Robert Pattinson Reminds Audiences That Accents Are a Signature of His Performances in ‘Mickey 17’ 

This image released by Warner Bros. Pictures shows actors Anamaria Vartolomei, left, and Robert Pattinson, center, with filmmaker Bong Joon Ho on the set of "Mickey 17." (Jonathan Olley/Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows actors Anamaria Vartolomei, left, and Robert Pattinson, center, with filmmaker Bong Joon Ho on the set of "Mickey 17." (Jonathan Olley/Warner Bros. Pictures via AP)
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Robert Pattinson Reminds Audiences That Accents Are a Signature of His Performances in ‘Mickey 17’ 

This image released by Warner Bros. Pictures shows actors Anamaria Vartolomei, left, and Robert Pattinson, center, with filmmaker Bong Joon Ho on the set of "Mickey 17." (Jonathan Olley/Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows actors Anamaria Vartolomei, left, and Robert Pattinson, center, with filmmaker Bong Joon Ho on the set of "Mickey 17." (Jonathan Olley/Warner Bros. Pictures via AP)

Often when Robert Pattinson gets a script, one of the first things he does — to the annoyance of his girlfriend, Suki Waterhouse — is try on different voices to bring his character to life.

"I've always had that sort of response to a script," he reflected, but said it became a practice while making his 2014 film, "The Rover.I think I feel very uncomfortable just doing something in my own accent. And for a while I felt like just doing an American accent felt like I was acting more."

It's unsurprising, then, that when he was offered a starring role in "Mickey 17" — director Bong Joon Ho's first feature film since his Oscar-winning "Parasite" — Pattinson's wheels immediately began turning over what his character(s) would sound like.

"Mickey 17," a Warner Bros. release hitting theaters March 7, tells the story of Mickey Barnes, a naive but sympathetic protagonist who signs up to be an "expendable" in a world that makes use of "human printing" for dangerous tasks and research. When an expendable dies on the job, another version of them is printed with their consciousness and memories of their death intact.

But Mickey's immortality is threatened when a very different version of him is printed while the 17th Mickey is mistakenly believed to be dead.

"I needed to find an actor who could cover both personalities," Bong said through a translator, recalling Pattinson's performances in "The Lighthouse" and "Good Time" as he considered the more sinister and conniving Mickey 18.

The inspiration behind 'Mickey 17'

The film is based on Edward Ashton's 2022 novel, "Mickey7." But Pattinson, who read the book before he got the script, said he still can't believe how different they are from one another. "When I read the script and Bong's changes to it, I was like, 'How did you see this tone in this book at all?' It's very, very different tonally. But I thought it's fascinating to have that interpretation," he said.

Although Pattinson was eager to work with the acclaimed Korean filmmaker, he wasn't given a lot of initial information about the movie or role. "The only thing I knew was that it was in English and that the part was impossible," Pattinson said, laughing.

As he eventually gleaned more about the story and his character, ideas for Mickey — and Mickey's voices — began swirling around in his head.

Pattinson envisioned slapstick montages of his myriad deaths à la "The Tom and Jerry Show" — but that portion of the film turned out to be much darker than he expected. One early idea for voices that Bong shut down was inspired by Steve-O and Johnny Knoxville — Pattinson was a devout "Jackass" fan growing up and even repped a "Jackass" T-shirt to school "almost every day."

But one initial idea the 38-year-old had did stick. "My first thought, on pretty much the first read of it, was, 'It's like Ren and Stimpy,'" he said of the irreverent animated Nickelodeon series from the 90's about a cat and dog.

The dynamic between the two Mickeys is an apt comparison given Ren's short temper and diabolical nature (Mickey 18), which stands in stark contrast to Stimpy's naivete (Mickey 17). The similarities in their voices can also be heard.

"I kind of wanted to do this like cartoon character performance. You start out really, really extreme and then kind of gradually tone it down," he said of how he refined the characters. "When directors just let you do stuff, you just come out of the box doing whatever and wherever your instinct is taking you."

