Cosmopolis is making a statement! Compilation of the ‘Best Of 2012’ lists!

Cosmopolis is available NOW! Buy HERE and look for instant download links at the top of the sidebar. 

UPDATE: New lists added all the time. Scroll down and look for (new) to see if you missed any.


The film made appearances on MANY Best Of lists for 2012. We’ve been posting them but wanted to provide a cumulative post that we’ll sticky to the top of the blog. If you see any that are not included, drop us a tweet, email or leave it in the comments.

Congrats to David Cronenberg, Robert Pattinson, Don DeLillo, Paulo Branco, Martin Katz, Sarah Gadon, Paul Giamatti, Juliette Binoche, Kevin Durand, Emily Hampshire, Samantha Morton, Jay Baruchel, Mathieu Amalric, Patricia McKenzie, Gouchy Boy, K’naan, Howard Shore, Metric, and all the remaining crew and fans of Cosmopolis!


  • The Cinephiliacs/Peter Labuza: Number 1 film of 2012!
  • Cinemart: Number 1 Film of 2012!
  • City Connect: Number 1 Film of 2012! “I know this is going to raise a few eyebrows, but I can explain. Yes, the dialogue is strange – that’s why it’s the best written movie of the year. And yes, it makes no attempt to emotionally engage with the audience – but that’s the point. Cronenberg is presenting to us an uncomfortably realistic vision of the future, where capitalism leaves us as emotionless unsatisfied vampires. It’s proved to be a little too distant and unattached for some people, but for me it was a work of sheer brilliance.”
  • Art Forum/Amy Taubin: Number 1 film of 2012!
  • San Francisco Bay Guardian: Number 1 film of 2012!
  • Cahiers Du Cinema: 2nd out of 10
  • The Password is a Swordfish: 2nd out of 10
  • Huffington Post: 2nd out of 10
  • Out 1: 2nd out of 13
  • The Film Stage: 3rd out of 10 
  • Philadelphia Weekly: 3rd out of 10
  • Film Capsule: 3rd out of 10 – “Cosmopolis is a slow, maddening descent into the hollow center of modern America, a vain search for meaning in an age of endless, pulsating data, and a trip across town to get a haircut. In other words, Don DeLillo’s heady novel is perfect material for director David Cronenberg, who has long proven adept and unusually insightful at making our technological fetishes grotesquely literal.”
  • (newThis is Culture: 4th out of 5
  • L Magazine: 4th out of 25
  • Film News (UK): 4th out of 10
  • Phil on Film: 6th out of 10 
  • Some Came Running: 6th out of 25
  • MSN Movies: 6th out of 10
  • Achilles & the Tortoise: 6th out of 10 
  • The Alamo Drafthouse Programmers: 7th out of 10 – “In my experience, the audience laughed uncomfortably throughout, or walked out of the theater during, scenes that to me read as wholly sincere, unable to process its heady mix of intellectual demagoguing, primal attraction, and oddly uncinematic staging. There are moments in this narrative where nobody talks, where the walls of the white limo block out any outside sound whatsoever — in other words, moments of total silence. Robert Pattinson’s character and the story that surrounds him exist in a world within and yet without the real world — a kind of nothing space or vacuum that glides effortlessly through New York City for the most trivial of reasons — a simple haircut. I felt initially ambivalent towards this film, but could not stop thinking about it days and weeks afterward. Ultimately, I gave in to what felt right and decided I was in love with it.”
  • Smells Life Screen Spirit: 7th out of 10
  • Movie Mezzanine: 7th out of 50
  • White City Cinema: 8th out of 10 
  • Sight & Sound: 8th out of 10
  • The Bloodshot Eye: 8th out of 20
  • Movie City News: 9th out of 10
  • Arizona Newszap: 9th out of 10 – “Cronenberg is nothing if not consistently innovative, in terms of form and content. With Cosmopolis, we get him at his best in both.”
  • Movie Maker: 9th out of 12
  • Processed Grass: 9th out of 66 – “There’s this tense dichotomy between this safe space and an outer world in turmoil, that makes the collision of the two, both physically and found in Pattinson’s performance, all the more intense.”
  • The Gerogie Show: 10th out of 10
  • Chicago Reader: 10th out of 10
  • Cinemablend: 10th out of 10
  • Yuppee Mag: 10th out of 10
  • Time Out New York: 10th out of 10
  • Compulsory Internet Presence: 10th out of 10 – “A grand, weird, bold effort even by Cronenberg’s standards, this film is an absolutely mesmerizing adaptation of Don DeLillo’s novel.  I could speak here about how timely the film is with its unsparing critique of capitalist society.  Or how Robert Pattinson delivers an astonishingly assured performance that hopefully portends a career full of them.  Or how the score – a collaboration between Howard Shore and the band Metric – sustains and enhances the general mood of dread hanging over the entire film. But really, perhaps the best thing about this film is how it feels like the work of a completely vibrant, reinvigorated filmmaker.  I was not at all expecting a film this vital and meticulously crafted on the heels of his most recent effort – 2010’s A Dangerous Method – but here we are with what might be Cronenberg’s strongest and most unique effort since 1996’s Crash.  I want to shout it from the rooftops.  This film is a treasure.”
  • In Review Online: 10th out of 20
  • Screen Crush: 12th out of 20 
  • Slant Magazine: 13th out of 25
  • NY Film Society: 15th out of 20
  • Film Comment: 15th out of 50
  • The Village Voice: 16th 
  • Indiewire Critics Poll: 18th out of 50
  • Sound on Sight: 20th out of 40 
  • Criterion Corner: 24th out of 25
  • Total Film: 37th out of 50
  • Buzzine: 1 of the top 5 Indie movies
  • The Password is Swordfish: 1 of 2 favorites for 2012
  • Dread Central: Named Cosmopolis among the top 5 Best of 2012
  • Shoot the Critic: 1 of 6 in no order – “Robert Pattinson steps up to the challenge of playing the twisted, self-doubting, masochistic, and sexually insatiable protagonist. He has lots of sex, philosophizes on life, gets lectured on art and theory, faces death, kills, and gets half a hair-cut – among other activities, all shot in a typically artificial yet beautiful Cronenberg way.”
  • CineTalk: 1 of 10 in no order
  • Chicagoist: 1 of 10 in no order
  • TIFF: 1 of 10 best Canadian films of 2012



