 

Your taste for transformation was already there in 'The Lost City of Z' or in 'The Rover' 

It's probably a way of convincing oneself. You have to be able to take a picture of yourself and not recognize yourself. It's a funny feeling. Whatever the reason, you start to behave a certain way, like you never have before. The more you proceed in life the more you know what kind of attitude will bring this or that reaction, but to use this knowledge in a movie always make me feel like repeating myself, to be fake and cheap. But to do something you have never done in real life… I don’t know, what I am telling you makes no sense! (Laughs) It’s just a way of getting rid of all the vanity, all the "I want to be handsome" thing. And if most of the actors want to transform themselves, it's just because they have a huge feeling of embarrassment and shame about themselves. We want to convince ourselves that we can be someone else, to confront the reality in a better way.

You do that too and with a lot of modesty. In James Gray’s movie you have a supporting role, like in 'Maps To The Stars'. It’s remarkable

I have played small roles in a lot of movies. There is no difference for me. I see myself as an apprentice. I still don’t really know how to do what I am doing, I am always in training. So every work occasion is like a new lesson. And I literally have nothing to lose. Besides that, there are not a lot of good leading roles. Most of the time, those are roles that are immediately linked with a commercial production. A lot more people are worried if you give a weird interpretation, but you are freer in a supporting role, you can almost do whatever you want! 

As you talked about lessons: what did you learn from David Cronenberg? 

'Cosmopolis' was very important to me. And there’s Don DeLillo too… Younger, I wanted to be a musician and the writing process for the 'Cosmopolis' script was really like music. Before this movie, I always thought about a role from its character’s motivations. It was a cerebral process. But in 'Cosmopolis', because of its surrealistic aspect, the rhythm of the writing was more important than the psychological motivations. That’s when I learned I could say an entire monologue without thinking only about psychology, but also about the musicality of the words as they were written in the script. David totally agreed with that, I could just say my lines in a way that sounded good. It was really instinctual, and really enjoyable. And I have learned a lot too by seeing someone making a movie which seemed impossible on paper. 

And with James Gray?

 I understood when I saw the movie how much the interpretation is linked to the camera’s position. And that the actor doesn't have to feel responsible to tell the story alone… Most of the time, I just had the feeling to be an extra on set. Though I had worked a lot on my character's background, I was always asking James Gray if it was okay, and he would say "Yes it’s okay". And I would answered "But I don't do anything!" And him "You didn't do nothing, don't worry". I always thought I could have done more. But the character emerges despite everything, and for that you need to trust your director. James Gray has really good taste, we can trust him. 

'Cosmopolis' is a minimalistic role, you are mostly seated in a car. 

It's true. I am a quiet person, and with 'Cosmopolis' I was indeed in my comfort zone. Each movie is a progression, and after 'Cosmopolis' I told myself that I was too immobile. I became more at ease physically with 'The Rover' for which I really wanted to do something with my body. Connie in 'Good Time' is at ease with his body too. Really at ease even! 

Do you have a method? 

Not really. I never took lessons. I react very much to the writing. If someone writes good dialogues, it's the voice that comes first, and all the rest emerges from it. Generally, I try to put myself into character long before the shooting. But for real I have no other method than knowing my biggest flaw, stress. Stress prevents me from doing anything. Over the years, I have understood that i just need to go in advance of the shoot to the shooting locations, wherever they are, and stay alone for a long time, so my brain can relax ... For 'Good Time' I rented a small flat for 2 months, not very far from Josh's. You just need to be on the shooting locations to naturally think about the movie most of the time, and eliminate a bit of the tension. 

You often said you needed to take several months to prepare for a role. What does this preparation consist of?

It's just to understand how to believe in yourself. It's like when you lose your keys: when you find them, you get a familiar feeling. "Oh yes, of course, I let them there!" Yet we searched them all over the house, we searched them in some drawers we never used or in absurd places. And when we find them, there is a moment of recognition. Trying to create a character is the same thing: we look absolutely everywhere until we meet this familiar feeling. This is really a lot of experimenting. You never have time to do all of this for a scene, so you have to do it before to be ready. And then we always forget what has been prepared. The other rule is to be interested in what you do, to not become bored. Otherwise it's useless. 

All of this is very internalized. You never watch the footage for example? 

Sometimes, but not systematically. You know, I'm terrible and really very annoying when working. Every scene is the worst thing I've ever done in my life. I reject myself. I remember that during the shooting of 'The Rover' David Michod told me: "You say so many times that you are bad, I will begin to believe you". (Laughs) That's my work process! "

But what gives you the feeling you have found a character, and that you are able to play it?

It can be the costume. I am a shy person, but sometimes just by saying instinctively something in a good way it’s that you discover you are not that embarrassed. And that it could work. We started the shoot of 'Good Time' with the first scene when I appear on the screen. I was incredibly nervous. The complete opposite of Benny who could switch on his character any time and do it all day long! So I was in this extreme state, and there were power cuts all the time that where delaying the shooting for this scene. I was boiling, full of adrenaline (he imitates his state, tight muscles and hyperventilating) and I told myself, that’s it! I am going to do this during the whole movie! No more thoughts, just wowwwwww! Even for the scene where I am kissing Taliah (Webster, who plays a teenager Connie seduces at her home) where I should have been relaxed, simply seated on a couch, I put myself in this frame of mind. And I scared her! 

What will be your character in Claire Denis' film, High Life? 

The movie will take place in the future, the character is an astronaut. He's a criminal who volunteers for a mission toward a black hole, but he realizes along the way that a doctor on board wants to do sexual experiences with humans in space ... (laughs) It's a very strange film. I had not thought about it for some time, but Claire talked to me about it here in Cannes, and she showed me some image tests of space, completely crazy. I love Claire, I can't believe I'm going to work with her, especially for a science fiction project. It's going to be very beautiful.     

Josh Safdie and Claire Denis share gracious words and funny stories about Robert Pattinson with Les Cahiers du Cinéma (France)

Josh Safdie and Claire Denis share gracious words and funny stories about Robert Pattinson with Les Cahiers du Cinéma (France) 

PAW snatched up a copy of Les Cahiers du Cinéma and posted two great interviews that mentioned Rob. First up is from the upcoming Good Time directors, Josh and Benny Safdie. Josh is speaking in this excerpt and has one of those great Rob tidbits to share (are you googling the toilets?) and then of course has nothing but awesomeness to share about Rob's work ethic.