Working with Bong Joon Ho after 'Parasite'

In addition to Pattison, the sci-fi comedy boasts an impressive cast, including Mark Ruffalo,Steven Yeun, Toni Collette and Naomi Ackie. Although Ackie, who plays Mickey's romantic partner in the film, hadn't worked with Pattinson before, she said they quickly hit it off.

"We're both quite similar in how we work, which is very chatty up until the point of 'Action,' and then we do the acting. And I really enjoy that kind of separation between character and self. I find it quite difficult to hold onto characters once there's no cameras on," she said.

But it wasn't just Pattinson who made the experience a positive one for her. "I'm pretty certain you could ask anyone who works with Bong Joon Ho, 'Would you go back?' And they'd be like, 'I'd pay money.'"

Despite the notoriety the director has reaped since "Parasite" racked up four Oscars in 2020, including best picture and best director, Bong said the experience hasn't changed him.

"It was fun and exciting to meet with all these famous artists and filmmakers during the campaign, but I didn't feel like I was like on cloud nine. It was actually very mentally and physically exhausting because the campaign is so long and I just remember thinking, 'Wow, this is really tough,'" he recalled. "We kept just like handing each other vitamins."



Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
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Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)

Perry Bamonte, keyboardist and guitarist in The Cure, has died at 65, the English indie rock band confirmed through their official website on Friday.

In a statement, the band wrote that Bamonte died "after a short illness at home" on Christmas Day.

"It is with enormous sadness that ‌we confirm ‌the death of our ‌great ⁠friend and ‌bandmate Perry Bamonte who passed away after a short illness at home over Christmas," the statement said, adding he was a "vital part of The Cure story."

The statement said Bamonte was ⁠a full-time member of The Cure since 1990, ‌playing guitar, six-string bass, ‍and keyboards, and ‍performed in more than 400 shows.

Bamonte, ‍born in London, England, in 1960, joined the band's road crew in 1984, working alongside his younger brother Daryl, who worked as tour manager for The Cure.

Bamonte first worked as ⁠an assistant to co-founder and lead vocalist, Robert Smith, before becoming a full member after keyboardist Roger O'Donnell left the band in 1990.

Bamonte's first album with The Cure was "Wish" in 1992. He continued to work with them on the next three albums.

He also had various acting ‌roles in movies: "Judge Dredd,About Time" and "The Crow."


First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
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First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP

A Danish video game studio said it was delaying the release of the first James Bond video game in over a decade by two months to "refine the experience".

Fans will now have to wait until May 27 to play "007 First Light" featuring Ian Fleming's world-famous spy, after IO Interactive said on Tuesday it was postponing the launch to add some final touches.

"007 First Light is our most ambitious project to date, and the team has been fully focused on delivering an unforgettable James Bond experience," the Danish studio wrote on X.

Describing the game as "fully playable", IO Interactive said the two additional months would allow their team "to further polish and refine the experience", giving players "the strongest possible version at launch".

The game, which depicts a younger Bond earning his license to kill, is set to feature "globe-trotting, spycraft, gadgets, car chases, and more", IO Interactive added.

It has been more than a decade since a video game inspired by Bond was released. The initial release date was scheduled for March 27.


Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
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Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)

“Everybody wants to rule the world,” goes the Tears for Fears song we hear at a key point in “Marty Supreme,” Josh Safdie’s nerve-busting adrenaline jolt of a movie starring a never-better Timothee Chalamet.

But here’s the thing: everybody may want to rule the world, but not everybody truly believes they CAN. This, one could argue, is what separates the true strivers from the rest of us.

And Marty — played by Chalamet in a delicious synergy of actor, role and whatever fairy dust makes a performance feel both preordained and magically fresh — is a striver. With every fiber of his restless, wiry body. They should add him to the dictionary definition.

Needless to say, Marty is a New Yorker.

Also needless to say, Chalamet is a New Yorker.

And so is Safdie, a writer-director Chalamet has called “the street poet of New York.” So, where else could this story be set?

