akatosh

I agree. I think there's something special between them. I've seen loads of videos and pictures of them together and the way they are looking at each other is just special.Leo hasn't been like this with anyone. Who knows maybe there is more than just a deep friendship between them. Let's wait and see. Speaking of: Leo hanging with Lily. And of course his mom was with him at the Globes as well. 😊 @Jade Bahr Leo has said it was somebody other than Marty so I think we're save. 😄

Leo's kiss, hug and happy smile afterwards is the cutest thing. 🥰

New poster:

So happy Lily won. I would have loved for KOTFM to win best picture though. Hopefully Oppenheimer doesn't get all the upcoming awards. And so much new Leo content. 🥰

I remember reading his favourtite color being purple in the 90s. Mine is also blue (and red) 😊

‘It opened a lot of old wounds’: Leonardo DiCaprio and Lily Gladstone on Killers of the Flower Moon Mark Kermode The co-stars of Scorsese’s Oscar-tipped epic, based on the true story of murders of Native people in 1920s Oklahoma, talk about the key role of the Osage people in the film’s making, and the importance of supporting those closest to the land As the race for the 2024 Oscars heats up, Martin Scorsese’s epic Killers of the Flower Moon, adapted from David Grann’s nonfiction 2017 book of the same name, is widely tipped as a frontrunner for the top prizes. Last month, the drama about the real-life Osage murders, masterminded by white men intent upon stealing the oil-rich land “headrights” of the Indigenous people in early 20th-century Oklahoma, topped Sight and Sound’s poll of best films of 2023. In the run-up to Christmas, Awards Daily placed Killers of the Flower Moon as the “best picture frontrunner”, while Variety named Scorsese and actor Lily Gladstone as probable Oscar nominees, with leading man and executive producer Leonardo DiCaprio (first nominated for What’s Eating Gilbert Grape in 1994 and winner for The Revenant in 2016) as on course for his eighth nomination. With all this awards interest, it’s no surprise that DiCaprio and Gladstone are out on the campaign trail, finally able to talk about the film after the resolution of the actors’ strike, which prevented them from promoting it when it came out in the autumn. And while DiCaprio has a reputation for being less than fond of press interviews (we’ll get to the matter of his very public private life later), he’s clearly eager to support rising star Gladstone, who has much to say about the movie. Indeed, when I ask for somewhere to place my recording device, he goes into an elaborate comedic pantomime of moving a table, then a chair, then another table (“I should have just moved the chair first, shouldn’t I?”) before sitting well back in the sofa he shares with Gladstone and letting her take centre stage. “It’s long overdue, this particular story,” says Gladstone of this saga of love, death and betrayal – in which a white man, Ernest Burkhart (DiCaprio), marries an Osage woman, Mollie Kyle (Gladstone), in order to inherit her family’s oil rights, against a backdrop of murder and exploitation. “The Osage community didn’t speak about it for such a long time – it’s such a fresh trauma. When David Grann’s book was written, it opened a lot of old wounds. But sometimes you need to open wounds to begin a healing process. The book is not taught in public schools in Oklahoma because teachers have been made too afraid to teach it on any curriculum. So it’s important to have a film out there that people can connect with and be shown as part of history. It’s a long-overdue moment of representation.” For Gladstone, who grew up on the Blackfeet Nation reservation, and whose previous acting credits include Kelly Reichardt’s Certain Women and First Cow, the key to that “moment of representation” is the degree to which members of the Osage Nation were involved in the film’s development, and the number of Indigenous actors on screen. Indeed, she argues that the casting and production of Killers of the Flower Moon marks a watershed moment in Hollywood, with potential to change the industry. “I think we will get a lot of other TV shows and films that are made by Native people,” she says, contrasting this with the portrayal of Indigenous people in “the era of the ‘classic western’ which relegated us to being bloodthirsty savages. We didn’t have our leading ladies in our sweeping, tragic love stories like classic old Hollywood. So placing this incredible Indigenous cast in these roles that we’ve been excluded from in film history is very restorative. We had so much Osage input into Killers of the Flower Moon, and that really shaped everything you see on screen. I hope this will set a new precedent for people working with communities in Hollywood.” I ask DiCaprio – who has been listening intently to Gladstone, careful not to interrupt – about his role in reshaping the film’s script from its original inception, a key factor in Osage involvement in Killers of the Flower Moon. “Well, it was a long development process,” he sighs. “We got the option to the book, and that was particularly exciting for me, because it was this lost chapter of American history. And in a lot of the environmental work that I do [DiCaprio is a longstanding campaigner], you see Indigenous communities all around the world with similar stories. Some of these environmental heroes are at risk of perishing from major oil companies, drilling companies, mining companies. So this story is not something that we could just look at as being 100 years old. This was a place rich with oil and resources, and rife with conflict, and that’s happening everywhere now.” Scorsese, who was equally interested in this “amazing story”, set about developing a script based on Grann’s book, much of which focuses on “the birth of the FBI”, in which Thomas Bruce White Sr (the law officer who led the Osage murders investigation) plays a key role. It was this role (ultimately played by Jesse Plemons) that was originally earmarked for DiCaprio. But “after a year or two of developing that, we started to have these read-throughs, and we just didn’t feel anything. Emotionally. I remember we had a roundtable before Lily was involved, and we kind of just looked at each other. And we’re like: ‘OK, well, this is a pretty great whodunnit.’ A Hitchcockian murder mystery. But I’m not interested in plot, I’m not interested in that type of structure. “Then we started to look at these few scenes between Mollie and Ernest and we realised that was really the heartbeat of the story. That also brought us into the Osage world and community more, which led us to scrap the whole script and start anew. Then, after we got our new draft, which was largely based on films like A Place in the Sun and The Heiress – this very twisted, bizarre love story – Marty was invited by the Osage to listen more deeply to their story and their version of what happened. And then after Lily came on as well, the whole story started to take on an entirely new structure.” “Osage actually extended the invite,” Gladstone replies. “Gray Horse [an Osage County community] has had an eye on it since the book was written, and I knew that there was interest in the film. When it became clear that things were moving forward, and that it was going to be Leo and Marty doing it, they reached out – the community of Gray Horse got together and signed this letter saying: ‘Our community has a really strong vested interest in the story and its adaptation, and we just want to invite Mr Scorsese and the film-makers to come to our community and have dinner with us and discuss and hear some of our thoughts and concerns about the adaptation.’ And Marty accepted that invitation.” Even with this Osage input, Killers of the Flower Moon still provoked its fair share of negative reactions. The Indigenous Canadian actor Devery Jacobs, who plays Elora in the TV series Reservation Dogs, took to social media to slam the film for being “painful, gruelling, unrelenting and unnecessarily graphic”, adding: “All the incredible Indigenous actors were the only redeeming factors of this film” and concluding, “After 100 years of the way Indigenous communities have been portrayed in film, is this really the representation we needed?” Despite their best efforts, it seems the film-makers simply couldn’t please everybody. “Well, art shouldn’t please everybody,” says Gladstone. “What matters to me most is that Osage people feel good about it. And by and large, the ones that I’ve spoken with, whether they were involved in making the film or not, are very supportive. Former chief Jim Gray was one of the most vocal opponents of it being made. He was very, very sceptical, as was a lot of the community. But after he’d seen the film, he released this really long, beautiful Twitter thread that was just such a glowing endorsement of what he had seen. That meant a lot to me, because Jim was somebody whose opinion I ended up really caring about. Some of my closest friends who weren’t involved in the film avoided me when I was in town because again, they were sceptical of what this film would do to sensationalise this really ugly chapter of the tribe’s history. And now it’s one of their favourite films! Of course, there’s going to be people in the Osage Nation who have different feelings too, but overwhelmingly it feels like there’s a lot of support. And there’s a protectiveness of the movie.” In its finished form, Killers of the Flower Moon centres on a relationship that is clearly abusive – a white incomer marrying into an Indigenous community in order to inherit and steal the oil money that has made their land wealthy. Yet on screen, DiCaprio and Gladstone conjure a sense of intimacy between Ernest and Mollie that is at odds with that entirely exploitative narrative, hinting at something more tender beneath the surface. How would the actors characterise Ernest and Mollie’s relationship? “It’s interesting,” muses DiCaprio, whose character is the biddable nephew of Robert De Niro’s oleaginous schemer William King Hale, one of the key instigators of the crimes against the Osage people. “This Mollie-Ernest dynamic was almost something that a writer couldn’t imagine. I mean, obviously this was an incredibly abusive relationship. But was there a real bond? You have this ecosystem in Oklahoma, where you have this massive white population, taking over what was Indigenous land. But after talking over and over with members of that community, they told us that while Hale has been literally erased from memory and history books because of the banality of evil that he was, Ernest was different. He was this sort of manipulated nephew of Hale’s. He’s obviously incredibly culpable. But we kept hearing over and over again that there was a real bond and connection between Ernest and Mollie – there was something there.” I suggest that that sense of connection is crucial to the engagement of Scorsese’s film, and that without it, audiences may have felt disconnected from the twisted and duplicitous goings-on. If the whole thing is just a murderous setup, it’s hard to invest emotionally. “Right!” says DiCaprio. “And it was there. So much so that even after the trial, Mollie and Ernest were still seen driving around Fairfax together. In other words, I couldn’t imagine this relationship having existed as long as it did unless there was a real relationship there.” “There were lots of white men that married Osage women,” says Gladstone, “and lots of white women that married Osage men. And they would never have gone to the lengths of wanting to communicate with their spouses in their language. Ernest was a simple man who was illiterate; he wasn’t a great intellectual by any means.” (“By any means,” interjects DiCaprio, laughing.) “And yet he picked up the language and spoke it with this family, he spoke it with his kids. I think he found, as a lot of people do when they marry into Indian country, a very unconditionally accepting family. A very grounded, well-defined, impeccably maintained, communally maintained culture to belong to. And I think Ernest felt a great deal of belonging when he was with his family. But he also had this other culture he’d come from, this other entity, essentially this strong hand of the patriarchal overlord.” Our conversation turns to activism and environmentalism – a subject close to them both. While Gladstone was recently quoted as saying “acting is my activism”, DiCaprio has become something of an eco-celebrity. In a poll conducted by the Hollywood consultancy the National Research Group of about 1,500 18- to 64-year-olds, DiCaprio was named the public figure or celebrity they most trusted on sustainability, ahead of Greta Thunberg, Al Gore, Dwayne “The Rock” Johnson and President Joe Biden. “Look, I mean, I’ve been doing it for quite a long time now,” says DiCaprio. “And I’ve realised there’s been this great narrative perpetuated by, whether it be governments or the private sector, that it’s the individual’s responsibility. And by the way, that isn’t to say that that’s not true. I mean, we can do what we can from a local level; we can vote, there’s plenty of things that we can do. But governments need to change their policies, which is what all these Cops are about – holding nations and the private sector responsible for global emissions. We’re waiting for technologies like carbon sequestration; we’re waiting for AI supercomputers to give us these answers. This is the largest endeavour that civilisation and humanity has ever had to take on, and possibly the most important. We’re affecting every future generation and all life on Earth. Many people have said: ‘Oh, the Earth will still be around.’ But what kind of Earth will it be like to live in? For its inhabitants? “So my focus right now is to ask: ‘How do we protect the natural world?’ You protect the stewards of the land, you protect the people on the ground, the local communities, the Indigenous people that have been doing this for thousands and thousands of years. So the whole focus of my foundation work now is the idea of saving nature by protecting, and funnelling 100% of all funds to the Indigenous groups on the ground. Giving local communities the means through which to protect these places, rather than extract from them, and to protect them from massive corporations that are there to cut down their trees for cattle farms, soy or palm oil. And by and large, by doing that, you protect all the biodiversity that coexists with that.” “Regardless of politics,” says Gladstone, “that’s one thing I admire so much about Leo’s activism – it acknowledges human beings and grassroots efforts. Throughout the history of mankind we’ve always been subject to the whims of whatever our ruling body is saying. However the political pendulum swings, that human-level, grassroots resistance remains. There’s always going to be an Indigenous element, a people-based movement. It’s always going to be allies joining the people who, regardless of politics, are holding that frontline, maintaining the Earth, taking care of community. It’s sort of circumventing whatever government is doing and just addressing the direct needs of the people on this planet.” Bearing in mind how vocal De Niro has been about the threat posed to the US and the world by Donald Trump, how alarmed or optimistic are they about the forthcoming American election? “It’s a long answer,” says DiCaprio, who studiously avoids the kind of quotable anti-Trump soundbites with which his and Gladstone’s co-star has made headlines. “I have no idea what direction things are gonna go in. All I see is more and more polarisation on a number of different issues in our country. From an ecological perspective, there’s one party that I have sided with – it’s been traditionally the one that actually believes in 99% of the scientific community and their findings, which I happen to be a proponent of. I believe in science! “I remember doing a film called Before the Flood, and I was with one of the Nasa scientists who, for the first time, gave me a map of planet Earth and literally said: ‘Look, you see everything along the equatorial line here?’ I’m like: ‘Yeah, that’s close to where I live in Los Angeles’, because this was seven years ago. ‘So you’re going to start to see fires pop up as the Earth starts to warm, things are going to start to incinerate, there’s going to be too much drought, the trees will not have enough resistance.’ And literally, a few years later, you’re starting to hear about massive forest fires. And now this is a regular thing. So we’re seeing everything else start to happen, almost to a T, that scientists have predicted. And we have one party that has systematically denied the scientific community and has not been a proponent of protecting our climate.” In stark contrast to the unfolding catastrophe of the climate crisis, I ask if we can discuss more trivial matters. “Like, what’s your favourite colour?” laughs DiCaprio. No, like the actors’ strike. How did they each manage it? There’s a long silence, eventually broken by Gladstone. “It was frustrating to not be able to speak to the film,” she says wearily, “to really be out there representing it. But I will say that there was one silver lining that I hope also created a new precedent with films like this. Because the actors couldn’t talk, it was really nice to sit back and allow Osage people to take the carpet and speak first about it. I’m always looking for silver linings. It’s maybe a character strength, maybe a character flaw. But it was really inspiring. I mean, in some ways I feel like us actors have done our job when the film wraps – we pour everything into the character, we pour it into the story. There’s a huge conversation about what happens when a piece is done. Is it still yours or do you hand it over to the audience? And in that process of handing this art back to an audience, really back to Osage people first, it was appropriate that you heard those voices.” Does DiCaprio feel the same? “Look, Marty’s been out on the campaign trail because we haven’t been able to speak about it,” he replies. “But if I’m being quite honest, I really wanted to have Lily be able to have a pulpit to talk about this movie. And it’s been interesting to hear her perspective and what it means. So what can I say about the actors’ strike? Nobody worked! You know. And now, we’re gonna get back to work! And I’m glad it’s all over.” Does DiCaprio ever get bothered by press interest in his personal life? “As far as my personal life is concerned, you know, my answer is pretty simple. I got into this industry at a very young age. I felt incredibly compelled to do this. And the irony is that I was born and raised in Hollywood. People think:‘Oh, OK, just add water’, right? But I tried to become an actor multiple times and I got rejected. And at 12 or 13 years old, one of those agents said: ‘OK, we’ll give you a shot.’ Since then, it’s felt like winning the lottery. And to be honest, I would have been happy doing any sort of acting jobs – commercials, television. “I got the one opportunity doing This Boy’s Life with Robert De Niro. I watched his work, realised the calibre of actor that he was and said to myself: ‘I will never squander this opportunity.’ So since then, a lot of other stuff comes hand in hand with that. The complete loss of your private life. And you know what, a lot of people have to deal with a lot harsher things than having their private life be public knowledge. That’s just one of the byproducts. I feel too lucky to do what I do to sit here and complain about it. It’s just one of the things you have to accept and you adapt.” Our time is almost up and I have one last question for each of them: what’s the best thing about the other person? DiCaprio turns to Gladstone, clearly determined that she’s going to go first. “Well, I’ve said it several times,” she says. “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. 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 Leonardo, what’s the best thing about Lily? “There’s a lot of things that I could say,” he smiles, “but 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. 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.” Gladstone looks genuinely moved. “Thank you,” she says quietly. And since you brought it up, what is your favourite colour? “I go back and forth between green and blue,” laughs Gladstone. And you, Leonardo? “Blue.” “Can I ask you a question?” Lily says to him. “Is your favourite colour blue because of… Captain Planet?” “It’s always been blue,” DiCaprio beams. “Probably because I’m just a boy.” And they both fall about laughing. Killers of the Flower Moon is available to stream on Apple TV+ from 12 January https://www.theguardian.com/film/2024/jan/07/leonardo-dicaprio-lily-gladstone-interview-mark-kermode-killers-flower-moon?utm_source=dlvr.it&utm_medium=twitter ------ So cute when private Leo comes out of his shell in interviews. He seems just lovely.

