Sarah Gadon sat down with Now Toronto to talk ‘A Dangerous Method’, David Cronenberg and ‘Cosmopolis’. There is some great stuff about the differences in filming each of the films. Also, interesting to note this is David Cronenberg’s first digital film. This is an excerpt so be sure to check out the full interview at Now Toronto.
Gadon’s career stepped up several levels when David Cronenberg cast her in his back-to-back productions of A Dangerous Method and Cosmopolis opposite Michael Fassbender and Robert Pattinson, respectively. We sat down at the Toronto Film Festival the day after A Dangerous Method’s Canadian premiere to discuss working with Fassbender, the fashions of Old Europe and how a good corset can help an actor find her character.
And then you and Cronenberg shifted gears completely for Cosmopolis, which is set in pre-9/11 Manhattan.
[Laughing] Dangerous Method and Cosmopolis are entirely different. Cosmopolis is modernist, but it almost has this futuristic kind of feel – it’s also going to be David’s first digital film. Yeah. So it’s going to be very, very different.
Was it easier to start into Cosmopolis having worked with Cronenberg on A Dangerous Method? Or were the projects roughly the same, in terms of the challenge?
A Dangerous Method was really daunting. I was terrified, you know, as the fifth lead with Viggo [Mortensen] and Keira [Knightley] and Michael [and Vincent Cassel]. I didn’t sleep at all during the shooting of the film. So going into Cosmopolis was a little more relaxing. I knew what the process was going to be like; I knew there was nothing to worry about. I’d never even met David before I stepped on set for A Dangerous Method, so I had a lot of anxiety and anticipation about what he would be like as a filmmaker, because… look at his films, and the kind of work he creates. I mean, I have no idea what it takes to get that! So I was really nervous. Cosmopolis was just… everything was better, everything was more at ease, everything was great.