akatosh

So handsome 😍 https://www.instagram.com/p/CzxhtpTrQjt/

Leonardo DiCaprio and Lily Gladstone on the 'grand betrayal' in Killers of the Flower Moon The two stars break down their ‘twisted, bizarre love story’ — and the ‘almost telepathic shorthand’ between Martin Scorsese and Robert De Niro. By Devan Coggan Updated on November 17, 2023 Leonardo DiCaprio and Lily Gladstone wanted to root Killers of the Flower Moon in real history. The two actors star in Martin Scorsese’s sprawling crime drama, about how a group of white settlers in 1920s Oklahoma murdered countless members of the Osage Nation, in a concerted effort to steal their wealth. Two of the key players were Osage woman Mollie Burkhart (played by Gladstone) and her white husband Ernest (DiCaprio), who conspired with his powerful uncle William “King” Hale (Robert De Niro) to actively plot against Mollie and their family. When Scorsese and co-writer Eric Roth first sat down to adapt David Grann’s best-selling book, they initially structured Killers of the Flower Moon as a murder mystery, focusing primarily on the FBI investigation. At the time, DiCaprio was attached to play FBI lawman Tom White (the role that later went to Jesse Plemons). But as Scorsese met and spoke with members of the Osage Nation in Oklahoma, he decided to completely rethink the film, shifting the focus to Mollie and Ernest’s complicated relationship. The end result unfolds as part brutal crime epic, part twisted marital drama, following Ernest and Mollie from their early courtship to his eventual betrayal and arrest. Here, Gladstone and DiCaprio tell EW about bringing Mollie and Ernest’s relationship to the screen. (You can also listen to the full conversation on the latest episode of EW’s Awardist podcast.) ENTERTAINMENT WEEKLY: I wanted to start by asking about that early scene where Mollie and Ernest meet for the first time, when she hires him as her chauffeur. What do you both remember most about filming that scene? LEONARDO DICAPRIO: You’re always taking an outside perspective of what you want the audience to be in on. This was the solidification of what we felt, which was that as twisted as the love story was, there’s a genuine connection that both of these people had. We knew if the connection wasn’t there, you weren’t going to be able to withstand an audience sitting there for the entire length of this movie and go along with us on this journey. We were hyper-focused on how to tell this love story. And that doesn’t mean we had all the answers right away. That didn’t mean that we understood the inter dynamics of the lying and deceit, and what she was in on and what she was not in on. But it became this hyper-focused journey, and we wanted to connect these two characters in a real way. After talking to much of the Osage community, the one thing they were very insistent on, as bizarre as it may have seemed, was that this relationship worked. It did. There was a love that they had for each other. Obviously, Ernest did deplorable things, but they kept insisting that this was the truth. That was what was most fascinating to me. When we had the first initial read-through, I was like, Can you believe that this love story actually happened? They really did have that connection. It was shocking, to say the least. LILY GLADSTONE: And I thank him a lot because transitioning between scenes, he didn’t drop Ernest. He maybe dropped Ernest back a step, but he stayed in character and brought all of his charm to that. So, as Mollie, it helped me see somebody that she would be interested in. I really appreciated that. When we were working, we worked together very easily. When we were volleying things back and forth, there was a natural cadence that developed. He also wanted to learn how Ernest would help Mollie put her blanket on or take it off. So, we developed this actors’ language for these two characters that ends up being very seamless. And it all goes to serve that grand betrayal. I know you did a little bit of improvisation in some of those scenes, right? GLADSTONE: I think the one you’re referring to is what we were just talking about. Marty remembers it slightly different than it happened but it’s the “handsome devil” line. DICAPRIO: He basically suggested that line to me, and then I said it. GLADSTONE: That came out of just plainly trying to find a way of translating an old line that didn’t translate into Osage. But