  • (newPhiladelphia Weekly: Who Should Have Won Overall – Best Adapted Screenplay – “David Cronenberg David Cronenberg’s script for Cosmopolis makes great a so-so Don DeLillo novel, although its real power emerged when the actors came to speak their lines. Who knew Robert Pattinson was put on earth to deliver overly-stylized DeLillo dialogue?”
  • (newPhiladelphia Weekly: Who Should Have Won Overall – Best Actor – Robert Pattinson “And I can’t believe I’m saying this, but Robert Pattinson wuz robbed—for Cosmopolis, not Breaking Dawn 2.
  • Vancouver Critics Awards: Best Supporting Actress – Sarah Gadon
  • The Film Stage: One of the Best Ensembles of 2012
  • The Password is a Swordfish: 2nd on a list of Best Screenplays – David Cronenberg
  • Processed Grass: 4th out of 5 Top Actors – “[Pattinson] delivers a pitch perfect performance in the role of a detached financial wunderkind. There’s a confidence and tragedy to Pattinson’s work here, but it’s toward the end, as the film’s world spirals out of control, that allows Pattinson to show why he belongs on this list and keeps his name as one to continue to monitor moving forward.”
  • The Password is a Swordfish: 5th on a list of Best Actors – Robert Pattinson
  • The Village Voice: 6th on a list of Best Directors of 2012 – David Cronenberg
  • The Password is a Swordfish: 7th on a list of Best Directors – David Cronenberg
  • Indiewire Critics Poll: 8th out of 50 Best Ensemble 
  • 24fps: David Cronenberg named Best Director and Pattinson, Best Actor
  • Indiewire Critics Poll: 20th out of 50 Best Director – David Cronenberg
  • The Village Voice: 13th on a list of Best Actors of 2012 – Robert Pattinson
  • Indiewire Critics Poll: 40th out of 50 Best Performance – Robert Pattinson
  • Indiewire Critics Poll: 39th and 46th out of 50 Best Supporting Performances – Paul Giamatti & Sarah Gadon
  • Indiewire: One of Favorite Unconventional Performances – Kevin Durand
  • Indiewire Critics Poll: 14th out of 50 Best Screenplay – David Cronenberg
  • Film School Rejects: 3 out of 12 best movie soundtracks and scores of 2012
  • Indiewire Critics Poll: 15th out of 50 Best Original Score or Soundtrack
  • The Village Voice: Paul Giamatti among a list of Best Supporting Actors
  • The Village Voice: Sarah Gadon, Samantha Morton, Emily Hampshire and Juliette Binoche among a list of Best Supporting Actresses
  • The Village Voice: Cosmopolis among a list of Best Screenplays
  • Vancouver Critics Awards: Nominated – Best Canadian film, best director, best actor for Robert Pattinson, and two best supporting actress nominations, for Sarah Gadon and Samantha Morton.
  • Online Film Critics Society: Cosmopolis nominated for Best Adapted Screenplay
  • Canadian Screen Awards: Nominated for Adapted Screenply, Score, Original Song
  • International Cinephile Society: Cosmopolis nominated for Best Adapted Screenplay
  • Flavorwire: 27 out of 30 for best movie poster 2012
  • FilmFest: Audience vote 1 of the 10 best of 2012
  • IFC: Unforgettable Movie Moments of 2012
  • Icon Film Distribution: Top 10 Actors of 2012 – Robert Pattinson for Cosmopolis
  • CriticsTop10: 25th out of 50 films making Best Of lists
  • Vulture: Critics list of cultural events of 2012 – Seitz: “David Cronenberg’s Cosmopolis seems pretty much perfect to me. I saw it a couple of months ago, and not a day has gone by that I haven’t thought about it.”
  • Cinema Scope: Top 10 of 2012 – Honorable mention
  • (newSaturn Awards – Best DVD/BluRay releast nomination
Posted in Best of..., Cosmopolis, David Cronenberg, Don DeLillo, Emily Hampshire, Jay Baruchel, Juliette Binoche, Kevin Durand, Mathieu Amalric, Patricia McKenzie, Paul Giamatti, Paulo Branco, Robert Pattinson, Samantha Morton, Sarah Gadon, Score and Soundtrack | Tagged , , , | 7 Comments

