Age: 40
male
Robert Douglas Thomas Pattinson (born May 13, 1986) is an English actor. Noted for his versatile roles in both big-budget and independent films, Pattinson has been ranked among the world's highest-paid actors. After starting to act in a London theatre club at age 15, Pattinson began his film career by playing Cedric Diggory in the fantasy film Harry Potter and the Goblet of Fire (2005). He gained worldwide recognition for portraying Edward Cullen in The Twilight Saga film series (2008–2012), which grossed over $3.3 billion worldwide. After starring in the romantic dramas Remember Me (2010) and Water for Elephants (2011), Pattinson received critical acclaim for his performances in independent films from auteur directors. He starred in David Cronenberg's thriller Cosmopolis (2012), David Michôd's dystopian western The Rover (2014), James Gray's adventure drama The Lost City of Z (2016), the Safdie Brothers' crime drama Good Time (2017), Claire Denis' science-fiction drama High Life (2018), and Robert Eggers' psychological horror film The Lighthouse (2019). He returned to mainstream films with a leading role in Christopher Nolan's spy film Tenet (2020), and starred as the DC Comics superhero Batman in Matt Reeves' film The Batman (2022).
Robert Pattinson
Norman McDonald
for Norman McDonald in Cash On Delivery
Suggested by Jeshisthename
Michael Cooney’s riotous farce has all the ingredients for rib-tickling hilarity and offers a colorful selection of character roles. The hero, Eric Swan, has been laid off and never found the courage to tell his wife. Instead, he has invented a whole string of fictitious claimants living as lodgers at his home, and each week he cashes their benefit checks. Unfortunately, a man from the DSS arrives on the very morning that Swan, realizing the scam is getting out of hand, has announced that one of his lodgers has died. A grief counsellor arrives, hotly pursued by a marriage-relations expert and an undertaker. As a result, Swan and his reluctant collaborator, Norman McDonald, have to invent a whole repertory company of fake identities and fictitious family relationships, and there are delirious passages when everyone on stage seems to be talking at cross-purposes. The panicky mayhem kicks in early and never lets up, and the ludicrous plot is developed with an insane logic that touches on the inspirational. And while the play’s subject matter is topical, the farce is as reassuringly familiar. Huge-chested old boots are groped in the mistaken impression that they are chaps in drag, dead bodies that aren’t really dead are subjected to terrible indignities and Michael Cooney seems touchingly convinced that he is the first writer ever to have considered the comic possibilities of the word “Uranus”.
