• A Film by Anton Corbijn.
  • Starring Dane DeHaan
  • and Robert Pattinson.
  • The true story about the friendship between…
  • James Dean & Life magazine photographer Dennis Stock

Foreword From ‘Dennis Stock: Time Is On Your Side’ By Anton Corbijn

Life director Anton Corbijn did the foreword for a book about Dennis Stock called ‘Dennis Stock: Time Is On Your Side’ where he gives a bit more insight on the man behind the camera. Read the foreword below……


I regret never having met Dennis Stock, nor having been aware of his work the way I am now, in mid-edit on a film called Life that focuses on his work with James Dean. I have come into contact with his work through research for the film and then realized that I had seen his images without registering the name. Peripheral vision I guess, but it felt like an inconceivable omission. Even the famous image of THE PHOTOJOURNALIST by Andreas Feininger had not registered with me as being Dennis as I always thought it depicted a woman (sorry Dennis!), but if we’d have met it would have been a good starting point for a talk about what it is that we are seeing.

Having looked in depth over the last year or so at his photographs, I find that his incredible eye for detail in life, humor, man, and surrounding made me want to explore more, go out into the world and discover how much there is to see. It is an unobtrusive and slight poetic language he is using to seduce us to observe and participate. The guy had a fantastic eye and he had great timing. Timing can be the tool of a comedian. generally i find it very hard to make a “funny” picture, but Dennis seems to do this effortlessly. It is only a very sharp observer who manages to coordinate situations with timing, but a sharp observer he was. he was not really a portraitist—you’d be very hard-pressed to find more than five portraits amongst his work—but he set off people against their surroundings. backgrounds are an important and determined element in his work and I can very much relate to that. It colors the person with the added bonus later on that it tells you a lot about an era; although that obviously only starts playing a role as time passes, it is a fascinating characteristic of photography. probably one out of many differences in our work is the reason why one would work like that. In my case it came partly out of shyness, keeping a distance helped somehow, and a protestant upbringing that made me look at the situation people lived in, plus the absence of iconic images around our home made me somewhat unaware of portraits, iconic or otherwise. watching pieces about Dennis on film I would not put shyness as a factor in his way of operating in the world, but he obviously enjoyed context, which is what a background can give you. These days this is a very overlooked possibility in the photography of people who can be viewed as “well-known,” or as “celebrities,” that dreaded word. Photographers want to sell their work, so it is all about portraits or about full body shots with an “idea.” Never mind that the idea is usually crap, it sells, which perplexes me. Anyway, Dennis is very, very good at shooting people with and within a context. He calls his work “making essays,” stories, and i can see why he looked at it that way.

Preparing for the film I obviously had to delve into him as a private person, and found that his desire for adventure left his personal life with a lot to be desired, but I guess that is what it takes for some of us. He found beauty in his work and love with several wives over the course of his restless life, while his son Rodney, whovisited the film set of life for quite a few days, said he learned more about his father through the film than he had in real life. taking into account that we were kind to Dennis in the film (played by Rob Pattinson) compared to how he was in real life, that is a shocking reality but not one that makes his work any less interesting. for someone who couldn’t share the love of life with his son, he miraculously certainly managed to share it with the rest of the world.

july 2014, new york


VIDEO: Sir Ben Kingsley Talks About Working On ‘Life’ With Anton Corbijn

While doing promotion for his latest movie, The Boxtrolls, Sir Ben Kingsley was asked in an interview with Collider what it was like to work with Anton Corbijn on Life.

Listen to his answer in the video below (starts at the 2:30 mark)

Thanks Sallyvg

“The Film With James Dean Is Actually About The Photographer, He’s The Lead Role” ~ Anton Corbijn Talks About ‘Life’ & More

In a recent interview with Dazed Anton Corbijn spoke about how the photographer is the lead role in Life, casting Robert Pattinson and Dane DeHaan and lots more.

Director Anton Corbijn and Robert Pattinson

Director Anton Corbijn and Robert Pattinson

Here’s the excerpt from the interview where he talks about Life:

In your films you’ve portrayed talented men who burn out young – Ian Curtis in Control, and now James Dean and photographer Dennis Stock. Are you interested in the myth-making process that happens around these guys?