ONTARIO: Cosmopolis is 1 of 14 “Must See Canadian Films” at the Domestic Arrivals Festival March 2nd


Cosmopolis will be shown at the Domestic Arrivals Festival on March 2nd in downtown London, Ontario at the Museum London.

10:00 pm
Cosmopolis, David Cronenberg, 2012, Canada, 109 min, 14A

Arriving in the wake of the Occupy movements and the recent financial collapse, David Cronenberg’s stylish and timely adaptation of Don DeLillo’s apocalyptic satire follows a billionaire financier (Robert Pattinson) as he creeps across an imploding New York City in a limo, his life of absurd luxury collapsing around him. It’s a scenario geared expressly toward Cronenberg’s sensibilities, playing out like Videodrom–or, as The New Yorker argued, Crash–transplanted to the endangered world of the one per cent. With Robert Pattinson, Paul Giamatti, Juliette Binoche, Jay Baruchel.

Canada’s Top Ten 2012

If you’re in the area, go show your support for this excellent film! Tickets are $10 at the door. Click HERE to see other pricing and to purchase.


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The Vancouver Film Circle Critics award Sarah Gadon Best Supporting Actress for ‘Cosmopolis’

The chauffeurs send huge congratulations to Sarah Gadon! We loved her performance as Elise “We will. We Shall” Shifrin and are thrilled to see it recognized last night by The Vancouver Film Circle Critics.🙂


From The Globe and Mail:

On the Canadian side, Kim Nguyen’s haunting child soldier drama Rebelle and Panos Cosmatos’s feature film debut Beyond the Black Rainbow each received three awards. Rebelle was named best Canadian film, Rachel Mwanza best actress in a Canadian film, and Serge Kanyinda best supporting actor in a Canadian film. Beyond the Black Rainbow, a science fiction film set 20 years in the past, picked up awards for best director of a Canadian film (Cosmatos), best actor in a Canadian film (Michael Rogers), and best British Columbia film.

Rounding out the Canadian awards, Sarah Gadon was named best supporting actress in a Canadian film for David Cronenberg’s Cosmopolis.

Congratulations Sarah! And congratulations to ‘Cosmopolis’ for all the nominations.