It’s 1952, on Manhattan’s Lower East Side. Marty Mauser is a salesman in his uncle’s shoe store, escaping to the storeroom for a hot tryst with his (married) girlfriend. This witty opening sequence won’t be the only thing recalling “Uncut Gems,” co-directed by Safdie with his brother Benny before the two split for solo projects. That film, which feels much like the precursor to “Marty Supreme,” began as a trip through the shiny innards of a rare opal, only to wind up inside Adam Sandler’s colon, mid-colonoscopy.

Sandler’s Howard Ratner was a New York striver, too, but sadder, and more troubled. Marty is young, determined, brash — with an eye always to the future. He’s a great salesman: “I could sell shoes to an amputee,” he boasts, crassly. But what he’s plotting to unveil to the world has nothing to do with shoes. It’s about table tennis.

How likely is it that this Jewish kid from the Lower East Side can become the very face of a sport in America, soon to be “staring at you from the cover of a Wheaties box?”

To Marty, perfectly likely. Still, he knows nobody in the US cares about table tennis. He’s so determined to prove everyone wrong, starting at the British Open in London, that when there’s a snag obtaining cash for his trip, he brandishes a gun at a colleague to get it.

Shaking off that sorta-armed robbery thing, Marty arrives in London, where he fast-talks his way into a suite at the Ritz. Here, he spies fellow guest Kay Stone (Gwyneth Paltrow, in a wise, stylish return to the screen), a former movie star married to an insufferable tycoon (“Shark Tank” personality Kevin O’Leary, one of many nonactors here.)

Kay’s skeptical, but Marty finds a way to woo her. Really, all he has to say is: “Come watch me.” Once she sees him play, she’s sneaking into his room in a lace corselet.

This would be a good time to stop and consider Chalamet’s subtly transformed appearance. He is stick-thin — duh, he never stops moving. His mustache is skimpy. His skin is acne-scarred — just enough to erase any movie-star sheen. Most strikingly, his eyes, behind the round spectacles, are beady — and smaller. Definitely not those movie-star eyes.

But then, nearly all the faces in “Marty Supreme” are extraordinary. In a movie with more than 100 characters, we have known actors (Fran Drescher, Abel Ferrara); nonacting personalities (O’Leary, and an excellent Tyler Okonma (Tyler, The Creator) as Marty’s friend Wally); and exciting newcomers like Odessa A’Zion as Marty’s feisty girlfriend Rachel.

There are also a slew of nonactors in small parts, plus cameos from the likes of David Mamet and even high wire artist Philippe Petit. The dizzying array makes one curious how it all came together — is casting director Jennifer Venditti taking interns? Production notes tell us that for one hustling scene at a bowling alley, young men were recruited from a sports trading-card convention.

Elsewhere on the creative team, composer Daniel Lopatin succeeds in channeling both Marty’s beating heart and the ricochet of pingpong balls in his propulsive score. The script by Safdie and cowriter Ronald Bronstein, loosely based on real-life table tennis hustler Marty Reisman, beats with its own, never-stopping pulse. The same breakneck aesthetic applies to camera work by Darius Khondji.

Back now to London, where Marty makes the finals against Japanese player Koto Endo (Koto Kawaguchi, like his character a deaf table tennis champion). “I’ll be dropping a third atom bomb on them,” he brags — not his only questionable World War II quip. But Endo, with his unorthodox paddle and grip, prevails.

After a stint as a side act with the Harlem Globetrotters, including pingpong games with a seal — you’ll have to take our word for this, folks, we’re running low on space — Marty returns home, determined to make the imminent world championships in Tokyo.

But he's in trouble — remember he took cash at gunpoint? Worse, he has no money.

So Marty’s on the run. And he’ll do anything, however messy or dangerous, to get to Japan. Even if he has to totally debase himself (mark our words), or endanger friends — or abandon loyal and brave Rachel.

Is there something else for Marty, besides his obsessive goal? If so, he doesn’t know it yet. But the lyrics of another song used in the film are instructive here: “Everybody’s got to learn sometime.”

So can a single-minded striver ultimately learn something new about his own life?

We'll have to see. As Marty might say: “Come watch me.”