Anton Corbijn: If anything, it’s unmasking because I always bring it down to very normal life. In photography I can imagine that people think I make images iconic, but with films I don’t think that’s the case. The film with James Dean is actually about the photographer. He’s the lead role, they just share screen time. I had a similar experience when I was young in Holland. I became the photographer of somebody who became the biggest rock star we ever had there (Herman Brood), so it was interesting to see how that balance works when I thought I was helping him and he probably thought he was helping me. It’s the same with this story.

Was it an easy process casting Robert Pattinson and Dane DeHaan in your upcoming film Life?

Anton Corbijn: Dane didn’t want to take a meeting with me initially, as he couldn’t see himself in James Dean’s shoes. But he was persuaded by a mutual friend, and said yes in the end. He’s fabulous, a very good actor. Rob was interested in the film because he really wants to prove himself and for me that was great for that role. If you look at the roles he’s taking on – like the ones with Cronenberg – he really wants to do very different, non-mainstream films and get out of that pigeonhole.


Read the full interview over at Dazed

Thanks Sallyvg

AUDIO: Dane DeHaan talks LIFE and how he almost declined playing his favorite actor, James Dean

While promoting his film, Life After Beth, Dane DeHaan talked to Hollywood Outbreak about Life. He gives a quick synopsis about the film, talks about how James Dean is his favorite actor and his hesitancy to take on the iconic role.

Thanks Cali!

GALLERY: Behind-the-scenes stills of Anton Corbijn, Robert Pattinson, Dane DeHaan and MORE

When Life finished principal photography in Los Angeles, one of the film’s still photographers snapped away at Chateau Marmont and the Pantages theater locations. Anne Marie Fox captured some great pictures of director, Anton Corbijn, with his actors (Robert Pattinson and Dane DeHaan), his DP (Charlotte Bruus Christensen), one of the producers (Iain Canning), his screenwriter (Luke Davies) and cool camera props. Browse through the gallery below to get a glimpse of the film we’re eagerly anticipating.

Director Anton Corbijn and Robert Pattinson

Director Anton Corbijn and Robert Pattinson

Dane DeHaan

Dane DeHaan

DP Charlotte Bruus Christensen and director Anton Corbijn (who has a cameo!)

DP Charlotte Bruus Christensen and director Anton Corbijn (who has a cameo!)

Producer Iain Canning and director Anton Corbijn

Producer Iain Canning and director Anton Corbijn

LifeBTS06 LifeBTS16 LifeBTS12

Source: Anne Marie Fox | Via

INTERVIEW: ‘It’s Interesting Doing A Movie About Photography With Anton Corbijn, A Master Photographer. He Taught Me How To Take Photos’ ~ Robert Pattinson

In an interview with TheVent,Robert Pattinson talks about how Life director Anton Corbijn taught him how to take photos and how brave Dane DeHaan is to take on the role of the iconic James Dean.


Read an excerpt of the interview below……………..

Q: What’s happening with Life?

”I don’t know when it’s going to be finished. I just saw a trailer, which they’re playing here. Other than that, I haven’t seen anything from it. It was fun to do, though, and Anton [Corbijn]’s really cool. It’s about the famous photographs of James Dean in Times Square; it’s about James Dean and the photographer’s relationship. Joel Edgerton’s in it, weirdly because he’s a co-writer on The Rover, and Ben Kingsley. It’s cool. It’s interesting doing a movie about photography with Anton Corbijn, a master photographer. He taught me how to take photos a little bit, with an old Leica. They’re not very good. I thought they were all going to be absolutely amazing. I developed them all at the end of the movie and I did like 25 rolls of film, and on about four I hadn’t even realised that you need to pull the lens out (laughs) – so they’re all blank. Four films. It was a fun movie to do.”

Q: People called you the new James Dean. Now you’re doing a movie about James Dean, but not playing him. Weren’t you interested in that role?

