MTV: Meanwhile Robert Pattinson has been describing the vampire sex in the film as “ridiculous” in recent interviews.
Meyer: Yeah I saw that. I think he was talking about how it was so hard to keep a straight face [during that scene]. For the actors, there are 40 people in the room and most of them are inches away from you. It’s a kind of awkward menage-a-forty going on. I think when you see the scene it’s a testament to their acting ability that you don’t see any of that in that moment at all.

MTV: Kellan Lutz recently said there’s a special bonus scene during the credits. What can you say about that?
Meyer: That’s actually incorrect. What they’ve been talking about will be in DVD extras I assume but it’s not in the credits. There is no extra scene.

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Producer Liz Watts is calling David Michod’s new film The Rover “a dirty and dangerous near-future western set in the Australian desert”.

She confirmed what the Internet is buzzing about: that Guy Pearce and Twilight heartthrob Robert Pattinson are in discussions to play, respectively, a man in pursuit of the people who stole his car and the brother of one of the thieves in Michod’s follow-up to Animal Kingdom.

Reluctantly, Watts also added a few more details: it is hoped that The Rover will go into production late in the year and discussions about the project started 18 months ago between Michod and US producer David Linde.

Last year Linde opened the production and financing outfit Lava Bear Films with backing from Reliance Entertainment. At the time the company announced it had a first-look deal with Universal Pictures for the US and other significant international territories. Linde was, at one time, co-chair of Universal.

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KNIGHTLEY: I think you could function anywhere. But I think when you get to the big ones, it becomes much more difficult to make it such a personal experience. I enjoy making films like A Dangerous Method more because you get so close with the people you’re working with. You rely on everybody on a very personal level, as a team. Bigger films are more difficult because the number of people is so huge. But the thing about working with you is that there’s always a definitive answer—they’re very much your films and you make the decisions. I find it quite difficult on studio films because there are so many different executives and things like that that you have to go through, so very often getting that definitive opinion is actually quite difficult. I always find it much easier when there’s one person whose vision you’re following, as opposed to many people.

CRONENBERG: Well, a benign dictatorship, I think, is what it’s supposed to be on a film set. But Rob Pattinson, who stars in the film I just shot, Cosmopolis, was commenting on that, too. He was saying that because he’s done these Twilight movies, he was sort of astonished that I could just make a decision right there on the set and that was it. But for me, that’s business as usual, of course.

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I have a weird relationship with fame. It’s hard to live sometimes but I don’t want to complain. People are nice with me and I think it comes with the way you handle things.

For example, I think it’s totally different from what Rob (Pattinson) lives. He’s a guy I like a lot – and no I do not have his cell phone number, I say this because it’s always the first thing people ask me. He’s a sex symbol. He’s sexy and just need to do his brooding look for girls to fall. He has the perfect height to seduce girls, I’m the total opposite (laughs). He might be charming and cute, wild and sexy .. I do not have this kind of status, just look at pictures in the press. When we’re put side by side, I look a little silly or I make faces whereas Rob always looks like a ladies’ man. Therefore it doesn’t help me when it comes to the ladies. Maybe because now that they grew up with me they consider me more like a big brother than a potential boyfriend.

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Philip Glenister is not given to musing about his work. He’s a jobbing actor – or at least that’s what he’d have you believe. When asked what made him commit to playing Charles Forestier, a journalist in 19th-century Paris in new film Bel Ami he quips, ‘I was free on a Tuesday.’

But much about Philip is a front. Behind the gruff exterior – which he used to great effect as the brash DCI Gene Hunt in Life On Mars and its sequel Ashes To Ashes – is not quite a softie, but certainly someone who cares about his craft and works hard. He just likes to joke about it.

I ask him whether he had any journalists in mind when playing Forestier, the man who gives Robert Pattinson’s caddish character Georges Duroy his big break. ‘I based it on Piers Morgan,’ he says with a cackle.

Forestier and his wife, Madeleine, played by Uma Thurman, take Duroy under their wing, and she advises him the best way to get on in Paris is via the city’s most influential wives. Duroy embarks on some torrid affairs and steamy bedroom scenes as he scales the social ladder.

So how was it working with such impressive actors on the risqué period drama? Word is, Uma can be temperamental. ‘She’s bonkers,’ he jokes. And then there was Robert, one of the hottest actors in the world thanks to his role in the Twilight films. ‘We were filming at a house in Hertfordshire adjoining a school. The pupils got wind of it and started chanting, “Robert, Robert”. We had to threaten them with cattle prods!’

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During his visit to Brazil to promote the comedy War is War!, Reese Witherspoon took the opportunity to talk about the actor Robert Pattinson, who appeared opposite the drama Water for Elephants.

In the movie, Twilight star plays a veterinary student who joins a circus at the beginning of last century.

Reese now lives the character Marlena, the star of the circus, bride of an animal trainer.

- He’s great. And my God, how beautiful!

The actress Pattinson praised the effort to reconcile two jobs at the same time.

- What surprised me was his dedication. He filmed the entire weekend, then spent the week with Twilight, then the other weekend had more to write, and then more Twilight … And yes it had a lightness, humility. And he is very grateful for everything that is living.

