akatosh

Yes, that would be cool too 😎

I love the new pics. I already can't wait to see the movie. I'm hoping for a december 2024 release🙏. And at the Oscars 2025 Lily will present him his Oscar #2😄

I read somewhere that Zoyd is describes as having a zapata like mustache. 🥸 My KOTFM 4k Blu-Ray steelbook arrived today. It's beautiful It even has bonus features (the ones posted on youtube). Strange that is only released in italy. But it has english audio.

Thanks everybody for the new pics/videos articles. Leo does look quite different. So I guess he does play ex hippie Zoyd if that's indeed Vineland, right? Rick Dalton would chase this guy away 😆 So exciting

New old video. They are from months ago. Why are they holding these back?

I think he will play the main character Zoyd Wheeler. But of course he could also play Brock. I keep checking at imdb if there's any information.

Yesssss😍🥰

New cover and interview!!😍 Marty, Leo and Lily: ‘Killers of the Flower Moon’ Trio on DiCaprio’s Oscar Snub, Runtime Discourse and Centering the Osage As the 96th annual Academy Award nominations were revealed on Tuesday morning, Martin Scorsese was in New York, the city that shaped his gutsy and gritty style of filmmaking. His latest epic, “Killers of the Flower Moon,” picked up 10 Oscar nominations, although lead actor Leonardo DiCaprio was snubbed. With his director nod, Scorsese has been recognized 10 times in the category, making him the most nominated living filmmaker, edging out Steven Spielberg. (At 81, Scorsese has been nominated at least once a decade since the 1980s, beginning with “Raging Bull” and now with “Killers.”) But as he achieved that feat, his thoughts returned to old friends from “the neighborhood,” those rough-and-tumble streets of Little Italy where he came of age. “The ones I knew are mostly gone, along with the neighborhood itself,” Scorsese says. “But they’re always with me, wherever I go. Maybe they’re joking around with me and giving me a hard time, but they’re proud.” At the same time, the film’s star, Lily Gladstone, was braving a frost in Pawhuska, Okla., near the tribal land of the Osage Nation. She was waiting to see if her name would be called. She’d end up making history herself, becoming the first Native American actress to receive an Oscar nomination for her stunning turn as Mollie Kyle. In “Flower Moon,” Mollie’s Osage friends and family are murdered, mutilated and conned out of their oil wealth, while she is betrayed by her husband, Ernest Burkhart. The film is a searing reminder of the exploitation that Indigenous people have endured at the hands of colonizers. “I decided if the news came that morning, I wanted to be as close to Mollie as I could,” she says. “When the roads are good enough, I can roll out to [the tribe] and pay my respects.” Gladstone’s recognition is a breakthrough in an industry that’s been scrutinized for its lack of diversity. But beyond the cultural significance, it acknowledges the arrival of an acting powerhouse. In “Flower Moon,” Gladstone burns up the screen alongside Robert De Niro and DiCaprio. Her parents applauded Gladstone’s nomination, then soured when DiCaprio was snubbed. “They were pissed,” she says. “He was the first to text me congratulations, with popping confetti. I told him how upset we all were. My nomination is equal parts his. I would not have been able to do what I did without his generosity as an actor and as a human being.” Scorsese argues the actor’s performance will stand the test of time — Oscars be damned: “He went so far into the complexities and contradictions of a man who was so weak, so malleable, who did such unspeakable things, but who also truly loved his wife. Leo fearlessly created a true Everyman … an Everyman that people just don’t want to acknowledge. So that will endure.” Just weeks before the nominations, Variety sat down with DiCaprio, Scorsese and Gladstone. In a private bungalow, Gladstone kicks off her shoes. Scorsese tosses the jacket of his three-piece suit and tucks into a loveseat. DiCaprio joyfully ravages a crudité like a marathon runner accepting water from the sidelines. They are, after all, in a race. Gladstone reveals that along the campaign trail she’s recently visited DiCaprio’s house, where she got a look at his best actor Oscar for 2015’s “The Revenant.” It lives on a bookshelf. “I don’t use it as a doorstop,” DiCaprio says with a flail of his arms, perhaps nodding to a recent gag from Gwyneth Paltrow (who used her own Academy Award to prop open the gate to her Hamptons home during an interview). In our conversation, nothing — from broken treaties to “Barbenheimer” — was off-limits as they reflected on their struggle to bring “Killers of the Flower Moon” to the screen. Marty, do you remember the first scene you ever directed Leo in? MARTIN SCORSESE: I think it was in “Gangs of New York” when he was on the docks with the boats coming in. You were throwing away the Bible. Within one day of shooting, we were a week behind schedule. I don’t know what the hell happened. LEONARDO DICAPRIO: I do — it was incredible. We built all of late-century Five Points, New York, in Rome. You would walk around that set and feel transported 100 years back in time. It was an incredible experience. It was a culmination of many years of wishing to work with that man. Marty, Leo recently said that you hired Lily on the spot after she read for “Killers of the Flower Moon.” He said he’d never seen you do that before. What was it about her? SCORSESE: What I saw Lily do in “Certain Women” — how she commanded the space and the screen and the emotional impact of what appeared to be minimal and very internal — that’s what I was looking for. We had just started developing the character, and I felt that Lily had it in her. That she would seriously find her. Leo, this is your sixth film working with Marty. Where does “Killers” fall in the pantheon of that work? Check the scoreboard, as Jay-Z would say. DICAPRIO: I feel like it’s one of the most important films we’ve ever worked on. Marty is different ways on different films. He takes on the pathos of the story. I remember he looked me in the eyes, it was a quiet moment, and said, “I feel this story in my bones. I have to tell it right.” Then he locked himself up in Oklahoma for eight months and was obsessive about getting to the truth. He’s always obsessed about making a great movie, but this one in particular was on a different level. Speaking of Jay-Z, Leo, you and I were at Beyoncé’s Renaissance World Tour on the same night in Los Angeles. Where does that fall in all-time best concerts you’ve seen? It was amazing. It was incredible. I don’t know that I’ve ever seen better stage production. In addition to this level of representation for the Osage, people are noticing the tenderness of the romance Leo and Lily build behind the larger betrayal in their characters Mollie and Ernest Burkhart. How did you create that? DICAPRIO: There’s the underlying story of deception that’s occurring, but we knew there had to be a connection because, frankly, that’s what the Osage community kept telling us adamantly — that these two people did fall in love. It became incredibly corrupt, one of the most twisted love stories I’ve ever come across in my life, but all true. The challenge was how much she knew I was complicit. LILY GLADSTONE: If you’re playing the complicity, then it doesn’t work. You play the love, and the complicity and the betrayal come out of what is built with love there. It’s hard to explain how you find chemistry between two actors. It’s there or it’s not. How has the feedback been? GLADSTONE: I would say the most glowing reception that I’ve seen is from the Native cinephiles. There’s a lot of Natives whose favorite filmmaker is Scorsese, my dad included. SCORSESE: Really? GLADSTONE: My introduction to Marty as a filmmaker was because of Robbie Robertson. [When I was a kid], my dad and I would drive around the rez listening to Red Road Ensemble. It sounded like what it felt like to grow up where I lived. He told me Robbie was an actual rock star from this band called the Band, and Martin Scorsese used to come over to his house and watch movies with him in the basement. I was 10. I had no idea what the hell he was talking about. He told me Marty did this movie “Casino,” so I watched the first few minutes and got scared and turned it off. I reminded my dad recently of what he said back then. Of course he doesn’t remember saying it, but it was burned into my head. He said, “One day, Martin Scorsese is going to make his Indian movie.” DICAPRIO: Wow. SCORSESE: Wow. GLADSTONE: And he said it would be epic. My dad just knew. Lily, you wrote a lengthy trigger warning about the movie on social media shortly after it came out. Did you feel supported by Marty and Leo to do that? GLADSTONE: That came out of a lot of conversations I’d had with the Osage. They said how thankful they were that they saw it together as a community, because they could unpack it and process it together. A lot of my Native friends were so excited and getting dressed up for the premieres and taking their nieces, and I thought, “This is also going to be really triggering for them.” As soon as I could speak [after the strike], it felt like that was the most important thing to say. There’s such a backlash now against being a good and decent person. We’re not telling anybody