‘The Lost City of Z’ production notes
Synopsis: Based on author David Granns nonfiction bestseller, THE LOST CITY OF Z tells the incredible true story of British explorer Percy Fawcett, who journeys into the Amazon at the dawn of the 20th century and discovers evidence of a previously unknown, advanced civilization that may have once inhabited the region. Despite being ridiculed by the scientific establishment who regard indigenous populations as savages, the determined Fawcett supported by his devoted wife (Sienna Miller), son (Tom Holland) and aide de camp (Robert Pattinson) returns time and again to his beloved jungle in an attempt to prove his case, culminating in his mysterious disappearance in 1925. An epically-scaled tale of courage and obsession, told in Grays classic filmmaking style, THE LOST CITY OF Z is a stirring tribute to the exploratory spirit and those individuals driven to achieve greatness at any cost.
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You can read the whole thing HERE downloading the pdf file, but we are going to post now all quotes from Rob and about Rob + a few very interesting details of the movie.
-> In the DEVELOPMENT & IMPLEMENTATION section of the file, David Michôd talks about casting Rob as Rey (page 6)
The next step was to build a cast around Pearce that Michôd felt confident in. The global success of Animal Kingdom opened doors for him in Los Angeles, and he was in the privileged position to be able to audition some heavyweights. Working with Casting Director Kirsty McGregor, and Lava Bear’s President of Production Tory Metzger, Michôd spent a lot of time reviewing the work of various actors, so by the time he auditioned Robert Pattinson he had worked out what he wanted for the character of Rey. Michôd had never seen a Twilight film and wasn’t overly familiar with Pattinson, but upon meeting together in LA, and after his audition Pattinson quickly became his favourite for the role. Recalls Michôd: “His performance in the tests was really great and real and moving. What I also liked about him was that it was really quite evident to me from our first conversation that he really wanted to do it.”
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Here are the full production notes from Maps to the Stars. To see the click here.
Here’s a summary:
THE LIMO DRIVER
“Plus we’re both dual-disorder”
When Agatha Weiss returns to Los Angeles, she makes an instant connection with the first person she encounters: her limo driver, a would-be screenwriter who chauffeurs the far more successful, and who becomes increasingly entangled in her larger-than-life drama.
Taking the role of Jerome is leading star Robert Pattinson, who wanted to work with Cronenberg again on the heels of taking the lead role in Cosmopolis (coincidentally, Pattinson played a billionaire who is a limo passenger throughout that film.)
He was one of the first cast members to sign on, which Martin Katz says helped buy the project. “Robert’s enthusiasm for Maps to the Stars is one of the things that really got us underway. Jerome is not a large role but it’s very significant in the story and his joining the cast gave us a terrific amount of momentum,” recalls the producer. “In a sense he is playing Bruce Wagner, who was himself at one time a limo driver and unemployed writer.”
Cronenberg was thrilled to reunite with Pattinson, and in such a different kind of role. “I think Rob was really happy to be part of an ensemble,” he says. “But Jerome is also a critical character, a lovely character and it was a chance for Rob to give a more naturalistic performance. I knew he would be fabulous and he was.”
Pattinson’s experience working on Cosmopolis with Cronenberg was so profound that he agreed to the role of Jerome before reading the script. But when he finally sat down to read it, he recalls, “Within two pages I was thinking wow, this is so unbelievably different and hilarious. I don’t even know what people are going to make of this, but it feels dangerous. It’s sort of satirical but it’s also a ghost story and it’s also a kind of thriller. It defies genre.”
He came to see Maps To The Stars as more than just another L.A. story. “It’s really about people who lie to themselves – right up until the end,” he summarizes.
Yet within all that, Pattinson sees Jerome as the most ordinary of the film’s roster of outrageously deluded and desperate characters — typical of a certain kind of everyday L.A. dreamer, a regular guy with a regular job who nevertheless always believes he is just one move away from becoming a major actor and writer.