we wanted the concept to remain, the idea of this handsome devil or these devilish blue eyes. That was the initial line. But one thing I learned from [Leo] that I’ve used with other actors is that when it’s your coverage, he starts improvising. So, the reactions you get from his improvisations can be very authentic. It’s take six or so, and I’m laughing at this joke, but the laughter needs to be refreshed. So, he’ll throw something out of left field. Leo, you mentioned this, but Lily, I’m curious how you wanted to approach the relationship between Mollie and Ernest. I spoke to the book author, David Grann, and he said the same thing about how this was a relationship with real love, but also unbelievable betrayal. How do you wrap your head around that contradiction? GLADSTONE: It’s kind of set up in that same scene were just talking about. Ernest was not the first white man that Mollie courted. This system was in place where Osages who were declared incompetent had to have a white person, mostly a white male, handling their finances and granting them access to their money. So, for a lot of Osage women particularly, it was way more convenient to have your guardian be your spouse and in your household, so you didn’t have to drive into town to talk to this stuffy old man about giving you enough money so you can go get your medicine to manage your diabetes. You could just say to your husband, “We’re having a fete, so I need the check for this many pounds of meat.” There was an element where this was a kind of mutual beneficial relationship. That’s why I think we were able to have a little bit of fun in that first scene with Ernest and Mollie. Mollie’s able to call him out for wanting money, but she admits to her sisters, “Of course he wants money, but he’s also kind of dumb, and he looks good, and he wants to be settled.” We wanted a modern audience to be invested. When we look at love stories from that era, they were different back then. So, it was kind of a balancing act, like how much do we bring in to honor the true history and set up these characters? How much of classic cinema do we infuse to make this the piece of art that it is? And mostly, we wanted to rightfully restore Native women in these leading roles, in a space and a film history that we’ve been excluded from. The love story proved to be a very good fertile ground to have a lot of those conversations. I know you both got to meet and speak with Margie Burkhart, who’s Mollie’s real-life granddaughter. What did you take away from your conversations with her? GLADSTONE: I think Margie was still very puzzled about how it was possible. She knew there was love there. Ernest declared until his dying day that he loved Mollie. One of the biggest confirmations of that is that Ernest learned Osage fluently. In the screenplay, Mollie is depicted differently in her handle of language, but in any case, he took the time to learn. And Osage, we can both say that it’s not an easy language to learn. DICAPRIO: No. GLADSTONE: We spoke it as well as we could for the film, but for Ernest to do that, it showed a level of intelligence that he had that I think a lot of people may have missed — and his level of commitment to his wife. But after all of it, Margie said it was really something to see how this love could have existed [on screen]. She said it felt like maybe that’s how it would have played out. That was definitely one thing that we were most concerned about, and we were very pleased when we both saw the film that we had somehow done it. Leo, you’ve obviously worked with Martin Scorsese and Robert De Niro before. What was it like working with them on this? I read that interview with Scorsese, where he said something along the lines of, “Leo likes to talk a lot, and De Niro is a little more quiet.” DICAPRIO: I wouldn’t categorize it as quiet or talking more. Look, those are two of my creative heroes in this industry. I’ve looked up to them ever since I was 13 years old, and they have this amazing, almost telepathic shorthand with each other. They almost communicate through their minds. It’s amazing to watch the two of them because they’re whispering to each other, and sometimes it’s a complete adjustment to take a scene in a different direction. It just takes a look from Marty to Bob and a nod from Bob, and all of a sudden, you’re off to the races. For me during the development of this story, [Marty