not to watch the film. It’s just, when you watch it, be aware this is going to be an experience. It’s an entertaining, arresting film, but a lot of people I talked to who had seen it alone outside of the community said they felt lonely and triggered afterwards. Leo, you’re someone who hasn’t been able to move easily in the world because of your fame. But so much of being an actor is observing other people. How do you get around that in your work? DICAPRIO: I don’t necessarily think that’s a factor. You draw upon a lot of different relationships in your life. I was a great mimic and imitator as a young man — kind of a goofball in that respect. You have base models, and when I thought about Ernest, there were certain people that sprang to mind. People I had met in my life, certain types that if you asked a question, they’d have a blank look on their face. You can read the confusion. This character is not that smart, is he? DICAPRIO: I went through a puzzling moment at the beginning of this shoot. I was struck by how slow Ernest was in his articulation. His writing seemed on the verge of having some sort of mental issue. At the same time, he was incredibly duplicitous and calculating. He was also manipulated by his uncle, who was the puppeteer of these heinous acts. I had a discussion in my own mind, wanting to make him culpable without going too extreme in either direction. It needed to be somewhere in the middle. So it’s fair to say that you’re drawing on earlier life relationships? I imagine you’re not the type that can pop into public screenings and watch with an audience. DICAPRIO: Not too often. I generally see stuff at premieres. What was the last movie you saw in a public theater? One you bought a ticket for. DICAPRIO: Good question. I think it was “Top Gun: Maverick.” I do not recall. Marty, do you slip into public screenings of your own movies? SCORSESE: I don’t do that. People talk and move around a lot. I’m short and there’s always a big person in front of me. It’s the same with Broadway — I can’t go to theater. There’s someone in front of me, and I can’t see the stage or hear the show. I really enjoy Imax as I get older. You go in, you can sit up in the back and you’re sort of looking up. Regular screenings, I have found the audiences becoming a bit more raucous than they used to be. But maybe it’s always like in the ’50s when we used to yell back at the screen. But it’s very important to me to support films while they’re on the big screen. I just wait a while. Has everyone seen “Barbenheimer”? DICAPRIO: Saw them both in the theater. That may have been the last theatrical film that I saw. But you just reminded me — I saw “Blue Whales: Return of the Giants” in the Imax theater in downtown L.A. You bought your own tickets? You walked up to the kiosk and punched the buttons yourself? DICAPRIO: They took my credit card and I signed a piece of paper, the whole thing. GLADSTONE: Can we still see our movie in Imax? I don’t know that it’s still playing in Imax. Call Tim Cook and get it done. GLADSTONE: Yes, on the phone that he just gave me. Marty, how do you feel about the criticism that at three hours and 25 minutes, “Killers of the Flower Moon” is too long? SCORSESE: I really don’t know how to respond to it except for the fact that many people seem to go with it. Some people say, “I want to see it again.” Not every film is for every person. Not every novel is for every reader, not every painting, etc. I don’t know if it’s something that will be universally accepted. This one felt right [at this length], and I felt that while I was watching it. I felt inside of it. Leo, some people have struggled seeing you play the villain, though you have done it before in “Django Unchained.” Paul Schrader posted to Facebook that he wished you’d taken the Jesse Plemons role. What do you make of that? DICAPRIO: I have no thoughts on that other than the fact that our intrinsic role in this was to try to bring truth to light. It was never a question for me, how to play the character. This was one of the most bizarre and hard-to-believe love stories I’ve ever come across, but it was complete reality. SCORSESE: Leo ultimately suggested that he play Ernest, and that came from a dinner we had in Gray Horse on my second visit to Oklahoma. About 250 to 300 of the Osage were there. [Mollie Burkhart’s granddaughter] Margie Burkhart said, “You have to remember: Mollie and Ernest were in love.” Everything shifted after that. This movie obviously seeks to correct history. What do you all think of this moment in time when the truth is under attack and forces seek to ban books from schools? GLADSTONE: Like “Killers of the Flower Moon,” which is banned in