Two new Q&As:

I've noticed the beard too. I'm pretty sure it is for his new role as he normally keeps it at a certain stubble length.

^I hope so. He deserves all the praise and nominations for KOTFM. Not an easy part to play. I would love if he and Lily both won the Golden Globes this Sunday.

Lily Gladstone Won’t Let Hollywood Put Her in a Box The “Killers of the Flower Moon” star says awards attention feels like “being shot out of a cannon.” For a long time, she’d kept her distance from the industry. In college, Lily Gladstone studied the history of Native American actors in Hollywood. Now, she’s making it. The 37-year-old actress has been checking off all sorts of awards-season firsts thanks to “Killers of the Flower Moon,” the Martin Scorsese-directed period drama in which she plays Mollie Burkhart, an Osage woman whose relatives are systematically murdered by her husband (Leonardo DiCaprio) and his uncle (Robert De Niro) in a bid to seize her family’s oil-rich Oklahoma land. If Mollie is the movie’s conscience, Gladstone is its center of gravity: Even when she shares scenes with A-listers like DiCaprio and De Niro, the film bends to her. That portrayal has so far earned Gladstone a best-actress win from the New York Film Critics Circle and nominations from the Golden Globes and Critics Choice Awards, and major nods from the Screen Actors Guild and the Academy Awards are likely to come in the weeks ahead. In the run-up to those ceremonies, Gladstone has been a hotly pursued presence for round tables and events on both coasts, and she’s taken to those opportunities with such command — using her platform to amplify other Native voices and concerns — that you’d never know that she wasn’t used to this, or that for a long time, she was hesitant to engage with Hollywood at all. “There’s a handful of people who love film that have been aware of my career for a while, but this has been like being shot out of a cannon,” Gladstone said, tracing the far-flung route that has led her to all those awards-show ballrooms. “My dad’s a boilermaker, my mom was a teacher. I was raised on a reservation, went to public school. It’s a very normal, sort of working-class upbringing in one way, and in another way, I’m just a rez girl.” Onscreen, Gladstone has the profile and indomitable presence of a 1940s film star. In person, when we met last month at a rooftop restaurant in Beverly Hills, Gladstone was more approachable but every bit as striking, with vivid brown eyes that her father once warned her were eminently readable. He said this mostly to dissuade her from telling lies, but he was right: When we feel for Mollie, it’s because of the fear and righteous indignation that Gladstone can convey in just a look. She also has a wry sense of humor, glimpsed in some of the Scorsese film’s lighter moments, and an ability to punctuate her conversation topics and awards-season speeches with an impressive command of history and facts. “Lily is a big nerd wrapped up in this very giving, curious person,” said the director Erica Tremblay, whose film “Fancy Dance” starred Gladstone. “If you’re at a dinner party with Lily, you’re going to find yourself talking about physics and bumblebees — and when I say she’ll be talking about physics, she’ll be talking about some very specific theory that Lily will know the mechanics of inside and out.” At an Elle event in December celebrating women in Hollywood, Gladstone was honored alongside the likes of Jennifer Lopez, America Ferrera and Jodie Foster, but she particularly sparked to meeting the academic Stacy L. Smith, whose University of Southern California think tank, the Annenberg Inclusion Initiative, had recently issued a report about Native American representation in Hollywood. After analyzing 1,600 films released from 2007 to 2022, Smith found that the amount of speaking roles for Native American actors was virtually nil, less than one quarter of 1 percent of all the roles cataloged. A leading role like Gladstone’s in a film the size of “Killers” isn’t just unusual, it’s unprecedented, so much so that Smith subtitled her report, “The Lily Gladstone Effect.” Gladstone can hardly wrap her head around that recognition. “It’s the kind of paper that if I were a student now taking the same class, I would be citing in my studies,” she said. For DiCaprio, Gladstone has more than earned the plaudits. “To see her rise to this occasion and be somebody that’s so formidable as far as understanding the depth of her own industry and Native American history, it’s an incredible moment to be a part of,” he said in a phone call. “I’m just glad to be next to her.” To tout his co-star, DiCaprio has been a willing participant in the sort of red-carpet photo opportunities and awards-season parties he’d normally eschew. “It’s insane,” Gladstone said. “It’s like I’m trotting this mythical creature around, out and about, and he’s doing so of his own volition.” The ante was upped even further when Gladstone learned that her favorite actress, Cate Blanchett, would conduct a Q. and A. with her after “Killers” screened in London. “I’m hugging myself right now, I know your readers can’t see that,” she told me. Gladstone acknowledged that sometimes, the intensity of the awards-season spotlight can feel overwhelming. “I can’t speak from the heart if I’m not connected to what’s real about all this,” she said. In those moments, she endeavors to carry her community forward with her: “I know that all of this attention on me right now means so much more than just me.” In other words, don’t expect Gladstone to come out of this experience transformed into a demanding Hollywood diva, as so many have before her. She can’t be bowled over, onscreen or off. “I’ve talked to a lot of people who know Lily Gladstone and have been friends with her for a long time and seen this journey, and she is so steadfast and so immovable in terms of her values and her core,” Tremblay said. “I think she’ll be exactly the same, but with fancier clothes.” AS A CHILD growing up on the Blackfeet Reservation in northwestern Montana, there was one week that Gladstone looked forward to all year, when the Missoula Children’s Theater would roll up in a little red truck, construct a set out of P.V.C. pipes and cloth backdrops, and cast local kids in a production that the whole community would come out to see at the end of the week. “I was bullied a lot when I was a kid, partly because I was just goofy,” Gladstone said. “But that one week a year is when I was cool.” In the group’s production of “Cinderella,” the young Gladstone decided to play her ugly stepsister as if she were Roseanne Barr, studying how to walk and talk like the comedian. It was a lightning-strike moment when she realized that a little bit of craft could go a long way. “Somebody picked up on that in the audience and said, ‘She’s funnier than Roseanne,’” Gladstone said. “And my parents reminded me that somebody there from our community said, ‘We’re going to see her at the Oscars one day,’ just from that.” Performing has always been Gladstone’s true north, the place to which her inner compass is most attuned. She remembers watching “Return of the Jedi” at 5 and feeling such a strong desire to be an Ewok that she knew someday, she’d be on the other side of the screen. Similarly obsessed with “The Nutcracker,” Gladstone signed up for ballet, which she assumed would be the big performative outlet in her life until the body shaming became too tough to take: “Not just weight, but things like, ‘Your middle toe is too long,’” she said. “I’m like, ‘Hey, my grandma