For the past year, Robert Pattinson has been trying to disappear. He says he\u2019s been actively avoiding having his photo taken, trying to erase a tabloid persona. \u201cI\u2019m just trying to not be in stupid gossip magazines, basically, and I think the best way to do it is never be photographed ever,\u201d says Pattinson. \u201cAs I get older, I just get more and more and more self-conscious about getting photographed. I don\u2019t know why. I\u2019ve done it too many times and now I feel like everyone can see through me.\u201d Not being photographed isn\u2019t an option for Pattinson at the Cannes Film Festival: The annual Cote d\u2019Azur extravaganza is famous for its walls of photographers and its rabid hunger for celebrity. But Pattinson has unveiled a new, more mature image of himself at this year\u2019s Cannes. He stars in two of the festival\u2019s top films: David Michod\u2019s lean, dystopian thriller \u201cThe Rover\u201d and, in competition, David Cronenberg\u2019s dark Hollywood satire \u201cMaps to the Stars.\u201d In the latter, he plays a Los Angeles limo driver trying to break into the movie business. In \u201cThe Rover,\u201d which opens in the United States on June 13, he gives arguably his best performance yet, playing a bloodied half-wit who travels across a near-future Australian Outback with a terse man bent on revenge (Guy Pearce). With a halting Southern accent, he\u2019s a mangy, wounded puppy dog of a man, loyal to his companion.\nMore than any film before, \u201cThe Rover\u201d announces the 28-year-old former \u201cTwilight\u201d star as a talented actor of range, capable of disappearing into a complicated role.
\n\u201cIt\u2019s literally exactly what I wanted,\u201d Pattinson said of his Cannes, smiling atop the Palais des Festivals.
\nHis performances have been eye-opening for many, including Pattinson\u2019s co-stars. \u201cI wasn\u2019t aware of what he was capable of,\u201d says Pearce. \u201cOn the second day, I said to David, \u2018He\u2019s really (expletive) good, isn\u2019t he?\u2019\u201d
\nThe new chapter for Pattinson really began with his first collaboration with Cronenberg in the 2012 stylish Don DeLillo adaptation \u201cCosmopolis.\u201d Since then, he says, he\u2019s been choosing parts solely by director.
\n\u201cI sort of had a bit of a list,\u201d says Pattinson. \u201cThe things I\u2019m going to do next I\u2019ve said yes to them before I\u2019ve even seen a script.\u201d
\nAlong with Michod (\u201cAnimal Kingdom\u201d) and Cronenberg, Pattinson has shot movies with Werner Herzog and Anton Corbijn. He\u2019s lined up films with Harmony Korine (\u201cSpring Breakers\u201d) and Olivier Assayas (\u201cCarlos\u201d). All are widely acclaimed filmmakers who mostly operate far from the mainstream.
\n\u201cIt takes so much of the responsibility off you,\u201d says Pattinson. \u201cI don\u2019t like the idea of trying to make movies as, like, a vehicle. Also, I don\u2019t really know who my audience is. I don\u2019t know if I have an audience. Outside of \u2018Twilight,\u2019 I don\u2019t know.\u201d
\n\u201cPlaying the lead in \u2018Cosmopolis\u2019 was not at the time what he wanted to do,\u201d says Cronenberg. \u201cI had to talk him into it. He was really looking forward to playing a smaller role in an ensemble piece. In a way, (\u2018Maps\u2019) is kind of a perfect continuation of our relationship, which I really value.\u201d
\nPattinson auditioned for Michod for \u201cThe Rover,\u201d though the screenplay\u2019s scant backstory made it difficult. Exposition is largely resisted on the characters and the nature of the \u201ccollapse\u201d that destroyed Australian currency. Pattinson went in in character.<\/p>\n","protected":false},"excerpt":{"rendered":"