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So how is the film world treating you?
Donnellan: The red carpet in Berlin was absolutely amazing. We’d never had much intrusion from Robert’s fans, and Rob’s really serious – he insisted on rehearsing for a whole month before we started to shoot. There was no intrusion on the set. The thing they had in common – all the principles came from completely different background in cinema. They all had one thing in common, in that they were doing something they’d never done before – the roles stretched each of them. Then we hit Berlin… [laughs] It was incredible fun.
Ormerod: We expected something fairly extraordinary, and it was amazing.
Donnellan: Nick burst out laughing one morning when he was reading the emails. He couldn’t stop laughing, saying “we had a letter from Hugo Boss, asking permission to dress us in Berlin!”
Ormerod: This is a Hugo Boss jacket!

Were there changes from the novel?
Ormerod: Obviously you have to leave out whole great chunks of a novel. Part of the story is an opposing newspaper, and he has a duel with one of the journalist. We focused on what we felt was the heart of the story, which is his relationship with the four women.
Donnellan: And his profound love affair with himself! That’s the love story at the heart of Bel Ami!
Ormerod: The politics are there, but the point being that Georges Duroy is not interested in the politics. He couldn’t give a – this isn’t on the radio, is it? – about the politics. So they bubble up, but only in as far as they direct his pocket basically.

Georges has no redeeming qualities at all – I enjoyed how brutal he was.
Donnellan: Rob was completely fascinated by the fact he has no redeeming qualities. The other thing is that he’s not really ambitious for money, and he’s not really that bright, and hasn’t got any ambitious grand plans. He just wants what you’ve got. He’s completely reactive to what the other guy’s got. He’s so completely consumed by envy. I think he’s got one huge redeeming feature, in that he wants to live. That’s why we fought to keep in the death he witnesses at the heart of it. For me it’s really important that he sees this one thing that makes him think, “I’m going to fucking live.” I think that’s a completely admirable quality for a human being. It’s very tough, as not everybody wants to live that much, because we’re a mixture of wanting to live and wanting to die, and he so purely wants to live.

Can I ask how you get such a cast on a relatively modest budget?
Ormerod: The more you hear about film, you realise that people [actors] aren’t well-paid and they will do a project they want to do. I’m glad to say they wanted to work with us, but they also loved the script – Rob really grabbed at it, and loved the character.
Donnellan: We know a lot of movie actors – the ones you can imagine we know – and it’s very interesting how little they get paid. All the interesting projects don’t pay very much. All the gazillion pounds that you hear tends to be for other kinds of movies, the type that famous actors do, if you see what I mean. People do do things for very little. You hear it cost 9 million euros, and that sounds like a huge amount but it really isn’t once hundreds of people are paid and you have to move from one location to the other. I’ve never been on Easyjet so often! It wasn’t glamorous, I can tell you!

What was it about Rob that you liked?
Ormerod: I think he’s perfect for the role. He has those matinee idol good looks, the sort of gigilo looks that those women completely fall for, and yet he has a darkness, and interest, and a vulnerability sometimes too.
Donnellan: He’s very bright too, and he understood the character. Rob’s got an enormous amount of talent, but we’re all fascinated by this character who has no talent. It’s a modern story – the person who gets to the top with no talent. A journalist asked us the other day, “was this the first time the two of you have worked together?” You do start asking, how did they get the job? When I was young, it was really difficult to get jobs, and I think a lot of people get jobs because… I don’t know. There’s this fascination with how people get to the top of their jobs. They get there because they’re empty, because they have no imagination, so other people can pin fantasies on them.
Ormerod: In every organisation you see them – their one talent is to get to the top.

Were you under any pressure to tone down the sex scenes when Rob came on board, in terms of attracting a wider audience?
Ormerod: No, the film is about sex. It’s not titillating sex.
Donnellan: It’s about a guy who sells his body, basically. All these women are in comfortable marriages, and none of them want to get divorced. Their relationship with him is essentially sexual.

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In fact, Almaric — best-known to American audiences through his roles in “Munich, “Le Scaphandre et le Papillion” (“The Diving Bell and the Butterfly”), and “Quantum of Solace,” has been a director longer than he’s been an actor. As a teenager, he took a job as a trainee AD on Louis Malle’s “Au Revoir les Enfants” and he won Best Director at Cannes in 2010 for “Tournee.” He has also worked with some of France’s best directors, of course — among them Arnaud Desplechin and Alain Resnais — and he’ll next be seen in David Cronenberg’s forthcoming “Cosmopolis,” playing a “pastry assassin” who creams Robert Pattinson in the face as part of his mission to sabotage power and wealth worldwide. Almaric sat down with The Playlist to talk about his philosophies on- and off-screen, and why he feels an actor is “nothing.”

As the pastry assassin, you get to throw a pie in Robert Pattinson’s face and then give a six-page monologue.

Cronenberg is very close to the book. And Rob is a great guy. Yeah, yeah — it’s a tough scene. I had to speak in English, and Cronenberg shot it in one sequence, where you do the whole scene in one shot. It was very physical, and I spoke so much. And you’re afraid, because it’s Cronenberg! [Laughs] But you manage to learn your lines, and I’m always surprised when I manage to be able to say the words in complete order, you know? I don’t know how it’s possible. But I think it’s going to be an amazing film, especially because he shot it in order, exactly as it happens in the book, about a man who gets broken.

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