The second interview is from Claire Denis regarding High Life, one of Rob's films in pre-production. She too has kind words to share but also notes something Josh mentioned - Rob is a go-getter. We pretty much know this already from Rob's admission but I love reading it from these directors he admires. Especially Denis. She doesn't realize he's had her name on his lips for yeeeears. That's one of Rob's bucket list directors and I think it's inspiring he was unwavering in what he desired professionally.

The Safdie Brothers talk about Rob and Good Time (excerpt):
   

LCDC: We are one month away from the festival: is the film complete? 

Josh: Almost: Oneohtrix Point Never made the music, and for the end they wanted a song en interaction with the film. We asked Iggy Pop, and he sings an incredible song in the style of Johnny Cash. Do you know how I learned we were in competition? Six months ago I was in Los Angeles at Robert Pattinson's house. He has Japanese toilet that blows hot air. I had never experienced such a thing ... I loved it so much that Robert said to me: if we go in competition, I buy you the same. And we were invited out of competition. Six hours before the press conference, we had a meeting to find out if we were really out of competition, because at the same time we were invited to La Quinzaine, and Rob was trying to contact me over and over again, but i was at this meeting, and suddenly he sent me a text message with a photo of the toilet! Thierry Frémaux had just announced him we were in competition. I was extremely surprised! It was extraordinary. 

... 

LCDC: This is the first time you work with a star. 

Josh: Pattinson is English, and the actors around him come from the world of the film. He spent five months working on his character. He doesn't have the experience of this life. I wrote him a biography from the day he was born to the first minutes of the film. We wanted to shoot into the streets, but wherever we went, people wanted to take a picture of him. We developed the appearance of his character so that nobody recognizes him. But he is so professional! He is never complaining. It's him who contacted us. He had seen a picture of Mad Love in New York on the Internet, he asked to see the movie, he saw it, and told us: whatever you want me to do, I will do it.

Click HERE to visit PAW and read the entire translation!

Claire Denis talks Rob and getting High Life going:
 

LCDC: What about your science fiction project? 

Claire Denis: It's a SF project, but in my own way, very software (laughs)! (...) I'm strarting the preparation in a few weeks. It's an English-language movie that will be filmed in Germany. (...) It takes place in the space, not on Earth. This is a project I have had in my mind for the last fifteen years. At the time I thought of Vincent Gallo to play the leading role but the producers are often afraid of him. One day Robert Pattinson contacted the person who was doing the English casting. I was intrigued but I tought he was too young. Every time I went to London to meet some actors, he was there. His desire to work with me has never faltered. And now he is a little less young and it's perfect. 

LCDC: He is one of those actors whose we can feel the intelligence when they play. 

Claire Denis: Yes, absolutely. He has a lot of humor too. I tought it was so strange that this young man wanted so much to work with me when he could do whatever he wanted. I was almost embarrassed. But his unwavering envy and our mutual recognition have done their work.

Source: Les Cahiers du Cinéma | Translation and images via: PAW - Good Time; PAW - High Life

NEW INTERVIEW: Robert Pattinson gives us a tease on future plans, maggot meals, advice for the US president and more!

NEW INTERVIEW: Robert Pattinson gives us a tease on future plans, maggot meals, advice for the US president and more!

You gotta love PromoRob. We get all kinds of tidbits we're deprived off all the other long days of the year. WELT got a chance to sit down with Rob in Berlin and talk a little about The Lost City of Z and basically let Rob do his Rob musings. You will be amused by his musings.
I wasn't too into the editorial. It doesn't bring any new information to someone who's ROBsessed. It's always lovely to read Rob's words though and I highlighted them in case you breeze through the other parts we know like the back of our hand - Claudia, boy from Barnes, modeling days, Twilight and Harry Potter mentions, musical exploits...I think we should have done this interview! ;)



From WELT:

Robert Pattinson perches on the edge of a yellow sofa and fiddles with a bottle opener. The soft drink in front of him has been open for a while, but he doesn’t put it down. The British actor is nervous; his fingers continually stroke the wavy steel object as if it were a worry stone. He doesn’t like the media circus and rarely gives interviews like this one at Berlin’s Hotel de Rome.

Since the boy from Barnes in South West London was thrust into the limelight – where he has remained for the past ten years – he has feared talking nonsense or divulging details about his personal life, both, to him, are equally horrifying. His weapon: a self-deprecating sense of humour. Time and again he lets out a loud peel of resounding laughter, to make it clear just how laid-back he wants to be.

Because the problem is, the thirty-year-old shot to global fame with the Twilight saga and he has been trying to shake off the role of the romantic vampire Edward Cullen who fell in love with mortal Bella ever since.

His new film is also such an attempt. In the epic The Lost City of Z Pattinson plays neither the beau nor the seducer. In fact, (forgive me) he’s not even good looking. For his role as researcher Henry Costin, he fasted, let his beard grow out and had a prosthetic gaping wound crawling with maggots glued onto his sunken cheek.

“We used real maggots, it was disgusting,” he laughs loudly as he talks about shooting the film in the Columbian rainforest. “The maggot scene where I ate one from my face was actually cut out of the movie.” Instead there is a second where Costin’s shirt rides up as he bathes in the Amazon. Revealing his back. No, there are no nude scenes, not even a kissing scene, with Robert Pattinson.

His good looks were encouraged from an early age. At twelve, his Mum got him his first few jobs via her modelling agency. Back then, his two sisters liked to introduce their androgynous brother as “Claudia”. After puberty, his physique became too masculine and the bookings began to dwindle.

Pattinson dubs it “the most unsuccessful modelling career ever”. Pure coquetry. Currently, he’s a model for Dior, photographed by Karl Lagerfeld. Right now he’s wearing a monochrome outfit from the French fashion label: white shirt with cardigan, jeans and sneakers, all in black. His famous hair is deliberately mussed.

“I think pretty much every actor feels like a fraud in some ways,” he says self-critically, as he strokes his two-day beard with his free hand. He doesn’t know why. “Perhaps they’re a type of people who are attracted to playing other people, I guess.” His own fame still seems to perplex him somewhat.

At 15 he ended up on the stage as a substitute in a London theatre by chance. An agent was in the audience. While other actors struggle for years, his third role brought him worldwide attention: In the fourth Harry Potter film, he met an untimely death as the handsome Cedric Diggory in a fight with Lord Voldemort. It meant the 19-year-old was part of an international blockbuster franchise. No mean feat for someone who never went to drama school.