Oklahoma. I would quote Addie Roanhorse, who worked in the art department on the film. Addie said, “You can ban the book, but you can’t ban Scorsese.” SCORSESE: It’s always better to know where the hell we’ve been and who we were. That doesn’t mean we have to be the same — what do we do better? When you hide this stuff, it’s like hiding secrets in a family. One day it comes out — there’s a complete breakdown. GLADSTONE: It’s ironic that the FBI was formed on a case solving the murder of Indigenous people, when now they’re the only governing body that has authority to do something and they don’t. It’s always our communities that are searching for our missing women, that are finding answers. Our sovereignty has been stripped back to the point that we can’t prosecute those who kill our people on our tribal land. That’s all the feds. So it’s important that the FBI was formed solving Native murders, but it would have been tragic for people to think that they were still doing that. It just doesn’t happen. Do you find any reason for optimism, especially in an election year? SCORSESE: This is the most dangerous time I’ve ever lived through. I was born during World War II and lived through the Cuban missile crisis and all that, but it was never like this. GLADSTONE: The erosion happens in small, insignificant ways. It’s what Bob De Niro says about his character Hale: the banality of evil. Leo, how do you process the current state of the world? DICAPRIO: People look at this story as 100 years old, but my God, it’s incredibly relevant. This is still happening on tribal lands to this day. From an environmental perspective, it’s always Indigenous people and the places that they inhabit that are under threat. This is what’s going on in the Amazon, what’s going on in Africa, what’s going on in the Pacific Islands. These places are rich in natural resources. Without protecting sovereign rights and helping Indigenous leaders, who have always been stewards of this planet, we’re going to lose the natural world. GLADSTONE: It comes back on us how we treat the planet. How we treat our Indigenous women, in particular, is the biggest indicator of how we treat our land. They’re the same thing. We talked about this so much during shooting. DICAPRIO: It was so bizarre to be there, walking around Tulsa with newscasters there talking about the anniversary of the Tulsa massacre — which was a half-hour car ride away from the first murder in the Osage Reign of Terror. GLADSTONE: Many of these 100-year returns are coming. In the 1920s, we Natives were making our own films, and people cared about what we had to say. There’s a resurgence of that again. Making this film felt a lot like us asking, “What’s the answer?” For Indigenous peoples on this continent, we’ve already lived through the end of the world. SCORSESE: That’s the most extraordinary thing. You’ve already gone through the apocalypse, kid. GLADSTONE: We’ve lost 95% of our public population, which means we’ve lost 95% of our knowledge base. We’ve lost our languages. And yet we’re still here rebuilding. That’s what the last shot of the film means to me: If you’re watching it on a deeper level and asking, “How do we survive? How do we move forward?,” follow our Indigenous people. See how we do it. Leo, what did Lily teach you that you’ll take into future performances? DICAPRIO: I think that beyond her talent and her ability to embody Mollie the way she did, she became an authority and a partner on how to craft the story. My character was living in the world of darkness and shadow and deception. We based this film on an unreliable protagonist, inspired by films like “A Place in the Sun,” “The Heiress,” “Red River” and movies like that from the ’40s. My character is lurking in the shadows. But Lily was there when we needed to get to the core of certain answers about the relationship. Lily was Mollie to us. Marty can attest to that. She always seemed to have the answer. GLADSTONE: Because the community did. I never volunteered something that wasn’t offered first by somebody who was Osage. Anybody who walks in the Indian country … people figure you out quick. If you go in with a good heart and good intent, people invite you in. I did that in my off time. When I was called on to answer some question as a creative partner, if it had to do with anything that was particular to the history to Mollie or the Osage Nation, I never gave an answer that wasn’t first from them. SCORSESE: So much so that you’re an honorary part of their community. GLADSTONE: Everybody’s joking they’ve just got to adopt me now. https://variety.com/2024/film/features/flower-moon-leonardo-dicaprio-oscar-snub-runtime-backlash-osage-1235887633/