gave me that middle toe!’” But even in ballet class, instructors told her she was a natural-born actress, less concerned with nailing movements than with communicating a character. In her teenage years, when Gladstone’s family moved from Montana to the sometimes alienating suburbs of Seattle, she plunged fully into performance, acting in off-campus plays and auditioning for independent films. During her senior year, fellow students voted her “Most Likely to Win an Oscar.” They could already tell that acting was something she lived and breathed. “It gave me an identity when my identity was forming and reforming,” she said. “Being known as an actress felt good even when I wasn’t working, even before I got my SAG card, when people asked what I did: ‘Yeah, I’m working at Staples right now, but I’m an actress.’” In her 20s, many of Gladstone’s actor friends moved to New York or Los Angeles, but she was reluctant to follow suit. “I knew if I came to L.A. and was doing audition after audition, it would be really difficult for me,” she said. “And I knew how easily my love of ballet had been shot down by these boxes that I couldn’t fit in, so I was like, ‘I’m going to protect this a little bit.’” The boxes in Hollywood can be pernicious, and Gladstone is still wary of them. “I know myself and I know I’m difficult to cast,” she said. “I’m kind of ‘mid’ in a lot of ways.” Gladstone hastened to add that she didn’t mean “mid” like meh, dismissively as Gen Z uses it. Instead, she meant the word quite literally. She is in-between, hard to place, neither this nor that. Part of it is that she’s mixed-race: Her father is Blackfeet and Nez Perce, her mother white. But there is another part, too. “It’s kind of being middle-gendered, I guess,” said Gladstone, who uses both “she” and “they” pronouns. “I’ve always known I’m comfortable claiming being a woman, but I never feel more than when I’m in a group of all women that I’m not fully this either.” She recalled a heartfelt moment at Elle’s Women in Hollywood event when Jodie Foster told the nonbinary “The Last of Us” actor Bella Ramsey that the room was full of supportive sisters. “That’s wonderful and that’s true,” Gladstone said, but afterward she went up to Ramsey to “introduce myself and let them know, ‘You also have siblings here, too.’” Instead of moving to Hollywood, where she might have been prodded into walking a narrower path, Gladstone spent her postgraduate years in Montana, doing theater and renting out basements with like-minded performers just to make something. Working in independent films and Native-centric productions allowed her to qualify for the Screen Actors Guild without ever having to move her home base, and a breakthrough role in Kelly Reichardt’s 2016 indie “Certain Women” raised her profile considerably. Still, the mega-budgeted “Killers of the Flower Moon” represents a comparative quantum leap: Though Gladstone was unsure about coming to Hollywood, in the end, Hollywood came to her. It’s a heady thing to go from semi-known to perceived on a major scale, as Gladstone found out during the film’s mammoth Cannes Film Festival premiere in May, when photos of her walking the red carpet with DiCaprio were beamed all over the world. But the actual premiere of “Killers” in October provided an unexpected respite, since the actors’ strike at the time prevented Gladstone from promoting it. A silver lining was the number of Osage people who instead spoke at the movie’s premiere, enjoying the sort of red-carpet moments that would have typically gone to the film’s striking actors. Watching them discuss and debate “Killers” reminded Gladstone that she was raised to listen to her elders, and the strike-imposed silence provided the perfect opportunity to collect her thoughts and reflect. “There’s a level of ego that is wrapped up with being a public person speaking for other people, and a level of ego it takes being an actor, too,” she said. “So I think it was a real gift to be able to sit there and have another reminder that this is way bigger than me.” She spent the film’s opening day on a picket line in Times Square, marching back and forth in the rain near the New York headquarters of Paramount Pictures, the studio that distributed “Killers” with Apple. “It was a little bit of my contrarian nature to choose Paramount that day,” Gladstone admitted with a grin. Later, while dining at an Italian restaurant in the city, a couple sitting next to her asked if she was Lily Gladstone from “Killers of the Flower Moon.” It was the first time she felt permission to own it. “I was like, ‘Yes, I am. Today, I am Lily Gladstone.’” Months later, recounting the story, she was still beaming. IF GLADSTONE IS nominated for a best actress Academy Award on Jan. 23, she’ll be the first Native American contender in that category. With a win, she’d become the first Native performer to earn a competitive acting Oscar. Still, it’s one thing for Hollywood to celebrate underrepresented actors, and a whole other thing to actually provide for them afterward. Academy members were moved to vote for recent winners like Troy Kotsur (“CODA”) and Ke Huy Quan (“Everything Everywhere All at Once”) in part because of their inspiring personal narratives, but follow-up projects on par with their winning films can be hard to come by. DiCaprio hopes that Gladstone’s breakthrough year will finally change things. “I think she realizes that this really is a historical moment,” he said. “I know she has a plethora of other stories that she wants to tell, and I want her to be given those opportunities.” Whatever this season has in store, Gladstone is ready to make the most of it. At a recent Academy Museum gala, the Oscar-winning actress Jennifer Connelly asked to meet Gladstone and wondered whether the demands of campaigning had already run her ragged. Gladstone was surprised to find herself replying that so far, she was doing just fine: “Maybe it says something about me that I’m kind of enjoying all of this right now.” The wider world appears invested in her success, too. After “Killers” received a standing ovation at Cannes, a clip of Gladstone’s moved reaction to the applause earned millions of views. Why does she think that video went viral, with so many excited commenters predicting the Oscar glory that now appears within reach? “I think people root for folks that come up from the grass roots having this global-stage moment, this dream coming true,” she said. “That’s something that I wish on everybody at some point in their lives, in whatever form that takes, and also for Native people.” Gladstone confessed that she had watched the Cannes clip “about a thousand times” since the premiere: “It’s a moment of transcendence that was wonderful to have captured.” But the moment was about more than just her own time in the spotlight: She recalled the way her Native co-star William Belleau let out a whooping war cry during the ovation and how the applause for the women playing her sisters — Cara Jade Myers, JaNae Collins and Jillian Dion — prompted Gladstone to let out a trilling lele. It wasn’t just a celebration. It was a release. “Whatever that oppressive system is that sometimes develops with colonial governments, that moment of transcendence for all of us, those are the healing moments,” Gladstone said. “Those are the ones that show people very clearly that we’re still here and we’re excellent. We’ve survived and we’re just soaring now.” https://www.nytimes.com/2024/01/06/movies/lily-gladstone-killers-of-the-flower-moon.html Leo the mythial creature. I like that term😊