“Every movie you do is like going to acting school. You don’t need a teacher, you can find one in every director,” says the self-taught thespian today. He finds it strange to think that there is only one prescribed or correct way to play a role. “It’s all totally random.”

Not Robert Pattinson. At 22 he became a sought-after sex symbol in Twilight. At 23 his salary hit the 20 million mark – he had made it onto Hollywood’s A-list. “I‘ve never really thought about what everybody else wants,” he says, almost apologetically. “Or not even about a career! Maybe one day I’ll have to.” Another loud laugh. Ha ha. “Might be coming pretty soon.”

Too late. In 2010, Forbes and Time Magazine named him as one of their 100 Most Influential People.

Click HERE to read the rest

Robert Pattinson's Interview With Neon Magazine (Germany) (FULL Translation Added)

Robert Pattinson's Interview With Neon Magazine (Germany) (FULL Translation Added)

German magazine 'Neon' gave a taster of a new interview with Rob that's featured in their magazine which will be available in a few days time.
Looks like it'll be an interesting one. Looking forward to reading the full thing, which of course we'll pop up for you as soon as it's available ;)

Any guesses as to what he tried out "on the sly"? Maybe something in the music field? A spot of Directing? Or maybe he wrote a Screenplay? The possibilities are endless with Rob.

Robert Pattinson (29) doesn’t want to be a Hollywood-actor only anymore – as he told Neon Magazine: “I’d like to do something aside from acting, in a field that I’ll have better control over. Last year I’ve tried various things on the sly, but I´m not going to talk about it, otherwise it will not work out!”

The glamorous Hollywood-scene is not for him, he tells Neon: “Of course there are these events where a bunch of dressed up girls hangs out. But you’d have to be a complete idiot to hook up with one of them – imagine someone sleeping with you simply because you´re famous? Women wanting to sell their time with a celebrity and running with the story to the next tabloid.”

Robert Pattinson will be in cinemas next with the movie “Life” September 24th.
Neon Magazine will be on stands September 7th.

Source
Translation Source via PAW 

UPDATE: 
Full scans. We'll update with a translation as soon as one is available



Translation (Thanks to Nicole in our comments) After The Cut

Click HERE to read the rest

Production Notes For Robert Pattinson's 'Life'

Production Notes For Robert Pattinson's 'Life'

With the Berlin Film Festival about to start the Production Notes for Life have been released.
They're an interesting read and include some great quotes from Rob and also some very complimentary quotes about Rob from his co-stars, director and more.
Grab a cuppa and make yourself comfy! 



Telefilm Canada, Film4, Screen Australia, Filmförderung Hamburg Schleswig-Holstein Present

LIFE

In association with FilmNation Entertainment, Corner Piece Capital, Entertainment One, The Harold Greenberg Fund, Cross City Sales

A See-Saw Films, First Generation Films, Barry Films Production

A Film by Anton Corbijn

ROBERT PATTINSON

DANE DEHAAN

JOEL EDGERTON

ALESSANDRA MASTRONARDI

STELLA SCHNABEL

and BEN KINGSLEY

Directed by ANTON CORBIJN

Screenplay by LUKE DAVIES

Produced by IAIN CANNING EMILE SHERMAN CHRISTINA PIOVESAN

Produced by BENITO MUELLER WOLFGANG MUELLER

Line Producer STEVE WAKEFIELD

Executive Producers TESSA ROSS MARK SLONE MICHEL MERKT

Executive Producers MARK ROBERTS SHELDON RABINOWITZ ROSS JACOBSON

Director of Photography CHARLOTTE BRUUS CHRISTENSEN

Production Designer ANASTASIA MASARO

Editor NICK FENTON

Music by OWEN PALLETT

Hair Designer VINCENT SULLIVAN

Make-up Designer DONALD MOWAT

Costume Designer GERSHA PHILLIPS

Casting by LAURA ROSENTHAL

Canadian Casting by JOHN BUCHAN C.S.A. and JASON KNIGHT C.S.A.5

Click HERE to read the rest

ROBsessed Giveaway: Have a COCKTAIL or two or three during the RobHoliday Season for Fiction Fridays

ROBsessed Giveaway: Have a COCKTAIL or two or three during the RobHoliday Season for Fiction Fridays

Just like last week's giveaway, we're doing another set from a previous Fiction Friday author. This is also a throwback to some beloved Twilight fanfic that turned into a published series! Alice Clayton has written a successful series that started with her WALLBANGER story. She shared some gracious words about her start with Twilight Fanfiction HERE when we first held a giveaway. I also shared the Rob pic that reminded me of Edward Wallbanger ("I could picture him: soft faded jeans, hiking boots a la Jake Ryan from Sixteen Candles, off-white Irish cable knit turtleneck sweater, hair all in disarray.")

Mmmmmmm oh yeah.



We're giving away the whole COCKTAIL series including the recently released MAI TAI'D UP! Check out the summaries if you aren't familiar with Alice's work:

WALLBANGER - The first night after Caroline moves into her fantastic new San Francisco apartment, she realizes she's gaining an--um--intimate knowledge of her new neighbor's nocturnal adventures. Thanks to paper-thin walls and the guy's athletic prowess, she can hear not just his bed banging against the wall but the ecstatic response of what seems (as loud night after loud night goes by) like an endless parade of women. And since Caroline is currently on a self-imposed "dating hiatus," and her neighbor is clearly lethally attractive to women, she finds her fantasies keep her awake even longer than the noise. So when the wallbanging threatens to literally bounce her out of bed, Caroline, clad in sexual frustration and a pink baby-doll nightie, confronts Simon Parker, her heard-but-never-seen neighbor. The tension between them is as thick as the walls are thin, and the results just as mixed. Suddenly, Caroline is finding she may have discovered a whole new definition of neighborly... In a delicious mix of silly and steamy, Alice Clayton dishes out a hot and hilarious tale of exasperation at first sight. 

RUSTY NAILED - Playing house was never so much fun—or so confusing. With her boss on an extended honeymoon, Caroline’s working crazy-long hours to keep the interior design company running—especially since she’s also the lead designer for the renovation of a gorgeous old hotel. And with Simon, her hotshot photographer boyfriend, gallivanting all over the world for his job, the couple is heavy-duty into "absence makes the heart grow fonder" mode. No complaints about the great reunion sex, though!

