Eric Packer, the icily charismatic asset manager played by Robert Pattinson in Cosmopolis, does a great many interesting things in a single, fateful day. In his white stretch limousine, he attempts to traverse Manhattan in gridlock traffic amid violent Occupy-like protests, and all in search of a haircut. He forfeits hundreds of millions of dollars in a suicidal currency-speculation bid. He enjoys afternoon sex with a comely security specialist wearing a body-armor vest with a stun gun on hand. He also has sex with Juliette Binoche. He also endures a weirdly erotic prostate exam while staring into the eyes of a sweaty associate. He gets a pie in the face from a “pastry assassin” who travels with a crew of paparazzi. He is stalked by an actual would-be assassin as well.
So much to talk about! But overshadowing Pattinson’s press tour for Cosmopolis—directed by the great David Cronenberg and adapted from Don DeLillo’s 2003 novel—is the recent tabloid frenzy surrounding his breakup with Twilight costar Kristen Stewart. (The final film in the Twilight franchise is out in November.) TIME sat down with Cronenberg and Pattinson—fresh-faced, sweet, totally affable, smoking an electronic cigarette— in Manhattan’s Soho neighborhood the day after the New York City premiere of Cosmopolis. We mostly stayed on topic, if occasionally tiptoeing awkwardly around the heartbroken vampire-elephant in the room.
TIME: Cosmopolis was published in the first year of the war in Iraq, and in a wave of novels that were all described as being “post–Sept. 11” in one way or other, but now the story maps on remarkably well to Occupy Wall Street and other protest movements around the world in 2011. David, at what point did you encounter the book, and when did you know it was a movie?
David Cronenberg: It was about three years ago, and the attraction wasn’t that the novel was prescient or because of its historical place. It was the characters, the dialogue, the intensity, the humor—it’s constantly funny. I wasn’t looking to make any kind of statement. Inevitably, though, if you’re making something with integrity, it will say something about the time it’s being made in. When the novel came out, people were saying, “All this demonstrating-on-Wall-Street stuff isn’t very convincing.” Now it’s obvious.
Robert, DeLillo’s dialogue is hyper-stylized, very formal, and often steeped in theory. How did you approach it?
Robert Pattinson: The first thing I connected to was the humor. Everything else seemed kind of arbitrary. I liked that it was absurd and unrelatable in a lot of ways. I thought that Eric doesn’t understand himself, so that was my angle—play the part as if you don’t understand the part. [Cronenberg laughs merrily] Try to remain lost. I noticed that every single time I came into a scene with an idea or an angle about how to do it, it would feel wrong, and David would know it was wrong. When I was kind of somewhere else, not thinking at all—that was when it felt right.
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