Leonardo DiCaprio Is Being Praised For The Respectful Way That He Honored And Platformed Lily Gladstone’s Historic Oscar Nomination, Despite Being Snubbed Himself Leo has expertly used his star power to platform and campaign for his Killers of the Flower Moon costar Lily Gladstone, and it has not gone unnoticed. It is fair to say that despite being in the industry for more than 30 years, Leonardo DiCaprio has always managed to remain somewhat of an enigma. While there have always been news stories about his love life, and a general interest in his friendships with some of his famous costars, such as Kate Winslet, he has largely kept to himself and refused to entertain the celebrity part of being a Hollywood movie star. But in recent months, people have been pleasantly surprised after finally getting glimpses into the real Leo through his sweet relationship with his Killers of the Flower Moon costar, Lily Gladstone. While Leo almost never gives interviews and rarely uses his Instagram page, since the movie’s release last year he has gone against the grain multiple times with the sole intention of platforming Lily. For example, seemingly aware of the power that comes with his instantly recognizable name and star status, Leo made the uncharacteristic decision to sit down with Vogue and other publications for joint interviews with Lily. In these pieces, it has been reported that Leo seemed keen for Lily to take the lead, with the Observer even noting that he was “careful not to interrupt” his costar — arguably only sitting in on the interviews to secure the publicity for Lily on her ascent to stardom. And when he has spoken out, it has been purely to reiterate how incredible Lily is. Discussing Killers of the Flower Moon, Leo told British Vogue in September that Lily is the one who “carries the entire film and story.” And earlier this month, the Observer asked Leo what the “best thing” about Lily is, and he thoughtfully replied: “I think she’s a good person. I notice small things in people, and look, she does a lot of amazing activism.” “She’s great – I don’t want to get too deep into it – great to her family, great to her community,” he went on. “She’s a sort of scholar in a lot of ways of her own history. But I always watch the little things and she’s consistently an incredibly gracious and nice person to everybody.” Leo also hasn’t let anybody forget just how important Lily was to the production of Killers of the Flower Moon, which tells the true story of a series of murders of Osage Nation members and relations after oil was discovered on tribal land. If you didn’t know, Lily is of Siksikaitsitapi and NiMíiPuu heritage, and grew up on the Blackfeet Nation reservation in Montana, and Leo has made it clear that both he and the film’s director, Martin Scorsese, learned a lot from her as a Native American. He told the Hollywood Reporter: “As a Native actor, in a lot of ways, she became a source of guidance for all of us, Scorsese included, in terms of how we told the story." Leo went on to credit Lily with the movie’s script being reworked to avoid Hollywood’s typical white-savior narrative, and instead accurately highlight the tragedy that inspired the film. And Lily has been just as complimentary of Leo, with her comments shedding even more light on the special relationship that they have. In an interview with Extra, Lily said: “Leo’s been incredible. I’m an only child, but I always imagined this is what it would feel like to have a big brother.” She went on to admit that he would regularly “tease” her during filming for Killers, and when asked what her favorite thing about Leo is, she did not hold back. She said at the time: “I’ve said it several times and it’s honestly the best compliment I can give somebody; he’s such a nerd!” “He gets so invested in everything he cares about,” Lily added. And he cares so deeply. He is humble about it, but it’s intriguing and awesome to see how excited and invested he gets in things.” And this has been reflected during this year’s awards season, which kicked off with the Golden Globes on January 7, where Lily won the Best Actress in a Drama Motion Picture accolade.Lily was sitting with Leo during the ceremony, and she later said that he was getting “worked up” while waiting for her category to come around because he was so nervous for her.Speaking to Extra after her win, she explained: “He was getting more worked up before I was, just waiting for the category. He told me he was proud of me, no matter what the outcome.” And Leo’s pride was evident after the ceremony, with the star taking to Instagram to honor Lily for her win. While Leo normally reserves his social media page