Then a trip back east to his childhood home has Simon questioning his nomadic lifestyle. He decides to be home more. A lot more. And he wants Caroline home more, too. Though their friends’ romantic lives provide plenty of welcome distraction, eventually Caroline and Simon have to sort out their relationship. Sure, more togetherness is a good thing—but does less traveling and working have to mean the other extreme? Apple pie and picket fences? With this second book in the Cocktail series, USA TODAY bestselling author Alice Clayton delivers another delicious, frothy confection of a book, shaking up her characters, stirring in laugh-out-loud humor, and serving sizzling romance straight up!

SCREWDRIVERED - By day, Viv Franklin is a tough-as-nails software engineer who designs programs and loves hospital corners. By night, Vivian’s a secret romance-novel junkie who longs for a knight in shining armor, or a cowboy on a wild stallion, or a strapping firefighter to sweep her off her feet. And she gets to wear the bodice—don’t forget the bodice.

When a phone call brings news that she’s inherited a beautiful old home in Mendocino, California from a long-forgotten aunt, she moves her entire life across the country to embark on what she sees as a great, romance-novel-worthy adventure. But romance novels always have a twist, don’t they?

There’s a cowboy, one that ignites her loins. Because Cowboy Hank is totally loin-ignition worthy. But there’s also a librarian, Clark Barrow. And he calls her Vivian. Can tweed jackets and elbow patches compete with chaps and spurs? You bet your sweet cow pie.

In Screwdrivered, Alice Clayton pits Superman against Clark in a hilarious and hot battle that delights a swooning Viv/Vivian. Also within this book, an answer to the question of the ages: Why ride a cowboy when you can ride a librarian?

MAI TAI'D UP - The gossip mill in the seaside community of Monterey is churning about Chloe Patterson, the newcomer who is starting a sanctuary for rescued pit bulls. It’s rumored that she’s a former beauty queen (true) who ditched her fiancé the morning of their wedding (also true). And that while she’s not looking for a new man, the good-looking local veterinarian has his eye on her. Absolutely, positively true.
When Lucas Campbell isn’t at the family veterinary clinic, he’s paddle boarding in Monterey Bay. Recently single, he’s definitely not in the market for a new relationship, but he still can’t resist taking a second, third, and fourth look at the recent arrival of Miss Golden State.

Neither Lucas nor Chloe has any interest in being tied down. Being tied up, however—now there’s a thought. But are a few Mai Tais, a moonlit night, and the music of Frank Sinatra enough to allow them both to forget their past? Let’s hope Ol’ Blue Eyes knows what he’s doing.

Mix one part tiki, one part kinky, and a splash of old black magic matchmaking, and it’s time to be . . . Mai Tai’d Up.

LAST CALL - Simon and Caroline are back for another round of baking, banging, and big life changes. Settling in, but never settling down, Caroline has finally struck a balance between the professional and the personal. As one of the top interior designers in San Francisco, she travels all over Northern California between nook time with Simon.
Perpetual globetrotter Simon has cut his frequent flyer miles in half over the last year, preferring to balance his professional and personal life, as well.

The next step in their lives seems preordained--toasts, veils, and the aisle of rose petals. But when an accident on a photo shoot in Southeast Asia brings Caroline the most terrifying phone call she could ever imagine, she has to ask whether "till death do us part" is a more realistic prospect than faces most couples.

It's been a grand adventure, and Caroline and Simon wouldn't go out without the best surprise ending ever. One part sexy, one part laughter, a dash of exotic locales, and one pink nightie, mixed with passion, and you've got Last Call. Served with a side of Clive.

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What else do we have going on this RobHoliday Season??

• ROBsessed Holiday Video Challenge - Enter the giveaway! Rules can be found HERE and there's a prize for every entrant! Deadline is Dec. 20th!
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Robert Pattinson talks about picking strange roles, proactive fans and more in 3 interviews

Robert Pattinson talks about picking strange roles, proactive fans and more in 3 interviews

Here's some weekend reading to dissect. 2 interviews were conducted during Cannes and the final one is a translation but reads well. Enjoy some ClassicRob!



The Sunday Times - From Beauty To Beast: The best thing about Robert Pattinson is how weird he is. If he weren’t acting, he’d be the one in the office grinning with half a mouth and going out of his way to avoid the water cooler. He’s friendly, but weird — with a laugh like Butt-head if he’d gone to a nice independent school in Barnes. We met in May at the Cannes film festival, once he’d finished his cigarette under a sky barely holding its rain. To call his clothes “grunge” would be a disservice to the thought that goes into grunge. It’s just messy: lumberjack shirt, T-shirt, trainers, white jeans. “I’m so hung-over,” he moans, as I turn the tape on. “I feel absolutely disgusting.”

The room is packed with soggy hacks. They sit in clusters, for 15 minutes of R-Patz, for a quote about Twilight to spread over the internet. The vampire saga is over, but remains undead. From 2008 to 2012, those five films, based on Stephenie Meyer's novels, made £2 billion worldwide and fostered a fan base still fervently in love with their leading man. To many, he will always be Edward, the immortal who cared and fell in love with Bella (Kristen Stewart). They added to the mystique by becoming an off-screen couple, too. Throw in his key role in Harry Potter and it’s unsurprising that the pallid hunk has spent much of his life in the headlines. It’s been an odd coming-of-age for the youngest of three, who grew up in a polite London suburb and, as I find out, doesn’t really like big films.

What he does like is his latest role, in The Rover, an indie thriller from the ­director David Michôd, who hasn’t even seen Twilight. This pleases Pattinson, who talks avidly about the film even though he went to a party last night and “forgot” he had to work. There are few more normal 28-year-old multi­millionaires. We talk about a recent interview for Dior in which he spoke, foolishly, about French girls because, “I was being asked ‘What’s your favourite part of scent?’” He shakes his head at the inanity of the question. “I also told someone I use moisturiser, and then saw it written down — I’ve spent all this time ­trying to get credibility and there’s a fucking headline about moisturiser!’”

The thing is, he’s mortified. All he wants, and needs, now is credibility. He’s loaded: five Twilights and some fashion contracts have sorted that. So, over the past few years, since David Cronenberg’s Cosmopolis in 2012, he has been seeking weird, dirty roles. He’s the only actor to have had sex in a limo — on screen — twice this decade. In The Rover, he defecates in a dusty shrub. I put a quote from Catherine Hardwicke, who shot the first Twilight, to him. “Rob’s obviously ridiculously photogenic, but he’s also so talented. I see him creating stylised, odd, wild characters.” He squirms at the first part, but loves the second.