“No, not really. Dane [DeHaan] is so brave doing it. It’s one of the hardest parts ever. Try and play any iconic person. Dane’s got a wig, fake earlobes, and contact lenses – the whole deal. And James Dean’s mannerisms are so recognisable, so you’ve got to play the part and all this other stuff. It’s like playing Harry Potter – everyone’s got expectations – whereas I’m just the observer”

Read the full interview over at TheVent

INTERVIEW: Anton Corbijn talks to The Playlist about Robert Pattinson and Dane HeHaan

The Playlist sat down with Anton Corbijn to talk about his current film, A Most Wanted Man. They also asked him about Life and working with Robert Pattinson and Dane DeHaan.

fanedit; unofficial

fanedit; unofficial

Excerpt from The Playlist:

In “Life,” Dane DeHaan will be playing James Dean. How difficult was it to cast someone in that role?
It was difficult. Also I think for the actors it’s very difficult to step in his shoes. But Dane DeHaan plays it well. He’s a tremendous actor. I don’t think he wanted to do it initially. He wouldn’t take a meeting with me because he didn’t want to be persuaded. But luckily he came to me and he was persuaded. He’s amazing.

He’s great in “Kill Your Darlings.”
Yeah, and “Place Beyond the Pines.” I haven’t seen “Spider-Man [2].” “Lawless” I have seen. And he’s in “Devil’s Knot” and “Life After Beth.” I haven’t seen that. I was in Sundance but I didn’t manage to see a single film.

What about Robert Pattinson’s work in the movie?
Rob and Dan very different kind of actors. They’re very, very different kind of people in the film, so it was fantastic. They were so different naturally. For Rob to play a photographer is quite interesting because he’s being chased by photographers all the time. Rob is of course a film star, but he likes to be seen as an actor, so he works very hard to be an actor and be valued as an actor. And in the film he plays this photographer who wants to be seen as a great photographer. So I think there’s a parallel there that’s helpful.

He’s made a lot of interesting acting choices, “Cosmopolis”…
…Yeah, “The Rover.” I hear that “Map to the Stars” is a really great film. I am looking forward to seeing it.

I was hoping to see “Life” announced as part of the TIFF 2014 lineup. 
Yeah, I was hoping that too, but we are too far from finishing, because we finished [shooting] in late October.

Will we see it at on the fall festival circuit anywhere?
I reckon it will be 2015.

Click HERE to read more remarks about Life and overall, a great interview with Corbijn.

‘Life’ Will Release In 2015 “We still have two more months of sound and [potential] pick-up shoots” ~ Anton Corbijn


Anton Corbijn was interviewed by CraveOnline where he spoke about how he wanted Phillip Seymour Hoffman involved in Life and also confirmed that Life would release in 2015.

Here’s an excerpt from the interview:

You mentioned recently that you were trying to get Philip Seymour Hoffman into your next film, Life. What role would that have been?

John Morris. (Who was a photo editor for Life magazine; and who will be played, now, by Joel Edgerton)

Life wasn’t part of the TIFF announcement this morning, is there potential for a 2014 release?

No, that’ll be 2015. We haven’t locked picture yet. We still have two more months of sound and [potential] pick-up shoots.

In your background in photography, you’ve photographed numerous icons. Your first film, Control, was a portrait of the iconic Ian Curtis (singer for Joy Division), who died very young. I guess now we’ve confirmed that next year, you have a film that involves James Dean (to be played by Dane DeHaan) in Life. Who also died very young. Is it more difficult to capture an iconic photograph of an individual in life, or to tell their story in death?

I’m flattered that people think my pictures are iconic. That’s not what I set out to be. A lot of people that I worked with in the 70s and 80s were not very well known people, but they became [well known] later. So I’ve not deliberately sought icons. As far as making films for Ian Curtis and James Dean, that is, of course, is very deliberate. Ian Curtis was someone that I knew and I moved to England to make it because I wanted to make it. It was a personal project. And, also, I thought there was a good love story there (between Sam Riley and Samantha Morton).