for promotional obligations and to raise awareness on climate change and other environmental concerns, he reposted IllumiNative’s Instagram post about Lily’s win and wrote: “Lily - you are the heart and soul of this film, a formidable force, and an incredible talent. Congratulations, friend.” And Leo choosing to repost IllumiNative to his 62 million followers certainly wasn’t an unconscious decision, with the organization a woman-led nonprofit that aims to amplify Native voices, stories, and issues. So, it’s perhaps unsurprising that when Tuesday’s Oscar nominations were revealed, Leo was one of the first people to text Lily after it was announced that she was nominated in the Best Actress category. Not only is this Lily’s first Academy Award nomination, she also made history as the first Native American person to be recognized in this category. Meanwhile, Leo wasn’t nominated for Best Actor, which many consider to be one of the major snubs of this year. However, Leo seemingly couldn’t care less about his own work not being recognized, and instead wasted no time in celebrating Lily’s success. When asked what Leo’s text had read after her nomination came through, Lily told Extra: “He was just so proud, and then I told him that I was watching with my parents and ‘we’re celebrating me, but we’re also, like, collectively very pissed off for you.’” “He did such an incredible job in this,” she added of Leo’s performance in Killers. “He made an impossible character just so vivid, and it made my job so much easier, so I really want to share this, this moment with him.” But Leo was having none of it, and was sure to center Lily as he congratulated her on her success in an Instagram post that marked his costar’s incredible achievement. Once again, the page that Leo chose to platform is incredibly poignant, with the star opting to share Osage News’s post about Lily’s feat. Osage News is the official news organization of the Osage Nation, the Native American tribe that Killers of the Flower Moon is about. Then, in the post’s caption, Leo gently corrected a widespread misconception about Lily’s history-making nomination, writing: “Congratulations to my dear friend @LilyGladstone for making Oscars history, as the first Native American woman to be nominated for Best Actress in Killers of the Flower Moon, and the fourth Indigenous actress to ever earn a nomination in the category.” In recent days, many reports have said that Lily is the first Indigenous actor to ever be nominated for Best Actress, but — as Leo mentioned — this isn’t the case. While Lily is the first Native American to be nominated, three other Indigenous women have been nominated before her; Merle Oberon, Keisha Castle-Hughes, and Yalitza Aparicio. And Leo did not acknowledge his own snub as he rounded off the post, writing: “And to this powerful film’s nine other nominations - telling this story with all of you has been an honor.” Commenting on the post, Lily wrote: “Thank you, Leo. For all of it. ❤️🐝✨” Needless to say, Leo’s unwavering support for Lily — and the respectful way that he has shown it — has won him praise online, with many people reacting to the Instagram post on X, formerly known as Twitter. One person wrote: “he did not even care to campaign for himself for his role in Killers of the Flower Moon. It’s all been for Lily. He gets my flowers for that.” “Leo was a definite snub and doesn’t even play that Oscar game but he stood on business campaigning for Lily. He don’t play about her,” another wrote. Somebody else added: “Leo being Lily's biggest cheerleader has been lovely to see.” “regardless of how I personally feel about the performance, Leo showing up to every single event and press junket and red carpet and media outlet youtube series with Lily to support her campaign has been the gold standard for successful stars uplifting their costars. love it,” one more wrote. “Leonardo DiCaprio, one of the biggest stars in Hollywood, not making a circus for not being nominated and instead celebrating the work of his partner, Lily Gladstone and pointing out how historic her nomination is and also DOING RESEARCH,” another tweet read. Leo’s post comes amid huge public outrage that Margot Robbie was not nominated in the Best Actress category for her performance in Barbie. As the discourse erupted online, many claimed that the backlash was actually “the epitome of white feminism” as they pointed out that Margot not being nominated was overshadowing the success of the women who were — including Lily. https://www.buzzfeednews.com/article/stephaniesoteriou/leonardo-dicaprio-lily-gladstone-relationship-explained?utm_source=dynamic&utm_campaign=bfsharetwitter