and I] were both obsessed with telling the truth about the Osage Reign of Terror. It was a great gift for us to be able to try to depict the story in the right way. Marty and I’s relationship was a lot of conversations about the development of the screenplay and shifting the entire story from being a whodunnit with Tom White to this very twisted, bizarre love story between Ernest and Mollie. As far as the De Niro aspect goes, it changed my life when I was 15 years old to be able to work with Robert De Niro. Eventually, he kind of referred me to Mr. Scorsese, and here we are 30 years later in this amazing concentric circle of getting to work together. It’s not only a film that I’m incredibly proud of, but to be able to simultaneously work with my two father figures in this industry, who’ve taught me everything, was a huge honor. I’m fascinated by the relationship between Ernest and Hale. It has this twisted, paternalistic vibe to it, and the spanking scene in particular is so interesting. What do you remember most about filming that sequence with De Niro? DICAPRIO: Well, in a lot of ways, my first film [with De Niro] This Boy’s Life was about a young man abused by his stepfather. And Hale in a lot of ways is an abusive uncle. He’s mentally abusive to Ernest, who is also complicit in all of these horrific acts. But Hale has a sort of mental lock on him that he can’t break free of. We had so many different conversations about the dynamics of what that relationship would be. I think for a month straight, we spent every weekend talking about the final scene between those two characters and how it all culminates in a confrontation. The more we talked about it, the more it became that less is more. It’s not a big attack on one another. It’s betrayal of a father and a son and how you would react to realizing that your father figure isn’t who you thought they were. There were just some incredibly powerful creative moments that in a lot of ways, we didn’t need to overthink. As I said, my first film was a similar dynamic between De Niro and myself, so it felt natural to fit back into the shoes of those two characters, almost 30 years later. I know you actually filmed in Fairfax and Pawhuska, Oklahoma. What was it like to actually film in the location where these events happened? GLADSTONE: I think it was essential. Being in the actual Shoun brothers’ office, where Mollie would have sat, made that scene feel enormously creepy. The Masonic lodge that you were just talking about, we shot on location in the Masons’ hall where it would have happened. You feel it in the land and in the place, but mostly you feel it in the people. It was such a gift to be able to be within the Osage community. I had a number of Osage friends that I got to connect with before the film, and I still go back all the time. Some of my closest friendships were molded during this period of time. For me, I think it’s so important when you’re telling a story like this to maintain community accountability. Maintaining these friendships that I made, it’s keeping that going on my part. There was one night in particular I remember: The night that Anna Brown was murdered, what we were shooting was the scene where Anna leaves the house. So, it would have been on that night. I was standing there watching Cara Jade Myers climb in next to Scott Shepherd as Byron, watching them drive off together under a full flower moon, a super moon. It was doing the same thing it was doing a hundred years prior in 1921, because we were filming in 2021. Even before we got to production, I was offered this role on Mollie Burkhart’s birthday, unbeknownst to me. It felt like…. I don’t like saying the word supernatural because it’s almost the most natural thing in the world that all of these things lined up the way they did. But it shows you that it was impactful. The land remembers, the people remember, and because of projects like this, it’s not going to be lost in time. This interview has been edited for length and clarity. https://ew.com/leonardo-dicaprio-lily-gladstone-killers-of-the-flower-moon-awardist-podcast-8404423?utm_campaign=entertainmentweekly_entertainmentweekly&utm_content=new&utm_medium=social&utm_source=twitter.com&utm_term=6558188858d7a90001948181 Here's the audio interview with them: https://podcasts.apple.com/us/podcast/leonardo-dicaprio-and-lily-gladstone-on-killers/id1375036030?i=1000635031632