“I’m picking things so strange, they can’t be judged in normal terms,” he says. His brain is creaking; his voice, soft and tired. “If anything’s relatable in a mass way, I don’t know if I can do it. That’s just not how I relate to anything. If there are certain character beats, I’m not going to be able to achieve them. So I like making it my own game. You can invent a new set of ­emotions that don’t even really make sense to you.”

In The Rover he plays Rey, a bloodied drifter in a future Australia, ravaged ­lawless by some unspecified crash. He may be a ­soldier and, as Pattinson puts it, is “handicapped”. The actor is excellent, bringing the baggage of his better-known work to a sombre, serious film — Sad Max, if you like — that pits him against Guy Pearce’s angry Eric. The pretty one sings along to a song that goes: “Don’t hate me ’cause I’m beautiful.” Rey’s teeth are awful: ­pyramid-sharp and crooked. They remind Pattinson of “the kids at school who didn’t brush their teeth” — the “weirdos”, he smirks. “Always the ones who played too many video games.”

This is what’s fun about Pattinson — or, at least, his hung-over version. There’s no filter. Most big shots would hold back from a slur about people who play video games, as most of them watch their movies, too. But he doesn’t. I suggest that the mentally and physically crooked Rey is his Miley Cyrus moment, a public ruining of something innocent. “It’s like doing Miley Cyrus,” he repeats, grunt-giggling, but I don’t think he ever thought of ­himself as pure. He certainly doesn’t care. He doesn’t even have a publicist. I could have asked who he’s dating, but any answer about that from a globetrotting young heart-throb in May, for a piece in August, felt hopeless. On the way out to Cannes, I read up on his love life. There were rumours about the model Imogen Kerr, and Katy Perry, and Katy Perry’s stylist.

I ask what he thinks he will be rem­embered for, how Google will autofill his name in the future. Stewart — his Twilight co-star, about whom he recently said, “Shit happens” — will always be there. So will Twilight. What else? “Gay?” he laughs. But it’s not really up to you, I add. Yours is an image controlled by manic fans, ones who retweet any news about any role hundreds of times a minute. “They’re very pro­active,” he nods. “Good publicists. But I don’t like referring to them as ‘fans’. I think it’s gross when people are, like, ‘I love my fans!’ You don’t even know them.” He continues, saying he thinks that’s probably dubious as he’s “quite insecure”, before booming, theatrically: “ ‘How can you ever love me? You don’t!’ ” I have no idea how much of this conver­sation he will remember.

More under the cut!

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NEW Interview: "I Like Working Pretty Much More Than Anything Else In My Life. My Job Is My Hobby" ~Robert Pattinson

NEW Interview: "I Like Working Pretty Much More Than Anything Else In My Life. My Job Is My Hobby" ~Robert Pattinson  



Rob talks about working on The Rover & Life and also his hobbies, career & life in LA with TheVent in this New Interview. (It sounds like the interview was done at Cannes).

It's a good read. Enjoy!

Filming The Rover in a remote part of south Australia with cast and crew all staying in a local pub was just about perfect, says Robert Pattinson. The filmmakers all mucked in together, braved filming in soaring temperatures, and at night bonded over a drink or two. Pattinson wouldn’t have had it any other way and says that it helped director David Michôd and his cast and crew build an unbreakable bond.

“It was amazing,” he says. “Because the whole crew was staying in the same place and there was nothing else to do, we were living in a pub. It’s annoying if you’re in an unfamiliar city and all the people you work with are from that city, they all go home, so you’re just stuck in your hotel.

“When you can hang out with a bunch of new people, you get close to them really quickly, especially when there’s literally nothing else to do. It’s really fun. I hadn’t done that for a long time. I had a fantastic experience making this film.”

Pattinson was born and raised in London and started his professional career as a 16 year old in the TV film Ring of the Nibelungs. A year later, he played Cedric Diggory in Harry Potter and the Goblet of Fire. He starred in five, hugely successful Twilight films and his other film credits include Bel Ami and Cosmopolis.

Q: How’s it going?

“I always forget in the evening that I’ve got to do a bunch of interviews in the morning, so I stay out all night (laughs). It’s horrible!”

Q: How was shooting in rural Australia?

“For me it was really fun. It was kind of relaxing. I loved shooting out there. There was no pressure, and no one around.”

Q: Was it a relief getting away from people?

“Yeah, just in terms of performance. I like doing little things before a take, sort of staying in character a little bit, and if you’ve got a bunch of people trying to take pictures of you doing a stupid face or something, then you’ve just constantly got it in your head, and you’re never really quite in what you want to do. Out there you can kind of do anything you want. They might think you’re a weirdo, this guy doing all this weird stuff (laughs), but it was quite freeing.”

Q: Did you enjoy playing a less beautiful character?

“Yeah, I mean it takes away constraints. If someone’s saying, ‘You’ve got to look pretty!’ for one thing you feel like a bit of an idiot, because you’re a guy, and then you’re kind of thinking about stuff that really doesn’t mean anything – you’re just posing. As soon as you take away the allowance for your own vanity, then it’s kind of a relief.”

Q: How would you describe the themes of The Rover?

“I think it’s just a story about survivors. I think they’re quite simple people in extraordinary circumstances. They’re trying to figure out how to live when it seems like there’s not a lot of hope. It seems like there’s nothing to do tomorrow, so what are you supposed to do at any point during your day? Even the gang I’m in, they’re stealing money and there’s nothing to use the money for at all (laughs). Eric [Guy Pearce] says, ‘It’s worthless, it’s just paper.’ It’s very difficult to know why to keep living if everything seems totally worthless, and yet people do.”

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NEW: Excellent interview with Robert Pattinson talking about The Rover, Indiana Jones, Jennifer Lawrence and MORE!

NEW: Excellent interview with Robert Pattinson talking about The Rover, Indiana Jones, Jennifer Lawrence and MORE!

TheDailyBeast Robert Pattinson’s Life After ‘Twilight’
For awhile, it seemed as if the eerily handsome British actor would have an impossible time getting past the iconic Twilight role that first brought him global fame and fortune. The series was too popular. His looks were too vampiric. And no one who plays the same part more than, say, three times ever really shakes it. (See: Connery, Sean.)