No that's Mike Medavoy, a film producer.

It would surprise me if Leo attended the Oscars. But his bond with Lily is special so maybe he he will make an exception. But I don't think he will. He will probably just go to the after parties. Another interview where Lily talks about Leo's snub: Leo, Lily and Leo's dad: https://www.instagram.com/p/C2d_M0XLTCw/?img_index=1

I also would have preferred Viggo. Loved him as Aragorn 😊 I read somewhere that there would be a big ensemble of actors. I think it's strange we stilll don't even have the name of the movie. The Vineland plot does sound strange but I'm sure if Leo chose this then it will be good. Can't wait for the frst set pics of Leo

Sweet words from Lily about Leo: Have you had a chance to speak to Leonardo DiCaprio or any of the other people from the film yet? Leo was maybe the third or fourth person to text me congratulations. I was on the phone with my parents, and I had my mom flip the camera around so I could see the news on their faces, rather than on the screen. I didn’t want to watch the screen of the broadcast because I knew I could see that later. I wanted to see my parents’ reactions. But first thing after Leo’s category, they were like, “We are simultaneously so excited and so pissed off.” I couldn’t have done what I did in this film without what he did. He made an impossible character so real, and he made my job so much easier by the immense, difficult work that he put in. So, I’m definitely sharing this with him, even though I wish he would have gotten his due, too. https://ew.com/oscars-2024-lily-gladstone-first-native-american-nominated-for-best-actress-interview-8548033

Leonardo DiCaprio’s ‘Flower Moon’ Snub: Why the Oscars Have a Love-Hate Relationship With the Star Leonardo DiCaprio, once again, missed out on an Oscar nomination. But that comes as no surprise. DiCaprio’s portrayal of easily-led naiveté and of greed blotting out love helps to set the tone of last year’s “Killers of the Flower Moon,” just as his vexed internal conflict drives “The Departed” forward and his headlong passion launched a million “Titanic” fans. It’s hard to feel bad for DiCaprio — who, first of all, is among the world’s most famous (and famously high-living) celebrities, and, what’s more, did indeed finally get his trophy. After an aggressive campaign that leaned hard on the notion that he’d been pushed to the edge of safety, and, perhaps, sanity in “The Revenant,” he picked up his award. And while his derring-do and his survival instincts in that film were indeed a feat, they weren’t what DiCaprio does best. This makes him one of many performers whose Oscar is for work unrepresentative of the rest of their oeuvre, sure. But it also speaks to something greater. The Oscars‘ love-hate relationship with DiCaprio — in which so much of his best work, from “The Departed” to “Catch Me If You Can” to “Revolutionary Road,” has gone entirely un-nominated — suggests an industry that’s never quite been at ease with what one of its biggest stars can do. By the time DiCaprio appeared in “Titanic,” he had already been an Oscar nominee for playing an intellectually disabled teenager in 1993’s “What’s Eating Gilbert Grape”; that role was the sort that’s easy to recognize as a standout, and DiCaprio, then, was laden with none of the baggage that would get ported in on the Ship of Dreams. “Titanic” made him an international fixation, a heartthrob with real artistic ambitions of the sort that hadn’t, perhaps, been seen since Beatty, or Valentino. The hysteria around him may have been judged its own reward; when “Titanic” reeled in 14 nominations, DiCaprio’s name wasn’t called, and he skipped the ceremony entirely. Was DiCaprio worthy of an award for “Titanic”? People have been nominated for less than helping to anchor the romance at the center of the biggest film ever made. And what might have seemed like a “snub” began to blossom into a grudge, with DiCaprio never meaningfully in contention for the next grown-up movies he made, “Catch Me If You Can” and “Gangs of New York,” both released in 2002. What DiCaprio would have to do to catch Oscar’s eye began to glimmer into clarity with 2004’s “The Aviator,” for which he was nominated. In “Titanic” and “Catch Me If You Can,” he’d made a meal out of his personal charm, showing both his suavity and its limits. In “The Aviator,” in which he depicted the downward spiral into madness suffered by real-life magnate Howard Hughes, he was made to suffer. Which takes nothing away from the performance — a very strong one, in fact, and the one that cemented the collaboration he’d begun with Martin Scorsese on the set of “Gangs of New York” as a real going concern. But what the voters seemed to want from DiCaprio was to see meaningful effort, to watch that pretty face contort with a bit of agony. Just two years later, he sat at the center of “The Departed,” the film that would eventually win best picture, and played out a struggle of divided loyalties and self-sacrifice through a chewy Boston accent. His race to talk his way out of each jam with a certain criminal charisma made for movie-star work, the kind that Oscar