Leo's reaction to Fantasia: https://www.instagram.com/p/Czv_ZqmrxZD/

So much new content. I love it and I'm so happy we are getting all the promotion now. Cute video of Leo and Lily bonding over music: https://www.etonline.com/leonardo-dicaprio-on-nearing-50-and-cinematic-father-figures-martin-scorsese-and-robert-de-niro DiCaprio was discussing Killers of the Flower Moon with co-star Lilly Gladstone when the controversial video was brought up in an ET interview. When the interviewer said it's been known that Leo has always been a hip hop head, Leo stated, 'That is true.' Leo addressed: Leonardo DiCaprio briefly addressed his cringe-worthy and controversial rapping video while promoting Killers of the Flower Moon Video: DiCaprio was discussing Killers of the Flower Moon with co-star Lilly Gladstone when the controversial video was brought up in an ET interview When asked if he was thinking ahead to the next big birthday, Leo stated, 'Got to always think about 50.' As for his music tastes, Leo added, 'I have a range of musical love that goes back to our stuff from the '20s, '30s and '40s with jazz and blues and things of that nature. And then hip-hop, too.' His co-star Gladstone added, 'That's actually one way that we bonded early on, talking about music. We had a way to connect.' Leo added, 'And then we talked about old jazz music too,' and when the interviewer asked about the chemistry between them, Gladstone said, 'I mean, I think we just get along really easy. I attribute it to my dad is a Scorpio so I know how to be around Scorpio men.' When asked about any awards season buzz, DiCaprio said they would both be, 'honored' if it did pick up any Oscar nominations. 'We are very proud of this movie, and I couldn't be more proud of it,' DiCaprio said of the movie, which is currently playing in theaters. The film is DiCaprio's sixth with iconic director Martin Scorsese, who Leo says has been, 'a cinematic father figure to me, much like Mr. De Niro has.' They have previously worked on 2002's Gangs of New York, 2004's The Aviator, 2006's The Departed, 2010's Shutter Island, 2013's The Wolf of Wall Street, with Leo adding he has looked up to both Scorsese and De Niro. https://www.dailymail.co.uk/tvshowbiz/article-12760339/Leonardo-DiCaprio-finally-addresses-controversial-hip-hop-birthday-party-video-stating-true-hes-hip-hophead.html?ito=native_share_article-top -- I left out the part about the supposedly cringe rap. Let the man have fun on his birthday party. I don't think it was cringe at all just cute.

This is why Leo greeted Fantsia at the beginning opf his speeh for Lily: (at 6:30) 😄

The interviews keep coming now 😊

https://www.justjared.com/2023/11/16/leonardo-dicaprio-attends-robbie-robertsons-celebration-of-life-with-killers-of-the-flower-moon-collaborators/

In three hours we will be able to watch the academy conversations: New pics: https://www.instagram.com/p/CztaoRQMmQc/