But in the years since the final Twilight installment came and went from theaters, Pattinson has begun to accomplish the impossible. Again and again he has chosen to work with brilliant auteurs—Werner Herzog, David Cronenberg, James Gray, Olivier Assayas—and again and again he has stunned audiences with his smart, sensitive, and very un-Cullen-like performances.

Pattinson’s latest movie, a spare, dystopian Western called The Rover, is his finest work yet. Under the direction of David Michod (the excellent Animal Kingdom), Pattinson stars as Rey, a gut-shot simpleton from the American South who encounters Eric (Guy Pearce) in the sweltering, lawless Australian outback ten years after a global economic collapse. In the wake of a botched heist, Rey’s gang—which includes Rey’s brother—has left him behind to die. The gang has also stolen Eric’s car. And so Rey and Eric team up to track them down. Pattinson is absolutely magnetic in the role, transforming what could have a been an embarrassing caricature of a man-child into empathetic portrait of a wounded human being struggling to think for himself for the first time—and ultimately succeeding. Not many actors can make cogitation look so compelling. Pattinson, somehow, is one of them.

To discuss his work in The Rover—and his career more generally—Pattinson recently sat down with The Daily Beast in Los Angeles. He was as striking in person as he is on screen—thin, white v-neck t-shirt, two-day scruff, artful bedhead. His demeanor is more boyish, and less confident, than one might expect of a movie star; he rarely made eye contact as he spoke and he laughed, half-nervously, whenever he said something revealing.

“I forget how to act in between every single movie,” Pattinson confessed.

He went on to talk about why Twilight has become a burden; why he could never do what Jennifer Lawrence does; and why he loves to work with auteurs such as Harmony Korine, with whom he’s planning to collaborate next. Pattinson also shot down the rumors that he will be taking over for Harrison Ford as Indiana Jones or Han Solo in the near future—although he didn’t shut the door on all future franchises.

“You're sort of floating. You don't know how it happens, but it's amazing. And it's nothing to do with the audience or anyone else. You're still probably shit. But it's so addictive, and it's so rare as well.”
You've said that you “really, really fought” for the role of Rey. Why?
Weirdly, I got sent the script and misread the email. I thought it was an offer. I was like, “Wow. I know exactly how to do this—and I never get offered stuff like this, ever!” So I call up my agent and I’m like, “I want to do it! I want to do it right now!” I had wanted to work with David Michod for years before this. But then they were like, “No, it’s just an audition. What are you talking about?” [Laughs] I suddenly had this pang of terror. I’ve basically messed up every audition I’ve ever gone for.

So what did you do?
I just realized I have to get it, so I just put in an enormous amount of time—way more work than I’ve ever done for an audition before.

What do you mean by “way more work”? What kind of labor are we talking about here?
I mean, I would just run it literally 10 hours a day for, like, two weeks.

Wow.
Completely obsessively, to the point where I was dreaming about it and stuff. I don’t know particularly what I was doing—just constantly thinking about it.

I guess it paid off.
[Laughs] Most auditions you don’t go in like you’re actually doing the movie. You do it like you’re doing an audition. But this I was just doing the movie in someone’s house. Full on.

You said you don’t usually get offered roles like Rey. How so?
Little weirdo roles. There are about five or six actors who have had a lock on them for years. [Laughs] I’m not sure what place I was really put in, but I wasn’t really part of that group of strange character actors—people who are a little bit “weak.” A little fragile and broken. I guess I wasn’t interpreted as being one of those people.

What was the biggest challenge for you in making The Rover?
Nothing really. Even before I got the part, I was so clear about how I wanted to do it. Really the only strange aspect was walking into the audition room and being like, “Am I doing this entirely wrong? I have no idea.” I had one little moment of panic. But as soon as I got I knew what I wanted the clothes to be, what I wanted the look to be—I knew everything. I wanted someone who couldn’t quite fulfill his emotions. He’s just constantly stuck between two things. And also someone who’s never really been required to think and is suddenly forced into thinking for the first time. Basically like playing a baby as an adult. It just felt so right, right from the beginning.

Did you base your portrayal of Rey on anyone in particular?
He’s a little bit like one of my cousins, actually. [Laughs] The clothes, the walk.

How was making The Rover different than making the Twilight movies?
It wasn’t freezing cold. [Laughs] I think that’s actually the biggest thing. When everyone’s so miserable because it’s so freezing cold…the boiling hot Australian outback I would take over the freezing cold any day.

Why?
The cold makes people stressed. There wasn’t as much light in the day to shoot with in Vancouver. And this was just, like, the same weather every day. There’s no one pressuring you to do anything. It’s David’s movie and there are basically only two people in it. You don’t have to rush anything. There’s only two egos you have to deal with. [Laughs]

The fewer egos, the better. Let’s rewind for a second: What made you want to be an actor in the first place—and what made you think you could do it?
I joined this drama club when I was 16 because I fancied this girl who went to it. [Laughs] I’d never done any acting before. But they were doing Guys & Dolls, and I’d never sung but for some reason I really wanted to be in it. [Laughs] I have no idea why, to this day. I did that, and another play afterwards, then randomly got an agent. But I think it was just the first time you do something—performance—it’s incredibly addictive. I remember doing Tess of the d’Urbervilles—the Thomas Hardy thing. I did this scene where I slapped Tess in the face. And just seeing people in the front row going [gasps in horror]—you suddenly have this massive burst of energy through you. Suddenly seeing people look at you like that—you’re like, “Wow! No one has ever looked at me like that before.”

It’s a strange feel. And then you start to feel it for yourself as you get older. You realize that you can get lost. It’s like doing music—you can do a scene and be like, “I don’t feel like myself at all.” And you don’t know where it came from. It’s kind of nice.

Getting away from yourself is an addictive feeling, isn’t it?
Yes. I used to play music all the time, and that was all I wanted to do in music—get to the point where you’re sort of floating. You don’t know how it happens, but it’s amazing. And it’s nothing to do with the audience or anyone else. You’re still probably shit. [Laughs] But it’s so addictive, and it’s so rare as well. You’re just constantly trying to go for that, every time.