seems to recognize for many performers but him. DiCaprio’s nomination that year for less substantial work in a less impressive movie, “Blood Diamond,” came as a surprise only until one recalled that in the Edward Zwick thriller, DiCaprio’s Rhodesian accent was even more tactically deployed. Once again, DiCaprio was honored only once he made it clear he was striving for it. So it went for DiCaprio, once again ignored for a reunion with “Titanic” co-star Kate Winslet in 2008’s “Revolutionary Road,” in which both partners personified plainspoken and unaffected agony within a marriage. (This one may not have just been a DiCaprio thing; Winslet’s nomination, and win, that year, came for playing an illiterate Nazi, perhaps history’s greatest example of being made to show one’s work.) And with “The Wolf of Wall Street” in 2013 — coming a year after a might-have-been-nominated turn as the charismatic evil at the center of Oscar favorite “Django Unchained” — DiCaprio made a three-hour-long heel turn, a depiction of bottomless avarice studded with ingenious physical comedy, look effortless. Which may have been why he lost to Matthew McConaughey, whose physical decline as a rodeo cowboy with AIDS in “Dallas Buyers Club” was rooted in effort one could see scrawled across the screen. DiCaprio certainly seemed to want an Oscar by the time “The Revenant” came around, and the stars aligned — including a field of competitors that call to mind the season of “Survivor” structured with a cast designed to let fourth-time returnee Rob Mariano walk to a victory. There are plenty of stars who’ve waited for a win, but few whose core characteristics as performers — in this case, a charisma that can easily be turned towards manipulation or chilly amorality — seem to leave the Academy unmoved. (That he ended up nominated for “Once Upon a Time in Hollywood” may be explained by some curse finally having been lifted with his winning for playing an uncomplicated secular saint who suffers for our sins in “The Revenant.” Or maybe it’s just that in “Hollywood” he gets a hero’s ending.) So it is with “Killers of the Flower Moon,” in which DiCaprio puts every bit of himself into playing a character one would never want to meet. Perhaps it really is exhausting rooting for the anti-hero, or even just watching him. DiCaprio’s wiliness in exploiting Lily Gladstone’s (beautifully played, as well) character draws upon his essential gifts, and his ability to conjure his character’s nascent and uncomplicated thoughts as though they’re occurring to him for the first time is a testament to DiCaprio’s ability to draw out the shades of meaning from the elemental, just as he did finding stardom in the “Titanic” screenplay. It’s not a set of skills the Oscars seem to want for a man who got his prize, finally, for fighting bears, even as all fans might have wanted to do was see him use his silver tongue to talk the beast into submission. Or maybe it’s something else. DiCaprio, after all, was finally given the prize once he went as far as it’s possible to go on a film set, and then told us about it, and told us about it. But this is the same performer who skipped the ceremony when the film he was in had made him the biggest actor on earth, and won best picture; he’s the same performer who’s used each of his glancingly rare media opportunities, this time around, to talk about how special a scene partner Lily Gladstone is. (And Gladstone now appears likely to win best actress.) DiCaprio’s lifestyle makes headlines, and he’s one of the only actors on earth who could get a film as expensive and not-obviously-commercial as “Killers of the Flower Moon” greenlit. Having won at last, DiCaprio doesn’t seem to need another Oscar, not when he already has it all. And need — that thing that pushes past demonstrations of movie-star charm with big accents or broad suffering, even though movie-star charm is what makes movies work — is at the center of the Oscars. DiCaprio, in the end, will be fine without another prize, and the Oscars, just as they have over the course of his career, seem to recognize that. https://variety.com/2024/film/columns/leonardo-dicaprio-oscar-snub-killers-of-the-flower-moon-titanic-1235883271/

I'm curious if he will attend the SAG awards. He is nominated in ensemble. I hope he'll be there. As for the Academy Awards I think he won't be there as he never went when he was not nominated. Too bad because I got the day after off and planed to watch it. And seeing Leo live on TV is always great.

Yes he's probably very happy for Lily. But I still think he will be a little sad for the snub because the movie meant a lot to him and he once said getting recognition from his peers meant a lot to him.

I agree. But it still stings. This being named his "best performance of his career". I read somewhere it is not nominated because his character was not likable and because Leo did not campaign. But De Niro's character was even more evil and he also did no campaigning... Jealousy?

Well at least KOTFM got 10 nominations and I'm happy for Lily.

Titanic all over again. Everybody gets nominated but Leo.🥹 Well can't wait for his next project.