Lily Gladstone Dishes on Her 'Titanic' Obsession and Texting With Leonardo DiCaprio (Exclusive) The 'Killers of the Flower Moon' star tells ET she's big fan of DiCaprio's 'Titanic' co-star, Kate Winslet. Lily Gladstone is enjoying a full-circle moment. The 37-year-old actress plays the wife of Leonardo DiCaprio's character in the critically-acclaimed film, Killers of the Flower Moon. Gladstone attended the 35th annual Palm Springs International Film Festival Awards Gala, hosted by Mary Hart, on Thursday to kick off awards season, where she spoke about her pre-teen obsession with DiCaprio's 1997 blockbuster film, Titanic. "I [got] the double box set from Toys R' Us," Gladstone tells ET's Denny Directo at the Palm Springs Convention Center. "I got on the list early. I was in sixth grade, lived about two miles away from the Toys R' Us. Mom was at work. Dad was at work, so I walked myself over… I've said this before. I made that walk for Kate. Leo did great in the film, but I made that walk for Kate Winslet." Of course, DiCaprio and Winslet played ill-fated lovers Jack and Rose in James Cameron's film. Now, the Oscar winner is telling an ugly part of history in the Martin Scorsese movie, Killers of the Flower Moon. DiCaprio plays Ernest Burkhart while Gladstone plays his wife, Mollie Burkhart, in the film, which follows the real-life contract killings of several members of the Osage Nation by white men after oil was discovered on tribal land. "The whole story feels so epic because of how talented and committed and beautiful everybody involved was, so it's fantastic," Gladstone tells ET of the cast. And she and DiCaprio have stayed close since filming. "Oh yeah, we're buds. We've stayed in touch. I found out about some of my Critics Circle wins from him," she shares. "He texted me congratulations, and I was like, 'Thanks! What'd I miss?' So yeah, it's great." Killers of the Flower Moon is nominated for seven Golden Globes, including Best Actor and Actress nominations for DiCaprio and Gladstone, respectively. The film begins streaming Friday, Jan. 12 on Apple TV+. https://www.etonline.com/lily-gladstone-dishes-on-her-titanic-obsession-and-texting-with-leonardo-dicaprio-exclusive-217321 Leonardo DiCaprio Gives Rare Comments About His Fame: 'It's Not Part of My Everyday Life' (Exclusive) The 'Killers of the Flower Moon' star spoke exclusively with ET backstage at the Palm Springs International Film Festival Awards Gala. Though our heart will always go on for Leonardo DiCaprio, the 49-year-old Hollywood A-lister doesn't consider the fame and attention he receives during award season to be a part of his regular life off-screen. ET's Denny Directo spoke with DiCaprio and his Killers of the Flower Moon director, Martin Scorsese, and his co-star, Lily Gladstone, backstage at the 35th annual Palm Springs International Film Festival Awards Gala on Thursday night, hosted by Mary Hart. When the Titanic alum arrived at the glamorous event, he met with fans, giving his autograph and posing for pictures. "Do I get used to it? It's not a part of my everyday life, but I was actually incredibly surprised at the turnout here," DiCaprio tells ET of greeting his admirers. "Palm Springs Film Festival's kind of going off. It really is." Killers of the Flower Moon is already receiving critical acclaim at the start of awards season. The movie is nominated for seven Golden Globes, including Best Actor and Actress nominations for DiCaprio and Gladstone, respectively. DiCaprio, 59, plays Ernest Burkhart while Gladstone plays his wife, Mollie Burkhart in the film, which follows the real-life story of the contract killings of several members of the Osage Nation by white men after oil was discovered on tribal land. Robert De Niro portayrs Burkhart's uncle, William King Hale. "I feel like this was such an incredibly important story to tell. I know we went into the process with the utmost of care and we wanted to listen, and that was our job," DiCaprio says of making the film. "This was a dark chapter of American history, and we spent many years to try to tell this story right. We are very thankful, not only to the Osage committee for embracing us and telling us their story, but for all the actors, Lily included, to help shape the entire narrative of this movie." Gladstone, a relative newcomer to the industry, says she had to put aside her own feelings of inadequacy and learn to trust herself to take on this role. "I kind of lost the time to be nervous for feel any imposter syndrome because it was doing them a disservice in the work they were bringing," she says of DiCaprio and Scorsese. "I needed to bring as much to the table as they were." As for whether she's gotten tired of her famous co-star and director amid the press tour for the film, Gladstone exclaims, "Oh, hell no!" https://www.etonline.com/leonardo-dicaprio-gives-rare-comments-about-his-fame-its-not-part-of-my-everyday-life-exclusive