Twilight was obviously a blessing to you. But how has it been a burden?
There’s been a lot of hate, actually. Honestly, though, I don’t understand the backlash against Twilight. The first movie, everyone liked it. But then it was suddenly… I don’t quite get why people turned on the other ones. There are plenty of successful franchises which everyone accepts. But for some reason there were all these political arguments against. People saying, “Oh, it’s a bad example for women.” Blah, blah, blah. As if we were all a bunch of dumbasses. We’re not playing it that way! That’s purely your interpretation! We’re not trying to make a movie about subservient female characters at all.

In a lot of ways, people have decided what Twilight is about before they’ve even thought about it, and then they’ve labeled us, the actors, as part of whatever that may be. Even the sparkling thing. I get so many sparkly criticisms! But I don’t actually remember a moment of in any of the movies where I sparkle. [Laughs] Maybe one second in the first one. It’s like, really? All these fanboys are like, “You’re sparkling!” And I’m like, “Really? You must have freeze framed that one second.” [Laughs] It’s just the idea of sparkling—people lost their minds over it.

But at the same time you find that the people who think they hate you can be incredibly loyal. They go to see your movies to hate on you. [Laughs] That’s fine with me!

What about artistically? Has all the Twilight hubbub—the cultural obsession around it—given people an inaccurate sense of who you are as an actor?
I don’t know who I am as an actor. I’ve found that the Twilight movies were probably the hardest jobs I’ve done. You have so many parameters to play the character within, and also you’re doing five movies where you have to play the same point every time and figure out different variations on it. It was really hard. It was like trying to write a haiku.

Did Twilight make you a better actor?
Yeah. It’s funny, because the reviews got worse.

But now that you’re doing movies like The Rover—darker, deeper, more artistic movies—do you feel like you’re trying to escape from Edward Cullen?
No, not at all. I never even thought of all the Twilights as a single entity. They were all separate movies for me. I mean, I forget how to act in between every single movie. [Laughs] But I’ve always thought that nothing comes for free. You get paid a bunch of money. You get a bunch of opportunities. And you’ve got to pay for it somehow. And in my case, I paid for it by having to figure out how to walk down the street [without getting mobbed]. I paid for it by people thinking I was one thing. That’s my major desire as an actor—to have no one know who I am. To have no preconceptions. So obviously when a character becomes iconic, you have to deal with the baggage that comes with it.

Since Twilight, you’ve been making a point of working with auteurs: Werner Herzog, David Cronenberg, James Gray, Olivier Assayas, David Michod. Why? Is this your way of making sure that people don’t peg you as “one thing"?
Those are the people I’ve loved since I was a teenager. It almost seems like a joke that I’m working with them now. They’re also people who have gotten performances out of actors that made me want to be an actor, before I even was an actor. Especially James Gray—Joaquin [Phoenix]’s stuff with James. That guy can get really singular performances out of people. And with Harmony Korine as well. Really it’s just limiting your margin for failure. I genuinely think you can’t fail doing a Werner Herzog movie or a Harmony Korine movie. You know they’re not going to just phone something in. They haven’t ever. Take Cronenberg. I still think Cronenberg is so cutting-edge—and he’s been working for 45 years. Whereas some people now are already flopping on their second movie. Already selling out.

Speaking of Cronenberg, you once said that making Cosmopolis “reinvigorated” your “ideas about acting.” How?
I just made me realize that I could be in those kinds of movies. All throughout doing Twilight, I got asked whether I was afraid of getting typecast. I started thinking, “Yeah, I guess I am.” Then I got cast in Cosmopolis, which was just so far from my wheelhouse, and I was like, “Oh, I guess I shouldn’t be afraid of being typecast anymore.” It freed me up. And I loved the experience so much—getting into Cannes was such a massive deal to me. I’m just trying to go after that again.

Which actors do you look at and say, “That’s the kind of career I want to have?”
I like what Joaquin has done. I’m always looking at his stuff—he’s been the most influential actor on me. And in a lot of ways I like Guy’s career as well. But he also does Australian stuff all the time, and I feel weird doing English things. I feel like I’m really naked.

What about someone like Jennifer Lawrence? She’s balanced two studio franchises with lots of meatier parts.
She’s amazing. She’s absolutely incredible. But also we’re different types of people. She seems like she’s super-confident—and I don’t have the kind of confidence. She glows. I think you can fit that into quite a few different areas. Whereas I’ve got a kind of sneak-through-the-cracks style.

The rumors are circulating, so I have to ask. Will you be the next Indiana Jones?
No. [Laughs] But I mean, I don’t know. That would be so funny if I suddenly got offered it. I’d be like, “Oh shit!” [Laughs]

So the rumor has no basis in reality?
No, no.

What about another famous Harrison Ford role: Han Solo? The buzz is that you’re being considered for a standalone Solo movie.
Oh no. I think all of these things are made up so I get tons of bad press.

Bad press? Those are two of the greatest characters in the history of Hollywood.
But literally this random story comes out and I get 50 other stories saying, like, “THAT GUY? NOOOO! What an asshole!”

For the record, though: you’re a fan of Han and Indy?
100 percent. Everyone is.

But that’s all for now.
Right.

Would you ever do another franchise?
Yeah. I’d have to put a lot of thought into it first. But in a lot of ways, those are the only big movies that are made anymore. [Laughs] So unless you just never want to do studio movies, you have to realize that you’ve got to do The Fault in Our Stars 2. [Laughs]


Merci beaucoup, Cersei!

ROBsessed Giveaway: Enter for a chance to have THE DARKEST JOY for our Fiction Friday + winners announced!

ROBsessed Giveaway: Enter for a chance to have THE DARKEST JOY for our Fiction Friday + winners announced!

While Rob is a busy little bee on the set of Life, we're here on another Fiction Friday giving away some novels!



This week we have THE DARKEST JOY by Marata Eros just released Feb. 18th! Marata is a New York Times and USA Today best selling author and her latest is "a sexy and poignant new adult novel about two lost souls who find each other in the wake of tragedy—only to learn that love may not be enough to heal the wounds of a dark and tortured past…" Here's the official synopsis:

Twenty year-old Brooke Starr has escaped the aftermath of a brutal tragedy by abandoning her music studies and moving north to take a summer position as a part-time deck hand on a fishing boat. When her survivor's guilt becomes unbearable, Brooke realizes there's only one thing she can do to finally erase the pain.  