With Life it’s first and foremost a story about a photographer, Dennis Stock (Robert Pattinson), who profiled James Dean (DeHaan). So it’s the story of a photographer and their subject. As a photographer that story interested me: studying the power balance between a photographer and their subject. You know, who influences who? The James Dean portion of the story wasn’t my interest. In fact I’d turned down a straight James Dean project once before.

Read the full interview over at Craveonline
Thanks Sally & Flavia.

‘Life’ At The Cannes Film Market: ‘This One’s In Play & Is Gonna Sell’

Deadline compiled a list of hot titles that are at the Cannes Film Market and no surprise to see Life on that list.
Based on 15 minutes of footage (which I would give ANYTHING to see) they’re saying “this one’s in play and is gonna sell”.


From Deadline:

LIFE – Director: Anton Corbijn. Cast: Robert Pattinson, Dane DeHaan, Ben Kingsley, Joel Edgerton. A photographer for Life Magazine is assigned to shoot pictures of James Dean. Sales: CAA / WME / FilmNation. Based on 15 minutes of footage, this one’s in play and is gonna sell.

INTERVIEWS: Dane DeHaan and Robert Pattinson mention Life, James Dean and more!

We have a happy surprise! While promoting The Amazing Spiderman Part 2, Dane DeHaan was interviewed by James Franco for Interview magazine. They spent a lengthy amount of time talking about Life and James Dean. Robert Pattinson also briefly mentioned working on Life while promoting The Rover and Maps To The Stars.

We’re posting excerpts from both interviews, starting with Dane for Interview.


Self-confessed theater geek Dane DeHaan left his hometown of Allentown, Pennsylvania, while he was still in high school to study acting at the University of North Carolina School of the Arts. Television roles (on HBO’s In Treatment and True Blood, among others) came quickly, and soon DeHaan was racking up an impressive roster of film credits. In a matter of just four years, he has worked with John Sayles (in the 2010 war saga Amigo), with John Hillcoat (across from Tom Hardy and Shia LaBeouf in 2012’s Lawless), with Steven Spielberg (reciting the Gettysburg Address to the president in 2012’s Lincoln), and with Derek Cianfrance (in 2012’s The Place Beyond the Pines). In last year’s Kill Your Darlings, he played Lucien Carr, a college friend of Jack Kerouac and Allen Ginsberg, who in 1944 murdered his admirer David Kammerer, and initially had his beatnik buddies help cover it up (Carr ultimately pled guilty to manslaughter and served 18 months at a reformatory). 

Now 28, DeHaan again plays a real-life murder suspect (this time, Chris Morgan, a peripheral character in the West Memphis child murders), alongside Reese Witherspoon and Colin Firth, in director Atom Egoyan’s Devil’s Knot, about the West Memphis Three, out this month. He’ll also appear in the little drama The Amazing Spider-Man 2 as Peter Parker’s nemesis Harry Osborn—a playboy who morphs into the Green Goblin. 

And for his next project, the young actor who has made a name playing troubled adolescents takes on his dream role, playing Mister Moody himself, James Dean, in Anton Corbijn’s forthcoming Life (opposite Robert Pattinson, who plays photographer Dennis Stock). If this series of roles sounds somewhat familiar, we thought it did too. And so we asked James Franco, who broke out in 2001 as the lead in the TNT movie James Dean and played Osborn in the Tobey Maguire-era Spideys (as well as Allen Ginsberg in Howl, 2010), to give DeHaan a call. Franco, who is presently doing Of Mice and Men on Broadway, rang from Brooklyn to discover that DeHaan, who’d recently flown to New York from Toronto, was only a few blocks away.

JAMES FRANCO: Hello, Dane. What were you doing in Toronto? 

DANE DEHAAN: I was doing the film Life, in which I play James Dean. 

FRANCO: That’s about the period that James Dean hung out with the photographer who did a photo series of him, right? 

DEHAAN: Dennis Stock, yeah. Two weeks before East of Eden [1955] came out, Dean and Stock traveled from L.A. to New York, spent some time in New York, and then they went back to Dean’s home in Indiana. The movie is about those two weeks of their lives. 