Cute Cover!!😍 The frenzy:

Lots of wins at the Columbus Film Critics Association.: Best Film: Killers of the Flower Moon Best Director: Martin Scorsese, Killers of the Flower Moon Best Ensemble: Killers of the Flower Moon Breakthrough Film Artist: Lily Gladstone, Killers of the Flower Moon Best Film Editing: Thelma Schoonmaker, Killers of the Flower Moon Best Score: Robbie Robertson, Killers of the Flower Moon

Leo, Lily and Marty at Palm Springs Awards: More here: https://www.justjared.com/photo-gallery/4999337/leonardo-dicaprio-lily-gladstone-palm-springs-awards-41/ Golden Globes table sesating plan. Why doesn't Lily sit with her KOTFM colleagues? She should sit next to Leo! https://www.instagram.com/stories/dicapriofp_/3273173040254772563/

A rep for Leo already denied. Just someone mentioning him and now everyone’s calling Leo a pedophile. That’s just outrageous. 😡

Until now Leo and others have just been named in the court documents as seen in the screenshots. Leo was just name dropped. Of course the press just wants clicks and bad press always sells..

Very interesting video about the costumes in KOTFM:

Lily mentioned Leo twice in this interview. I love these roundables so much. It's really fascinating seeing them interact and share experiences and stories. Too bad Leo didn't participate in one of those. My dream would be actors on actors with Leo and Lily or Leo and Kate Winslet 🥰

Cute video of Leo and Lily:

And more wins for KOTFM The Oklahoma Film Critics Circle (OFCC) have announced their winners representing the best in film for 2023. Here are this year’s winners. Top 10 Films 1. Killers of the Flower Moon 2. The Holdovers 3. Oppenheimer 4. Barbie 5. Past Lives 6. The Zone of Interest 7. Poor Things 8. May December 9. The Boy and the Heron 10. American Fiction Best Actress Lily Gladstone – Killers of the Flower Moon Best Actor Paul Giamatti – The Holdovers Best Supporting Actress Da’Vine Joy Randolph – The Holdovers Best Supporting Actor Ryan Gosling – Barbie Best Director Martin Scorsese – Killers of the Flower Moon Best Original Screenplay David Hemingson – The Holdovers Best Adapted Screenplay Eric Roth and Martin Scorsese – Killers of the Flower Moon Best Documentary American Symphony Best Animated Feature Spider-Man: Across the Spider-verse Best Foreign Language Film The Zone of Interest (United Kingdom/Poland) Best Cinematography Hoyte Van Hoytema – Oppenheimer Best Score Robbie Robertson – Killers of the Flower Moon Best Ensemble Barbie Best First Feature Celine Song – Past Lives Best Body of Work Sandra Hüller – Anatomy of a Fall & The Zone of Interest Most Disappointing Film Maestro Special Citation for Achievement in Oklahoma Independent Filmmaking Fancy Dance – Directed by Erica Tremblay https://nextbestpicture.com/the-2023-oklahoma-film-critics-circle-ofcc-winners/ And Leo nominated atthe Austin Crirtics 👍 AUSTIN FILM CRITICS ASSOCIATION Best Picture American Fiction Barbie Godzilla Minus One The Holdovers The Iron Claw Killers of the Flower Moon Oppenheimer Past Lives Poor Things Spider-Man: Across The Spider-Verse Best Director Greta Gerwig, Barbie Yorgos Lanthimos, Poor Things Christopher Nolan, Oppenheimer Martin Scorsese, Killers of the Flower Moon Celine Song, Past Lives Best Actress Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Greta Lee, Past Lives Margot Robbie, Barbie Emma Stone, Poor Things Best Actor Leonardo DiCaprio, Killers of the Flower Moon Paul Giamatti, The Holdovers Cillian Murphy, Oppenheimer Andrew Scott, All of Us Strangers Jeffrey Wright, American Fiction Best Supporting Actor Robert De Niro, Killers of the Flower Moon Robert Downey Jr., Oppenheimer Ryan Gosling, Barbie Charles Melton, May December Mark Ruffalo, Poor Things Best Ensemble Asteroid City Barbie Killers of the Flower Moon Oppenheimer Poor Things Best Adapted Screenplay Kelly Fremon Craig, Are You There God? It’s Me, Margaret Cord Jefferson, American Fiction Tony McNamara, Poor Things Christopher Nolan, Oppenheimer Eric Roth and Martin Scorsese, Killers of the Flower Moon Best Cinematography Hoyte van Hoytema, Oppenheimer Matthew Libatique, Maestro Rodrigo Prieto, Barbie Rodrigo Prieto, Killers of the Flower Moon Robbie Ryan, Poor Things Best Editing Jennifer Lame, Oppenheimer Yorgos Mavropsaridis, Poor Things Thelma Schoonmaker, Killers of the Flower Moon Kevin Tent, The Holdovers Michelle Tesoro, Maestro Best Original Score Jerskin Fendrix, Poor Things Ludwig Göransson, Oppenheimer Daniel Pemberton, Spider-Man: Across the Spider-Verse Robbie Robertson, Killers of the Flower Moon Mark Ronson and Andrew Wyatt, Barbie The Robert R. “Bobby” McCurdy Memorial Breakthrough Artist Award Ayo Edebiri, Bottoms, Theater Camp, TMNT: Mutant Mayhem Lily Gladstone, Killers of the Flower Moon, The Unknown Country, Fancy Dance, Quantum Cowboys Abby Ryder Fortson, Are You There God? It’s Me, Margaret Dominic Sessa, The Holdovers Celine Song, Past Lives