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Toronto: Ticket info for special ‘Cosmopolis’ screening with David Cronenberg


‘Cosmopolis’ is starting 2013 with a BANG; it arrived on DVD and Bluray on Jan 1 and is showing up on an impressive number of “Best of 2012” lists. Now, lucky Torontonians have another chance to see ‘Cosmopolis’ on the big screen at TIFF Bell Lighthouse this Friday and Saturday (January 11 & 12). As if that isn’t enough bang for your buck (see what I did there?) the man himself, David Cronenberg, will be addressing the audience at the Friday screening only.

You can click HERE to order tickets online or call 1-416-599-TIFF for further info.

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REVIEW: 4 out or 5 stars! Cosmopolis Bluray details and more on ‘Citizens of Cosmopolis’ special feature

Slant Magazine reviewed the Cosmopolis Bluray and gave the overall film and features 4 out of 5 stars. Here’s an excerpt of the special features review.


Cronenberg delivers another distinctive, compulsively listenable commentary track. Per usual, he comes across assuredly articulate, icily intellectual, and dry as a martini. He discusses what interested him in Don DeLillo’s novel (above and beyond the book’s prescient socioeconomic material, it was DeLillo’s mannered dialogue, which the director describes as “Pinteresque,” that struck him) and how he put together a script in just six days. Cronenberg covers at length the casting process and the rigors of the studio-bound shooting (combining sets and extensive CGI in order to have Toronto stand in for New York). Funniest bit: Cronenberg advising Robert Pattinson that if a GP ever gave him a prostate exam that lasted as long as the one in the film, that doctor had plans for him “other than medical.” Calling “Citizens of Cosmopolis” a featurette is a bit of a misnomer, since this comprehensive making-of doc runs as long as the film itself. Featuring most of the cast and crew as talking heads, it also provides unprecedented, in-depth access to Cronenberg’s directorial process. As such, it’s essential viewing for fans and film students alike. And if that’s not enough, the disc includes another 30 minutes’ worth of interviews; some of the material is culled from the documentary, but sufficiently expanded on to make them worthwhile in their own right.

Click HERE for more on the Bluray review and a reprint of the film review. We posted it back during Cannes but it’s great and should be read again (“diamond-hard and dazzlingly brilliant“).

Screen Shot 2013-01-03 at 7.03.41 PM

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INTERVIEWS: David Cronenberg talks about Howard Shore and Metric, the limo as metaphor and MORE


The US release of the Cosmopolis Bluray/DVD has brought on a slew of new David Cronenberg interviews. This batch is from Details, The Playlist and IFC.

IFC: They have a feature called “Call-In Commentary ” where they ask directors to weigh in on their film trailers. The Cosmopolis trailer had some heat from folks because they felt it didn’t represent the film but I like what David says here and agree very much with his last sentence. Click HERE to watch the video and be sure to check out his commentary on the whole film in the Bluray/DVD special features.

The Playlist: They got to interview David Cronenberg and talk to him about his novel, Maps To The Stars and of course, Cosmopolis! An excerpt:

Howard Shore was instrumental in reaching out to Metric to do the score for “Cosmopolis.”
Among the many unique touches within Cronenberg’s dizzying “Comopolis,” was a score that included music from Canadian rock group Metric. And the director credits composer Howard Shore, who also worked on the film, for getting the band involved. “He is very collaborative and very inventive. When he mentioned Metric and thought that their music would be a really good fit, I thought it would go well with the movie,” Cronenberg said. “And I really depend on Howard and that collaboration because he really does know so many people in the business and his tastes are very broad and he really does have an appreciation for all types of music. You can always really depend on him to bring in really interesting elements into your score. And he did.”

David Cronenberg says Robert Pattinson surprises him as an actor, just like Viggo Mortensen.
Many wondered if how “Twilight” star Robert Pattinson and director David Cronenberg would mesh, particularly on a project as talky as “Cosmpolis,” which requires a confident and compelling leading man. But as it turns out, Cronenberg had a great time working with the young actor and has nothing but praise for the rising star.

“I really think he’s a terrific actor. He’s extremely inventive. He surprised me every day on ‘Cosmopolis’ with the nuances and things that he did which were unexpected. Of course I was very familiar with the dialogue and yet he would surprise me,” Cronenberg enthused. “And I thought, this is a guy who I would like to work with some more, which is how I felt with Viggo Mortensen. When you find an actor who surprises you everyday, you figure, he could do it some more with a completely different role in a completely different movie.”