Deep-sea fisherman, Chance Taylor, has just wrapped his guitar set at the local saloon when he sees the silhouette of a young woman, the full moon highlighting her shadow as she plummets from a pier too high for diving...into water too cold to survive. Without thinking, he plunges in after her, saving Brooke from drowning.  

As Chance works to save her from her own emotional fragility, Brooke finally begins to learn how to save herself. But when their chemistry begins to consume them, Brooke withdraws. She's determined to be the master of her own destiny...until the past catches up with her in a cataclysmic plan so dark, so final - it threatens their love - and their lives. Electryfying, mysterious and utterly captivating, THE DARKEST JOY shows just what happens when a tormented past comes back to haunt you - and may never let you move on. 

Sounds like a healthy dose of angst for our dark cloud lovers out there in the dark recesses. ;)

Giveaway guidelines:

• You only have to click a button, which you'll see when you enter. Tweeting the giveaway through Rafflecopter is optional but gives you more chances to win.
• Giveaway is US/Canada ONLY
• You MUST enter using Rafflecopter or your entry will not be counted 
• You can enter once a day, everyday, until the closing date - Friday, Feb. 28th at 12am ET
• There will be 2 winners receiving the novel, THE DARKEST JOY, by Marata Eros
• Winners will be chosen by random.org and announced on Friday, Feb. 28th

Good luck!!!
a Rafflecopter giveaway

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New Picture of Robert Pattinson for Dior Homme promo + New Interview in Lux (Portugal)

New Picture of Robert Pattinson for Dior Homme promo + New Interview in Lux (Portugal)



The interview compiles other interviews as well as a mix of new questions.

You just closed the partnership with Dior. Was the invite for the campaign a surprise? (Elle Brazil)
When Dior contacted me, I was truly shocked at first because their name alone is almost mythical. It's a very sophisticated fashion house, that never compromises their image. They approached me in the right way and at the right time because Twilight was coming to an end. I remember I was impressed when I met with the creative team and saw that they had an extremely open mind. Their interest was in an artistic collaboration, more than the commercial itself.

Easily convinced?
Not easily! [laughs] I was never attracted by publicity, probably because I didn't think it was real acting. When they contacted me I had already grown as an actor and made some movies, that's why I felt some legitimacy. When we discussed ideas and directors, everyone involved looked really fearless. I started to see that as doing a short film and got excited. Turned out to be a challenge and supplement my film work in a very interesting way.

What does luxury mean to you? (Faces Switzerland)
Effortlessness. In my opinion real luxury is to not have to worry about anything. And when we shot the campaign [film] for Dior Homme it felt exactly like that.

What about natural elegance?
I wouldn't associate elegance to aesthetics. As luxury, it has to be natural, effortless. It has more to do with how some people exude energy, because they are comfortable with themselves. Elegance also has to do with 'listen', instead of wanting everything to be about us.

With you as the new face [of the fragrance], Dior Homme is reaching out to a completely new generation of young men. How would you describe them? (Faces Switzerland)
I just turned 27 and it wasn’t until now that I’ve come to realize that people don’t see me as a child anymore. It feels weird to finally see yourself as a grown up and to be treated like one by others. To describe my generation is difficult because for us the last ten years have been some kind of transition phase; and some of us still try to figure out what to do with all of that. At least that’s the case with me. (laughs)

What does masculinity mean to you? (Wienerin Austria)
Traditional masculinity doesn’t work anymore in today’s modern world. It’s a weird time for guys. Well, it’s probably also a weird time for girls (laughs). Masculinity, to me that always means being reliable and relatively pragmatic. But it also stands for so many ambiguous things. As an actor you often have to express certain ambiguities in a character. You’re both reliable and wild or loving and carefree at the same time. I don’t know if that is something I’d associate with masculinity. I just know that the code has changed massively over the past few years.

Do men have a different idea of women today as well? (Gala Germany)
I just don't get why so many guys feel threatened by strong women. I always felt at ease with women around, I grew up with two older sisters and a very dominant mother.

Very often, certain smells are connected to memories. Do you have those? (Faces Switzerland)
I remember my dad, who has always worn Brut de Fabergé. He still has that fragrance and it reminds me of my early schooldays. As weird as it sounds but I still know exactly how he smells; it’s like it somehow burnt itself into my memory. Later, when I was about 12 years old, I started talking to girls and thought it would be cool to wear a perfume while doing that. I also remember vacation in Portugal. At the time I thought wearing a cool perfume would make me seem older. So that smell and hair wax had been my constant companions during that summer. (laughs)

Do you have a favorite smell? (Faces Switzerland)
I like the smell of people. (laughs) I know that sounds a bit weird and probably has something to do with pheromones but you can often judge the character of a person by their scent. We surround ourselves with people who smell good for us, a process that most likely takes place completely subconsciously.

What kind of woman could wear Dior Homme?
A free spirit. A woman with her own attitude, that doesn't want to just have a "beautiful" aroma or do they expect from her. Clearly, a woman who isn't confused about her femininity.

Nan Goldin took your pictures for this campaign. Were you familiar with her work and exhibitions?
Really well, I had seen a few of her exhibitions, but I had never met her. It was another thing that intrigued me about this job, that she was an unconventional choice. I was really excited about that.

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Robert Pattinson Elle (France) Interview Translation

Robert Pattinson Elle France Interview Translation 

We had the scans and new pics from this Interview this morning (Click HERE if you missed them) Now read the translation of the interview below.



Translation (Source)

Robert Pattinson: The Phoenix.

Is there a life after "Twilight"? It's the question that the actor has been trying to answer by lending his talent to arthouse films and his sex appeal to the Dior fragrance. We met up with him.

"The most important is to be cool!" After five years spent in the eye of the storm in Hollywood, Robert Pattinson finally gets it. The revelation didn't come up to him while he was walking his dog in the streets of Los Angeles. It's always felt like there was something awkward about him. And he's always had a hard time hiding (maybe he wasn't really trying) the fact that he didn't really feel like he belonged in the kind of cinema for which he's now an icon. "Acting in a movie that you wouldn't normally go see yourself can complicate things a little," he admits. "It's hard to talk about it, hard to promote it, hard to feel connected to the public... Before I met David Cronenberg who hired me to be in "Cosmospolis", I always felt like I was getting roles that I didn't really get to choose. I was mostly trying not to sink. For the first time ever, I felt like I was chosen for my talent. David gave me that confidence that I didn't possess. It changed everything in the way I viewed my job as an actor."

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