Martin Scorsese Explains Why ‘Flower Moon’ Is Focused on Leonardo DiCaprio’s Character The director spoke out about why his acclaimed film ended up centered on Ernest Burkhart following criticism from Indigenous viewers. Martin Scorsese is breaking down exactly why Killers of the Flower Moon ended up being so focused on the villainous Ernest Burkhart, played by Leonardo DiCaprio. The director spoke about the topic following some criticism the film has received from the Indigenous community. During a virtual press event Wednesday, Scorsese was joined by stars Leonardo DiCaprio, Lily Gladstone, Robert De Niro and Jesse Plemons. The Apple TV+ film tells the real-life tragedy of the 1920s murders of Osage Nation members after oil was found on their Oklahoma land. It has garnered considerable acclaim from critics. But some members of the Indigenous community have said the story should have focused more on the character Mollie Burkhart (Gladstone) and other Osage impacted by the murders. There has also been criticism that DiCaprio’s Ernest was made to seem overly sympathetic, and shouldn’t have been the film’s main focus. Questions for the group were screened in advance, and they did not take a question about the criticism directly, but Scorsese and DiCaprio still touched on some of the issues raised. Scorsese first explained how the project — which was co-written by the director and Eric Roth and is based on a 2017 book by David Grann — ended up centering around Ernest. The iconic director first noted DiCaprio was originally going to play the heroic FBI agent Tom White, who ended up being played by Plemons. “We took the character of Tom White that Leo was going to play and, after a couple of years [of development], we took it to its limit,” Scorsese said. “We felt that, ultimately, a story seen through the eyes of the Bureau of Investigation coming in from Washington to this area to find out who did it was — as David Grann pointed out — it was [more] a matter of who didn’t do it. Once I began to understand more the complicity and how we all may be culpable ourselves in life…and the fact that I got to know a lot of the Osage people because I kept going back to Oklahoma, and I kept hearing stories and they kept speaking about how the families are still there.” He recalled how Margie Burkhart, the great granddaughter of Mollie and Ernest Burkhart, noted that her great grandparents had been in love.. “A lot of these deceptions and betrayals and murders came out of people who really liked each other…. Ultimately, we were stuck,” Scorsese continued. “We really couldn’t get into the the true nature of what this tragedy was, at which point Leo [asked], ‘Where’s the heart of it?’ And I said, ‘Well, the heart is that Molly and Ernest are in love.’ So he says, ‘So maybe I should play Ernest,’ and which point everything turned upside down…. And so the Bureau of Investigation did come in and solve a lot of the issues…but primarily it’s told, as much as possible, from the ground level in which the Osage and the European American were living together.” Added DiCaprio: “As far-fetched as it may seem to others who see this movie — who are shocked at the atrocities that Ernest continues to commit and Molly’s understanding of what’s going on — it’s based on hard evidence and a sense of community from the Osage that in a lot of ways they have not openly talked about before. So here we are, 100 years later, bringing up these ghosts and the stories from the past in the actual locations and working with direct descendants of this tragedy.” And Gladstone noted, “It was a different culture. It was a different time. It was a different period. But the most important element of all of it, for me, was that I was never alone on set. If I was uncertain about a choice I was making there was not just one but several Osage people in every level of production close at hand. It was great comfort as an actress and it’s also just essential because drawing on the culture in such a vivid way sets the scene.” The criticism started at the film’s Los Angeles premiere, where an Osage language consultant who worked on the movie, Christopher Cote, expressed mixed feelings about the story’s focus to The Hollywood Reporter. “As an Osage, I really wanted this to be from the perspective of Mollie and what her family experienced, but I think it would take an Osage to do that,” Cote said. “Martin Scorsese, not being Osage, I think he did a great job representing our people, but this history is being told almost from the perspective of Ernest Burkhart and they kind of give him this conscience and kind of depict that there’s love. But when somebody conspires to murder your entire family, that’s not love. That’s not love, that’s just beyond abuse.” After the film was released Oct. 20, Reservation Dogs star Devery Jacobs blasted the movie in a scathing thread on X (formerly Twitter). “Being Native, watching this movie was fucking hellfire,” she wrote. “Imagine the worst atrocities committed against yr ancestors, then having to sit thru a movie explicitly filled w/ them, w/ the only respite being 30min long scenes of murderous white guys talking about/planning the killings…. I don’t feel that these very real people were shown honor or dignity in the horrific portrayal of their deaths. Contrarily, I believe that by showing more murdered Native women on screen, it normalizes the violence committed against us and further dehumanizes our people.” That said, Jacobs praised Gladstone’s performance: “Give Lily her goddam Oscar.” On Tuesday, news broke that Flower Moon will receive the Vanguard Award at this year’s Palm Springs International Film Festival. The Vanguard Award is a group honor “distinguishing a film’s cast and director in recognition of their collective work on an exceptional film project,” according to the festival. Scorsese and stars DiCaprio and Gladstone will be presented with the award. https://www.hollywoodreporter.com/movies/movie-news/killers-of-the-flower-moon-controversy-1235648119/?utm_medium=social&utm_source=twitter

^I thought about that too. She surely was pranking him a bit with this outfit 😄 I didn't know they were friends.