Click HERE to read about David’s comments on his next film, Maps To The Stars. We’re going to be covering that film as well. For now, you can follow us on twitter:

Details: Another great interview with David Cronenberg and the author was pretty stoked about it🙂

DETAILS: You directed Fast Company (1979), Crash (1996), and now Cosmopolis. What is it about sexy cars that keeps pulling you back in?

DAVID CRONENBERG: The car here is very metaphorical. It’s a time machine. It’s a time capsule. It’s a spaceship. And it’s a tomb in a way. It’s a mausoleum for [Cosmopolis character Eric Packer]. It really has metaphorical import more than car import for me.

DETAILS: Did spending most of the film inside the limo feel more like a limitation or a freedom?

DAVID CRONENBERG: I actually like shooting in confined spaces. I find that you get an automatic enhancement of intensity and it’s also a really interesting visual challenge. Prior to shooting, I showed my crew Lebanon, which is this Israeli movie that takes place entirely inside a tank and Das Boot, which takes place almost entirely in a submarine. Just to encourage them to feel not the limitations, but the creative possibilities.

DETAILS: There’s a very slick, high-tech fashion to the film. What was your inspiration for the look of Rob’s character?

DAVID CRONENBERG: It all comes from what the characters are supposed to be in the movie. They’re both very wealthy. They’re both very comfortable with their wealth. It’s interesting because some people have asked, “Is Rob’s fame a parallel to Packer?” And I say, “No, quite the contrary. Eric Packer is not famous at all. He doesn’t want his name in the paper.” He dresses well, but sort of conventionally. In fact, Rob said that he wanted the guy to be dressed in almost a non-descript way. It’s expensive clothes, but it’s not flashy.

David continues to talk about Cosmopolis, Maps To The Stars and more so click HERE to read the whole interview!

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INTERVIEW: David Cronenberg talks in-depth with IGN about Cosmopolis, the Bluray/DVD special feature, Batman and MORE

David Cronenberg continues to give us great, in-depth info on Cosmopolis and mentions the awesome special feature included on the Bluray/DVD (available NOW! Check our sidebar for links.)

David Cronenberg Attends 'A Dangerous Method' Photocall in Madrid

IGN: Many people left Cosmopolis with questions, how do you feel that features like “Citizens of Cosmopolis” are going to illuminate things, or further the conversation?

David Cronenberg: I think the “making of” is actually longer than the movie, so it should do something along those lines. Obviously anyone who bought the DVD is interested enough in the movie to pursue it. I think one of the reasons that I like doing a really good “making of” is that we try very hard when we do that to not just make it a sort of fluff piece where everybody says, “it was great working with everybody,” but to really show what the process of making the movie was. As a result, for example, it’s great for film students and film enthusiasts because it’s as close as some people get to really being on a film set. And in this case it’s an unusual film set, obviously, because of the limo and so on. So we really took a lot of care to make sure that it was accurate, honest, straightforward and illuminating.

IGN: One of the things that the film is dealing with, thematically, is what the marketing materials refer to as “contemporary obsessions.” In other words: money, power and technology. In my mind our obsessions are the same as they’ve ever been, they just kind of have a different coat of paint. We’ve been obsessed with money, power and technology through the millennium, starting with fire, it’s just that it looks different, now. I’m wondering what your perception is, though. Do you think a technological obsession is specifically a contemporary concern? Or are these just human obsessions?

Cronenberg: I think that’s accurate, yeah. I mean it’s well known I think, if you’re an artist, that you have to be very particular in order to be universal. You have to be very specific, and Don Delillo chose the world of finance and this particular character and his sort of bubble/hermetically sealed existence in that world to really talk about the human condition in general. I think that’s the way it works. So, although you could see the movie and the book as being about finance on Wall Street, I think that’s just a jumping off spot to talk about more universal aspects of what it is to be a human being.

IGN: One of the things that feels universal in the movie is the idea of razing, or destroying things. There’s kind of a revolution going on as Robert Pattinson’s character, Eric Packer, is razing (intentionally or not) his company, and in effect his life – his marriage, his relationships and so on. For you, is that about doing what’s necessary for change? Kind of like burning the earth.

Cronenberg: Well it’s kind of a cliché that capitalism is creative destruction, but there’s some truth to that. I mean capitalism doesn’t exist outside of human society. There’s no natural equivalent to capitalism, really. Although people like to think of it as survival of the fittest, or this or that, in fact it’s a uniquely human invention. It’s kind of strange isn’t it? Because we invented money, but we can’t control it. You know you’d think that the world could also say: “Look, we’ve invented this, and things are going wrong, and we’re all suffering, so let’s just fix it, because we can.” It’s not the same thing as a natural disaster like a tsunami or an earthquake where we can’t control it. But it seems to take on a life of its own so that a financial disaster is like a tsunami. It’s really intriguing, and I think that the movie discusses that on a metaphorical level.