FRANCO: So, while they were in New York, did Dennis Stock shoot the photo of Dean in Times Square that provided the model for that painting called Boulevard of Broken Dreams

DEHAAN: Yeah, that’s his. 

FRANCO: And then they went to Indiana and did all these cool shots of Dean on the farm? 

DEHAAN: Yeah, like, with the cows, and playing the bongos and that kind of thing. 

FRANCO: [laughs] Did you do all that stuff? 

DEHAAN: Well, not all of it—there are a ton of photos. We took the most well-known ones, and told the story through the photos. So, you’re following them and see how the pictures happened.

FRANCO: Oh, cool. Because your director is also a photographer, right? 

DEHAAN: Yeah, Anton Corbijn is a photographer. But he’s made four feature films now. 

FRANCO: So the drive of the movie is just about how they made those photos, or is there something else going on? 

DEHAAN: It’s the story of how James Dean is the catalyst and muse for the photographer. In the beginning of the story, Stock is an artist who’s worried about his future. From his experience with Dean, he learns to live in the present and what it means to be an artist.

FRANCO: If I remember it right, James Dean almost got in a motorcycle accident at Laurel Canyon and Sunset, and that’s how he met him? Was that Stock? 

DEHAAN: No, he met Stock at the Chateau [Marmont] at a party that Nick Ray was throwing in 1954. Nick Ray introduced him and said, “You should get to know this kid—he’s got a movie coming out.” 

FRANCO: Was that Rebel Without a Cause [1955]?

DEHAAN: He hadn’t even been quite cast in Rebel yet. He was probably going to get it, and then Nick Ray threw this party and he showed up. He went to the party to keep hope alive, I suppose. Dennis went and saw East of Eden the next day, and was like, “Holy shit, who is this guy? I have to do a photo essay on him.” And that’s how it all kind of began. 

FRANCO: And when they went back to Indiana, Dean went back to his high school—

DEHAAN: He went to the high school dance. There are photos of him signing autographs and playing the bongos with the four-piece band. There’s also a really beautiful photo, one of my favorites, with him sitting on an empty stage in the high school auditorium.

FRANCO: You grew up in Pennsylvania, right? 

DEHAAN: Yeah, Allentown. 

FRANCO: Do you ever go back there? 

DEHAAN: Sometimes, around Thanksgiving, but rarely. My sister still lives in the same town where we grew up, but I don’t make it back there much. 

FRANCO: I’ve had a developing relationship with people that I knew when I was younger, and I really enjoy going back home. But for a while it was weird. It sounds like James Dean had a pretty good homecoming, but, like, Janis Joplin went back home, and they still rejected her. What is your experience? 

DEHAAN: I feel like home meant a lot more to Dean than it does to me. For him it was a place that he became a boy again, you know? But for me it feels foreign. I haven’t spent much time there since I was 17. Now when I go home, I don’t really know my way around. Everything’s changed a little bit.


FRANCO: We’ve played so many similar roles. What the hell, man! I guess we could say that you played the wizard first, though. I read that James Dean is one of your favorite actors. Is that true? 

DEHAAN: He is. 

FRANCO: As an actor looking at another actor, what do you think you could learn from him? Or what do you think made you like his work?

DEHAAN: I think what makes me like his work is how real he was—he’s emotional and open, but living in the moment and so impulsive. It seems like he followed his impulses better than anyone I can think of. Watching the old movies and seeing him be amazing even by modern standards of acting, everyone else just pales in comparison. It’s a really impressive thing. And it’s been an interesting process, getting to know more about him for the role. I always thought he was really into learning how to act and the craft of acting, but it seems as though he was self-obsessed with his own process. He didn’t want to be taught anything. He only went to, like, a very few acting classes, even though he fought so hard to get into the Actors Studio. As soon as he went, he got torn apart by Lee Strasberg and then basically never went up again. 

FRANCO: Exactly. 

DEHAAN: I always thought he was this acting nerd like I am. He was just born with the talent to act and this vivid imagination. But the way he went about getting there was actually kind of annoying. He’d trap himself in his trailer for hours before he would do a take and everyone was just kind of waiting around for him. 