“Jerome would never accept that he is just a limo driver. I think he feels he’s just waiting for his break,” Pattinson observes. “And yet, he’s seemingly the only one in this story who’s not going insane — or who isn’t a ghost. He’s a fairly normal guy, which is slightly odd for me, as well.”
Working with his fellow cast members was another big draw for Pattison. Of Julianne Moore, he says: “She’s hilarious and also very sane, which is kind of ironic given who Havana Segrand is. And she shifts so subtly into character, you barely notice what she is doing. It’s kind of amazing.”
He worked most closely with Mia Wasikowska as Agatha, who comes to rely on Jerome as her sole friend in the city. “I knew Mia was going to be wonderful in this,” he says. “She’s so lovely that it was horrible for me to watch Agatha be bullied by her entire family.”
For Cronenberg, the chance to work with cast members like Pattinson and Gadon multiple times is one of the most gratifying aspects of his career. “It’s really beautiful for me to see that blossoming and the evolution of actors as I work with them,” he concludes.
Scans of the Production notes for Bel Ami (in French)
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“We asked actors that we really wanted to work with, people that we have admired for a long time, explains Donnellan of their casting choices. “Kristin Scott Thomas we know of old. Uma Thurman, Christina Ricci and Robert Pattinson we have always admired. There’s also Colm Meaney, a wonderful Irish actor who plays Rousset and Phillip Glenister. They are all actors we love.”
Ormerod and Donnellan were thrilled to be working with such a diverse cast. Donnellan describes the moment that the actors turned up for rehearsals. “It was absolutely fantastic to see them arriving one after another. They are all incredibly professional and great fun with wicked senses of humour in their own different ways; Uma, Kristin and Christina are all very different people. We had a ball, an absolutely wonderful time because the material was so fantastic, the roles and screenplay are fantastic. Everybody felt like they were being stretched, especially us because it was our first movie. Kristin, Christina, Uma and Robert would all agree that they were doing things they hadn’t done before, which was what made it so thrilling.”
Talking about Georges’ costumes
Dicks-Mireaux explains how the costumes she designed for Georges help to tell the story of his progression throughout the film. “He wears black virtually all the way. Maupassant writes very clearly about starching, and we spend a lot of time and effort on the shirts. This period is a very transitional period between the boiled shirt and the pleated shirt so we’ve done a combination of the two. We’ve engineered this ingenious way of making sure we can always have the stiff cuffs. I’ve gone for very high collars on Robert because he suits them really well and it makes them all stand up correctly. If you look at the British royal family they seem to wear a slightly broader look. You look at the French drawings and they seem to have a much tighter, narrower look – a bit like Christian Dior suits: that very pinched, nice, narrow, elegant, long lined leg. He had a journey and then right at the end of the journey he sort of dips and goes a little bit more bourgeois and slightly pompous. He thought he might have a moustache at the end.”
Georges ‘Bel Ami’ Duroy
The central character of Georges was a complex and captivating subject for Rachel Bennette, as she explains. “Georges is a difficult character, that’s what makes him so fascinating. He’s quite enigmatic in certain respects and he’s not a typical character in many ways. He’s very reactive as opposed to the active protagonist that you’re used to. So it was a question of trying to get the measure of him.”
“He never works and he still gets it all. That’s what’s so maddening about Georges Duroy,” Donnellan concurs. “He gets the lot with no effort and it’s something we have to live with. Georges has a talent to get to the top and he’s a businessman with one commodity to sell. Another thrilling thing about Georges is his emptiness; people can project anything into him which is another reason why he’s so successful.”
Bennette concludes: “I find Georges really compelling, even if I don’t always like him. There’s something about his audacity, and his daring, and his absolute refusal to be told his place. And there is something quite appealing about that: essentially it is a kind of mad courage that he has.”
You can read the full production notes document with full synopsis, production details etc here
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