IGN: This particular character, Eric Packer, is forced into a confrontation with this other side to himself in the Paul Giamatti character, Benno Levin. They’re like two sides of a coin and Packer’s confrontation with Benno amounts to the final destruction of his ego and the life he had created for himself, and buried himself in. It feels like in order for him to have that confrontation that there has to be a level of violence between them. I’m wondering if that’s part of your overall interest in violence, the idea that the violent destruction of the ego is in some ways necessary for each of us as individuals.

Cronenberg: It’s so interesting that you say that because in the movie I made before this, A Dangerous Method, the character played by Keira Knightley, Sabina Spielrein, one of her revelations was the destruction of the ego in sexuality and the sexual act, and the fear and the anxiety that that alone can cause. So, the protection of the ego can be quite a desperate undertaking. I think if you look at it, you’ll see that every day in your social life. With Eric, he comes to a point where he wants to disappear, he wants to dissolve. He wants to destroy the ego that he has created. And that means also destroying the life that he’s created for himself. That’s what he’s seeking. People were very shocked when he shoots Torval, his bodyguard in the film, and I think perhaps wondered why he would do such a thing. Torval, though he’s hired to protect him, is not just a bodyguard, he’s also a he represents the life that Eric has created for himself. He represents and embodies that, so the first thing he has to get rid of is Torval, if he’s going to get rid of his life. Because Torval nags him to be careful and protect himself, he’s really protective of the life that Eric has created. So you get this strange paradox where he has to destroy a person that he’s hired to keep himself safe.

Click HERE to keep reading this great interview! 

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VIDEO: Grab the Bluray/DVD for a fantastic feature film length extra + Cronenberg & Pattinson talk Cosmopolis

Cosmopolis is available on Bluray/DVD as well as OnDemand outlets (cable, iTunes, Amazon, Walmart). Be sure to pick up a copy of the Bluray/DVD just for the Citizens of Cosmopolis special feature. It’s the length of a feature film and gives an exceptional inside look into the making of Cosmopolis. The commentary is invaluable and all fans and cinephiles will love it!

Here’s a short video of David Cronenberg and Robert Pattinson talking Cosmopolis and a little behind-the-scenes footage.

Thanks Laurie!

Posted in Cosmopolis, David Cronenberg, DVD/Bluray, Robert Pattinson, Videos | Tagged | 4 Comments

INTERVIEW: David Cronenberg talks Cosmopolis, Bluray extras, award campaigning, ‘Maps To The Stars’ and more!

Movieline has a great interview with David Cronenberg. We excerpted the bits about Cosmopolis and the final note on Maps To The Stars but visit Movieline to read the interview in its entirety.


The Blu-ray release of Cosmopolis is coming out in the heart of Oscar-campaign season. I get the sense it doesn’t bug you too much that this film isn’t being discussed more as a contender.

Yes. Every year I try to be as disconnected as possible. This year it’s been very easy because we haven’t been nominated for any awards. It’s not sour grapes, it’s not compensation; it’s a relief. It’s very easy to get caught up in it if you are nominated. The people who are releasing the movie get excited, they want you to do more, and you understand it because the awards can maybe get more people to see the film. This, on its face, is a good thing. However, it is all bullshit, it is all annoying and it is all very problematical. But it gives people stuff to write about, gives structure, we understand. But I won’t be watching any of the awards shows.

End of the year lists, though — Cosmopolis did end up placing second in Cahiers du Cinema‘s top ten of the year.

Yes and on Sight and Sound‘s list, as well.

So the snooty-pants Euros are digging the movie. And, it’ll no doubt end up somewhere on my top 20, I think. [Note: it came in at #12.]

If I gave you money would you put it higher?

No. Well?

Depends how much money. C’mon, let’s talk. A hundred grand goes a long way.

Would you give me a hundred grand to write that Cosmopolis is the best movie of the year?

No! [Laughs.] But it’s a thought.