So cute 🤭😍

Leonardo DiCaprio looks to nab several Screen Actors Guild Award records with ‘Killers of the Flower Moon’ Movie stars are a thing of the past, a relic of an era of Hollywood that simply no longer exists. But there are still a few performers who have the draw and the talent to be considered as such. Leonardo DiCaprio is one of them, and his list of achievements looks to grow yet again following the release of his latest project, “Killers of the Flower Moon.” The engrossing film, which is based on David Grann’s 2017 non-fiction book of the same name, details a series of murders during the 1920s after oil was discovered on Osage land. DiCaprio stars as Ernest Burkhart, the permanently frowning nephew of Robert De Niro’s William Hale, a crime lord masquerading as a friend of the Osage who pulls Ernest into his murderous scheme to steal Osage headrights by having him marry Lily Gladstone’s Mollie Kyle. The film marks DiCaprio’s sixth collaboration with Martin Scorsese (it is De Niro’s 10th). He has twice been nominated by the Screen Actors Guild Awards for his performances in the prolific director’s work, and with his well-received turn here, he has the opportunity to score a third and tie multiple records while setting a new one in the process. SEE ‘Killers of the Flower Moon’: Will Scorsese’s history directing actors to Oscar nominations continue? On the individual award front, a bid this year would allow DiCaprio to tie Denzel Washington for the most nominations in lead actor at six. He earned his first for his portrayal of reclusive business magnate Howard Hughes in Scorsese’s 2004 film “The Aviator.” He followed that with a nomination for the 2006 political thriller “Blood Diamond” (that same year, his performance as an undercover cop in Scorsese’s Oscar-winning crime drama “The Departed” earned him a supporting actor nom as well). Five years later, DiCaprio earned his third nomination for lead actor, this time for portraying the eponymous role in Clint Eastwood’s 2011 biographical film “J. Edgar.” His next bid, for Alejandro G. Iñárritu’s harrowing 2015 movie “The Revenant,” would bring him his first — and so far only — win in the category. DiCaprio’s most recent nomination is for drinking margaritas out of a blender his memorable turn as an actor whose career is on the downswing in Quentin Tarantino’s 2019 dramedy “Once Upon a Time in Hollywood.” Because of his supporting actor nomination for “The Departed,” a nom for “Killers of the Flower Moon” would also put DiCaprio in sole possession of the male individual record at seven. It seems likely to happen; he currently sits in second place at 4/1 in Gold Derby’s odds, trailing only Irish actor Cillian Murphy (18/5 odds), his one-time co-star in Christopher Nolan’s mind-bending 2010 film “Inception” and the star of this summer’s “Oppenheimer” (also from Nolan). “Maestro’s” Bradley Cooper (third, 9/2 odds), “Rustin’s” Colman Domingo (fourth, 6/1 odds) and “The Holdover’s” Paul Giamatti (fifth, 13/2 odds) look poised to join them in the Best Actor race. Elsewhere, “Oppenheimer” also leads Gold Derby’s odds for film ensemble at 69/20, but “Killers of the Flower Moon” looks to be in good shape to snag a nomination too. It is in third place (9/2 odds) behind Greta Gerwig’s “Barbie” (4/1 odds), while “Poor Things” (11/2 odds) and “The Color Purple” (10/1 odds) round out the top five. Another ensemble bid would allow DiCaprio to tie two of his former co-stars for the most ensemble nominations by a performer. Cate Blanchett, who appeared opposite DiCaprio in “The Aviator” and took home the SAG Award for supporting actress, and Brad Pitt, who won supporting actor for “Once Upon a Time in Hollywood,” both have seven nominations apiece. DiCaprio’s previous ensemble noms are for “Marvin’s Room” (1996), “Titanic” (1997), “The Aviator”, “The Departed,” “Once Upon a Time in Hollywood” and “Don’t Look Up” (2021). To date, DiCaprio remains winless in the ensemble race, a surprising and sobering statistic he shares with Russell Crowe and Meryl Streep. https://www.goldderby.com/article/2023/leonardo-dicaprio-killers-of-the-flower-moon-sag-records/ ‘Killers of the Flower Moon’ To Receive Vanguard Award at the Palm Springs International Film Awards The Palm Springs International Film Awards has announced that Killers of the Flower Moon is the recipient of the Vanguard Award. The Vanguard Award is a group honor distinguishing a film’s cast and director in recognition of their collective work on an exceptional film project. The award will be presented to Academy Award-winning director Martin Scorsese, Academy Award winner and Executive Producer Leonardo DiCaprio and Gotham Award nominee Lily Gladstone, all of whom will be in attendance. The Film Awards will take place on January 4, 2024, at the Palm Springs Convention Center, with the festival running through January 15, 2024. The event will be sponsored by Entertainment Tonight and IHG Hotels & Resorts. “Killers of the Flower Moon is a powerful and important film not only for its cinematic poetry, but also as a complicated story about the suspicious murders of members of the Osage Nation, one which fully illustrates the evils of racism and corruption. Directed by Martin Scorsese, the film features a powerhouse ensemble performance by Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons and Tantoo Cardinal making it the must-see film of the year,” said Festival Chairman Nachhattar Singh Chandi. “It is our honor to present the Vanguard Award to Killers of the Flower Moon.” Past recipients of the Vanguard Award include Academy Award Best Picture winners Green Book and The Shape of Water as well as Best Picture nominees Belfast, La La Land, Little Miss Sunshine, The Fablemans and The Trial of the Chicago 7. From Apple Original Films, Killers of the Flower Moon is an epic western crime saga, where real love crosses paths with unspeakable betrayal. Based on a true story and told through the improbable romance of Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone), Killers of the Flower Moon tracks the suspicious murders of members of the Osage Nation, who became some of the richest people in the world overnight after oil was discovered underneath their land. Killers of the Flower Moon also stars Robert De Niro and Jesse Plemons, and is directed by Academy Award winner Martin Scorsese from a screenplay by Eric Roth and Martin Scorsese, based on David Grann’s best-selling book. The film is produced by Dan Friedkin p.g.a, Bradley Thomas p.g.a, Martin Scorsese p.g.a. and Daniel Lupi p.g.a. The film features an original score from the late Robbie Robertson. https://www.awardsdaily.com/2023/11/14/killers-of-the-flower-moon-to-receive-vanguard-award-at-the-palm-springs-international-film-awards/