Very cool making of the movie book for KOTFM. I want one! I hope it will be purchasable somewhere:🙏 https://www.instagram.com/p/C1n1gvErb08/ I made a screenshot of that second where I think an unseen pic of Lily and Leo (?) is shown. Do you think that's them too? It is kind of difficult to see.

I need to know what the candle smells like 😊 Two of my faveourite Leo costars mention him/Titanic in these new interviews. W seems to have interviewed every oscar contender of this season but of course Leo did not do any award campaigning interviews 😭

Columbus Film Critics Association nominations Best Film American Fiction Barbie Godzilla Minus One The Holdovers The Iron Claw Killers of the Flower Moon May December Oppenheimer Past Lives Poor Things Spider-Man: Across the Spider-Verse The Zone of Interest Best Director Greta Gerwig – Barbie Yorgos Lanthimos – Poor Things Christopher Nolan – Oppenheimer Martin Scorsese – Killers of the Flower Moon Celine Song – Past Lives Best Lead Performance Bradley Cooper – Maestro Leonardo DiCaprio – Killers of the Flower Moon Colman Domingo – Rustin Zac Efron – The Iron Claw Paul Giamatti – The Holdovers Lily Gladstone – Killers of the Flower Moon Greta Lee – Past Lives Carey Mulligan – Maestro Cillian Murphy – Oppenheimer Margot Robbie – Barbie Andrew Scott – All Of Us Strangers Emma Stone – Poor Things Jeffrey Wright – American Fiction Best Supporting Performance Penélope Cruz – Ferrari Robert De Niro – Killers of the Flower Moon Robert Downey Jr. – Oppenheimer Jodie Foster – Nyad Ryan Gosling – Barbie Glenn Howerton – BlackBerry Charles Melton – May December Julianne Moore – May December Da’Vine Joy Randolph – The Holdovers Mark Ruffalo – Poor Things Dominic Sessa – The Holdovers Best Ensemble Asteroid City Barbie The Color Purple Killers of the Flower Moon Oppenheimer Poor Things Breakthrough Film Artist Lily Gladstone, Killers of the Flower Moon – (for acting) Cord Jefferson, American Fiction – (for directing and screenwriting) Charles Melton, May December – (for acting) Dominic Sessa, The Holdovers – (for acting) Celine Song, Past Lives – (for directing and screenwriting) Best Cinematography Matthew Libatique – Maestro Rodrigo Prieto – Barbie Rodrigo Prieto – Killers of the Flower Moon Robbie Ryan – Poor Things Hoyte Van Hoytema – Oppenheimer Best Film Editing Michael Andrews – Spider-Man: Across the Spider-Verse Kirk Baxter – The Killer Nick Houy – Barbie Jennifer Lame – Oppenheimer Yorgos Mavropsaridis – Poor Things Thelma Schoonmaker – Killers of the Flower Moon Best Adapted Screenplay Kelly Fremon Craig – Are You There God? It’s Me, Margaret. Cord Jefferson – American Fiction Tony McNamara – Poor Things Christopher Nolan – Oppenheimer Eric Roth and Martin Scorsese – Killers of the Flower Moon Best Score Jerskin Fendrix – Poor Things Ludwig Göransson – Oppenheimer Laura Karpman – American Fiction Robbie Robertson – Killers of the Flower Moon Naoki Satô – Godzilla Minus One https://nextbestpicture.com/the-2023-columbus-film-critics-association-cofca-nominations/