Let’s be honest — at this stage in your career, let’s say you met the most reputable critic in the world, you met him at a bar and he said, “Oh, man, I’m in a real money crunch right now, I will make Cosmopolis my #1 of the year for X amount of dollars,” do you consider it for a second?

No. But that’s because I’m too cheap. But… fact is, I have been on those lists, New York Times has been very positive on my last few movies, we got three great reviews from three critics at the New York Times for A Dangerous Method. But we still didn’t get…[laughs]…it didn’t…

Still nobody in the States sees your damn movies, it’s Europeans only!

That’s right. It doesn’t do much. But, listen, you like the validation, especially when they are intelligent people who write beautifully and when they applaud your movie it is terrific and gratifying. Pragmatically, it doesn’t do much. Better to get good reviews over bad, obviously, but we all know terrible movies that got terrible reviews that made a lot of money. There’s no one to one relationship. You just have to get very ’60s… just go with the flow.

Cosmopolis is coming to Blu-ray and – OW! Oh, crap, the cat just jumped on me.

I like cats.

Yeah, he’s adorable, but very heavy. Sorry, so… Cosmopolis on Blu-ray. Special deleted scenes on here?

I’m usually reluctant to include deleted scenes. They’re deleted for a reason. I like the the magic. On A History of Violence I included one or two because they were unusual, but that’s the only time I’ve done that. On the other hand, I really appreciate a good “making of” documentary. I find that film students and film fans who might otherwise never get on a film set might really see something if you, the creator, are honest. Of course, I’m not doing the “making of” myself — I’m too busy making the movie — but I do encourage the reality principle. I don’t want the “making of” to just be a promotional spot. Similarly, when I do a commentary, as I’ve done for Cosmopolis, I don’t bullshit. I don’t just say how wonderful is to work with or how much fun we had at the wrap party. I talk about the making of that particular moment we’re looking at.

Cosmopolis is all green or blue screen and interiors designed to look like exteriors, correct?

Yes. There were hybrid sets with street furniture, then beyond that was all green screen. It’s amazing how convincing it is. For me, the best special effects are the ones that are invisible. I’ve created creatures, like for eXistenZ and other films, but mostly special effects are a wonderful tool for invisible things like that are very convincing that you couldn’t have done before.

Is your next project ready to go?

Finishing my novel right now, and I hope to be shooting Maps of the Stars in May, written by Bruce Wagner. However, it is an indie project which means, therefore, that it could fall apart.

Well, the novel is just you and the page, so you’ll have no easy excuses there.

That’s it. I’m hoping it is published at the end of next year.

Click HERE to read the entire interview.

We are gathering a list of Cosmopolis rankings for 2012 HERE.

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INTERVIEW: David Cronenberg talks Cosmopolis and praises Pattinson and Giamatti’s final scene


David Cronenberg spoke to ET Online about Cosmopolis (due in the US Jan. 1st) and working with Robert Pattinson.

Twilight vamp Robert Pattinson plays a bloodsucker of an altogether different kind – the Wall Street kind – in his new movie Cosmopolis, on Blu-ray and DVD New Year’s Day, and the film’s director David Cronenberg tells ETonline that he was actually quite impressed with what Rob brought to the table, and that after the baggage of casting — once you get to that point when you’re on set and cameras are rolling — “Twilight is irrelevant.”

“He surprised me every day with good stuff,” says Cronenberg. “I don’t do rehearsals, and I try not to shape the actor’s performance at first. I want to see what his intuition is going to deliver. And then if there’s a problem then I start to shape it, nudge it, manipulate it a little bit. I did very little of that with Rob.”

Based on the novel by Don DeLillo, Cosmopolis follows one day in the wild life of multi-billionaire asset manager Eric Packer, who travels aimlessly through the streets of New York City in his limousine while conducting investment trading from the back seat. As the day progresses, it devolves into an odyssey with a cast of characters that start to tear his world apart.

“He absolutely would say to you right now, ‘I had no idea what I was doing at any time,’ and he would mean it,” says the veteran director of Rob’s performance. “I think he really didn’t realize how good he was. … He was surprising himself, but he was surprising me by his accuracy. It was just dead on. I mean, by the end of it we were doing one take. Honestly the whole last scene, the whole last shot in the movie with him and Paul [Giamatti] — one take. And it’s a long take as well. And it’s very emotional, and very subtle. One take for both of them, it was so good. … In fact, we finished the shoot five days early, and a lot of that was due to Rob.”

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