FRANCO: When you say you’re an acting nerd, what do you mean? Like, doing theater, or have you trained? How is what you do different from his approach?

DEHAAN: I guess Dean did as much theater in high school as he could. I just mean studying acting itself, going to school for it. I loved learning about it. I loved getting classical training in terms of acting. I would’ve stayed in acting school for the rest of my life if I could have. It was this amazing period of my life where everything was so safe.

FRANCO: That was in North Carolina? 

DEHAAN: At the University of North Carolina School of the Arts. It’s the only state-run conservatory in the nation. They have a one-year senior year of high school program that I went to. And then the four-year college program that I also went to. You only have two hours of academics a day, and then the rest of your time is just spent taking acting class, taking dance class, taking speech class.

FRANCO: Dean was mean to Raymond Massey on the set of East of Eden because he and Elia Kazan thought that he needed Massey, who played his father, to really hate him—and vice versa—in order to play that role. I would never do anything like that. I never wanted to get in the way of anybody else’s work. But how do you reconcile that kind of live, vital, raw expressiveness of James Dean while still being a collaborative partner on movies, which are a very collaborative medium?

DEHAAN: The easy answer is that you save the bad boy for when you’re on camera. Once the cameras start rolling, you have permission to act that way. 

FRANCO: But it’s important for you to have a healthy kind of working relationship with your director and your collaborators? 

DEHAAN: Ideally. I love being directed. I always find it helpful to have someone else’s brain in the mix and not just have to rely on myself. 

FRANCO: Is there some underlying thing that you think drives you to take the kinds of projects that you do? And let’s just bring up—I’m not bitter, but let’s just bring it up—you did turn me down for a role in my movie The Sound and the Fury. I was thinking that you would love it. But I think you said, “I never understood the book in high school and I still don’t get it now,” or something like that. [both laugh]

DEHAAN: I think that ultimately what drives my decisions is if I think the opportunity is going to challenge me in a way that makes me better as an actor. What’s going to make me grow the most? If the opportunity is presented to me and I’m kind of like, “Oh, my God, I have no idea if I can even do that, it seems like an impossible task …” Like the James Dean thing, I had no idea if I could pull that off; it seemed like something really far away. I didn’t look at myself and think, “Oh, I look like him,” or “I am him.” I didn’t really think I could pull it off, and that’s why I wanted to do it, to see if I could get myself to the place where I could do that, you know? There’s this quote that has kind of become a mantra in my life. It’s from the Bhagavad Gita. And it goes a little something like this: “You have the right to the work, but for the work’s sake only. You have no right to the fruits of the work. Desire for the fruits of the work must never be your motive in working. Never give way to laziness either. Perform …” Well, then it gets kind of religious. But, basically, what I think it’s saying is that all you can really trust in is your own personal journey in the work. I can’t worry what it’s going to do in my life, or what impact it’s going to have. All I can really focus on is the task at hand, you know? 

FRANCO: Cool, man. Great talking to you. I really enjoyed it. I did a painting of you I hope you don’t mind. It’s a little goofy—my style is a little goofy. 

DEHAAN: I can’t wait to see it. I’m hoping to go see Of Mice and Men sometime. 

FRANCO: Just let me know when you want to come and I’ll set you up.

Click HERE to read the interview in its entirety.

Here is the brief excerpt from Robert Pattinson’s interview with Premiere magazine.


PREMIERE: The Rover seems like a new stage of your career. It is also how you feel?
ROBERT: The first time I ever felt like I was seeing an adult when I looked at myself on screen, was when I discovered the Dior ad that I filmed last year, directed by Romain Gavras. The Rover confirmed this feeling, which continued on Life, the film I just shot with Corbijn. I think I have more confidence in myself and these Cannes selections are helping a lot. After being dissed for years because of Twilight, my ego was a little bruised.

Visit fan sites, Dane-DeHaan.org to see more of Dane’s photoshoot and ROBsessed to see more of Rob’s photoshoot and read his interview in its entirety.