You are very welcome @oxford25 and @Sugarwater😊 A little off topic: Lily is so beautiful. I'm so glad she finally gets the recognition and press she deserves. Surely she'll talk about KOTFM in this interview. I hope to find it online soon.

First videos of the q&a: https://www.instagram.com/p/CzkrE2eu-IE/?img_index=2 https://www.instagram.com/stories/jfuentes/3234865916108611647/

MC LDC's album dropping 2024 🤭

Leo enjoying his birthday party and singing https://www.tmz.com/2023/11/12/leonardo-dicaprio-birthday-party-49-lady-gaga-celebration/

Older Q&As for The Revenant. I hope we will get the new screening interviews for KOTFM soon!

Happy 49th Birthday to our favourite guy🥰😍🥳

Leo and Lily are expected to participate in a q&a on Sunday. Yay.

Leonardo DiCaprio reportedly attached to Paul Thomas Anderson’s next movie as plot details emerge Paul Thomas Anderson has been developing his next project for quite some time, with plenty of rumours swirling regarding an all-star cast said to consist of Leonardo DiCaprio, Regina Hall and more. As the SAG-AFTRA strike is still ongoing, nothing can officially be announced when it comes to the cast of Paul Thomas Anderson’s latest, but scooper Daniel Richtman claimed on Patreon that Leonardo DiCaprio is indeed still attached to the movie. It’s said to revolve around a young girl of mixed ethnicity who is physically athletic and excels at martial arts. DiCaprio will reportedly play her mentor. Plot details have been kept under wraps, but it’s been long-rumoured that the project will be an adaptation of Thomas Pynchon’s Vineland. Richtman’s plot description does seem to confirm that will be the case. He states that Regina Hall is attached to play DL Chastain, a character from the novel who is a martial arts expert and ninja. “She is the daughter of a military family that moves around the world,” reads the description. “While in Japan, she is approached by a martial arts instructor who teaches her the secret ways of the ninja, including how to kill with a touch that takes a year to work. She is recruited by mobster Ralph Wayvone to assassinate Brock Vond while posing as a prostitute, but accidentally gives the death touch to Takeshi Fumimota, who has been sent in Vond’s place after the plot was discovered. During a recent virtual talk with Paul Thomas Anderson (via World of Reel), the director stated that he hopes to shoot the film in late January, with production expected to take place in California, Mexico, and Texas. The setting is said to be contemporary, which could indicate a change from the original novel which takes place in 1984. Anderson has previously tackled the world of Thomas Pynchon before with Inherent Vice in 2014. It’s expected that the SAG strike will soon be resolved, so we should be hearing something more official regarding whether or not Leonardo DiCaprio will be joining Paul Thomas Anderson’s new movie. https://www.joblo.com/leonardo-dicaprio-paul-thomas-anderson-movie/

FINALLY!!! The strike is over. Now get to work Leo! https://www.instagram.com/p/CzaJoEfuJgS/?igshid=MzRlODBiNWFlZA==

Great analysis: