akatosh

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.

Really sad. 😭Hope he will campign more for himdelf in the future...

That would be wonderful!

Making of ‘Killers of the Flower Moon’ book created at request of Scorsese The book is currently available for viewing at the Pawhuska City Library. A copy of the book will also be available for public viewing at the Osage Nation Museum, the Wahzhazhe Cultural Center and the White Hair Memorial. “I remember feeling it all became palpably real to me—immediate, living, personal. The story took on a face, but mainly a heart. I was transformed—and daunted by the work ahead.” – Martin Scorsese This epigraph opens the newly-released Making of ‘Killers of the Flower Moon’ book, a limited-edition luxury book created at the request of the filmmaker in order to document the film. Following the quote from Scorsese on how the Osage changed him, a spread of photos follows, picturing principal cast members juxtaposed with “Wi’-gi-e,” Elise Paschen’s poem from Bestiary. A luxury coffee table book made by Assouline, the cover features an artistic representation of Wahzhazhe ie orthography designed by Dr. Jessica Moore Harjo and the interior cover design pictures ribbon work by Janet Emde of Grayhorse, in a close-up of the blanket which Lily Gladstone wore in the film. In the table of contents appear the titles of five essays written by Rolling Stone writer and reporter David Fear, and an introduction by Principal Chief Geoffrey Standing Bear. Such a “making-of book” is customary for Scorsese movies, according to Chad Renfro, Osage film and consulting producer for KOTFM, and by virtue of precedent, the book will not be for sale. Yet the deeply collaborative nature of Scorsese’s work with the Grayhorse District and the greater Osage community make this movie different from the filmmaker’s other projects, just as the book is different. Chief Standing Bear wrote the introduction, after which cultural context pieces by Shannon Shaw Duty intersperse with five full-length essays by Rolling Stone writer and reporter David Fear, and cinematographic photo spreads. The seasoned reporters expand on subjects such as “Elders,” “Awakening,” and “‘put[ting] away the old things,’” respectively, overall providing an illuminating narrative of the filming, which include morsels such as the behind-the-scenes telling of Lily Gladstone’s and Leonardo DiCaprio’s first scene filmed together on set, and ways in which Osages are now reckoning with the legacy of former wealth, lost traditions, and Boarding School experiences. After Lily Gladstone’s historic Best Actress award at the Golden Globes, interest in the book is only expected to increase, but currently four copies are planned to be publicly available—at the Pawhuska Public Library, the Osage Nation Museum, the Wahzhazhe Cultural Center, and the White Hair Memorial. For Gladstone’s role in KOTFM, they became the first Indigenous person to receive the award, but this making-of book reveals that she was not even initially considered in auditions, but had instead agreed to read interlocutor lines for auditioning actors as simply a favor to casting director Ellen Lewis. Scorsese questioned who the actress was, and why she wasn’t in the running, and ultimately, he and DiCaprio settled on her as “[their Mollie].” The book is intended as an exclusive keepsake documenting the film, but Chief Standing Bear expressed a desire for it to be more public than it has initially been intended to be. He received a copy of Making of ‘Killers of the Flower Moon’ just before leaving for the Golden Globes, and said he is looking forward to reading the whole of it on his return home after attending the 14th Governors Awards for KOTFM. “It would be nice if [the book] was more public, for sale or otherwise,” he said. In his introduction, Standing Bear wrote that the Osage had been tense about how the film would portray them since first hearing about it. “…[K]nowing that past depictions of the Native American in movies have been less than flattering and sometimes insulting,” he wrote, he went on to describe his first meeting with Scorsese as initially awkward. “It was a bit awkward when I told him that we liked his movies GoodFellas, Casino, The Departed and others, but frankly, we were concerned his focus on the Osage would be as bloodied murder victims.” Scorsese’s reply did not promise curtailed gore, but it did strike Standing Bear as memorable. The meeting, which Fear writes about in detail later in the book, lasted hours after the filmmaker’s reply: “‘This is a story about trust and betrayal. About the trust of the Osage people and the betrayal of that trust by everyone, and at the same time it is a story of the trust of an Osage woman in her non-Osage husband, and the betrayal of that trust,’” Standing Bear quotes. Bloodied images of Osage death were rampant in the film, but not featured in the book, which displays portraits, movie stills and candid shots of filming captured by Melinda Sue Gordon, Brigitte Lacombe, and Stephen Berkman, the last of whom used historic photograph processes with long exposures, including tin type and dry plate. Fear’s first essay follows the introduction, and he begins with the last scene filmed, a dance scene filmed on the Osage Nation campus in Pawhuska, Okla., which Fear describes in expansive character detail, along with delivering a characterization of the movie as a “sprawling period piece, a love story, a Freudian family drama, a much-needed corrective regarding crimes unfairly relegated to footnotes in our country’s checkered history … [a] true-story tragedy that can’t easily be summed up.” Throughout the book, Fear analyses the film as a psychological pseudo-Western created to break the film industry’s cycle of historical Native erasure and maligning via an accurate portrait of enmeshed, dependent abuse born out of a white-and-Native power imbalance. He writes, “It isn’t far-fetched to think that a mythology built on racial bias, one endlessly playing at a theater near you, had primed the pump for a mindset in which Indigenous people were viewed not as fellow Americans but as an obstacle to the American dream,” and does a solid job of engaging the prejudices to which Osages are still subjected to present-day. Aesthetically, the book matches the aesthetic of the film, which used a European tint for scenes with white actors and a natural color scheme for Osage-only scenes. Throughout the book, Duty’s and Fear’s interviews and exposition contain a treasure trove of insights about not only the making of the film, but also the Osage community. For instance, the late John Williams is quoted on the meaningfulness of a younger member of the tribe being the one to write the song used in the final dance scene, and how that contribution proves there is a generation who can still carry on culture and traditions. Everett Waller is reported as noting that the filming of the delegation preparing to go to Washington occurred on a day when the moon was exactly how it had been a hundred years prior, a full Flower Moon. In addition to being an item of document, as Scorsese intended, the book has great strengths, the standouts of which are cultural contributions from Osages, and Fear’s situation of the film industry—and the Western in particular—as deeply complicit actors in perpetuating racist ideologies into present day America. In highlighting an ongoing American cycle of historical gaslighting, Fear summarizes Osage history starting in 500 A.D. and continuing through removals into the 1920s and David Grann’s efforts to tell the story of the Osage murders. Shaw Duty notes important and insightful cultural information, such as acknowledging the women elders of the Grayhorse District who met with actors to share information which is not written in history books. She names Billie Ponca, Dolores “DeeDee” Goodeagle and Cecelia Tallchief as the ones who counseled DiCaprio and other cast members. Through Fear, DiCaprio also recounts talking to a relative of Burkhart who had been able to hear confidences from Mollie in her time, regarding what had truly happened emotionally between them. The second-hand narrative of Mollie Burkhart’s experience left DiCaprio enlightened and disturbed, Fear writes, a reaction which mirrors many viewers of the film itself. The book is less triggering, as it thankfully has an absence of bloody and violent images, which are spared from insight by other venerated behind-the-scenes contributors such as editor Thelma Schoonmaker and cinematographer Rodrigo Prieto. Assouline is known for its beautiful books, which often include those from the world of fashion, design and art, and in this respect the book follows the norm. A portrait of Talee Red Corn holding the sacred pipe is super-imposed with Wahzhazhe ie. 𐒼𐒰𐓆𐒻͘ 𐓈𐒰͘ 𐓍𐒷𐒼𐓇𐒷 𐒰͘𐒼𐒻𐓐𐒷 𐓈𐒰͘𐒼𐒰𐓈𐓐𐒰͘. Tomorrow we will bury this one. 𐓁𐒰͘𐓁𐒻𐓂͘𐓄𐒰 𐓍𐒷𐒼𐓇𐒷 𐓁𐒻𐒼𐒰𐓇𐒻𐒼𐒷 𐒷𐒼𐓂͘. This Pipe Person. 𐓁𐒰͘𐓁𐒻𐓂͘𐓄𐒰 𐓍𐒷𐒼𐓇𐒷 𐓏𐒰𐓓𐒻͘𐓈𐒰͘𐒼𐒰𐓏𐒰𐒼𐓇𐒻𐓍𐒷 𐓁𐒰͘𐓄𐒷— This one gave us courage— 𐓍𐒷𐒼𐓇𐒷 𐓏𐒰𐒼𐒰͘𐓈𐒰 𐓏𐒰𐓄𐒰𐓓𐒻͘𐓍𐒷 𐓁𐒰͘𐓄𐒷. This one has been our messenger to Wakondah. Many gorgeous images of Gladstone and her sisters and mother in the film grace the pages, and her own insights on the filming are abundant. In the third chapter-length essay, Fear notes that the script reminded her of Graham Greene novels. He quotes Gladstone, “‘It had to do with letting the dynamics of the relationship serve as an allegory for the historical narrative,’” she says, specifically of The Quiet American. Shaw Duty writes, “this film became an opportunity to show a transitional period within our history when our culture risked obliteration—but managed to survive to the present,” and the book gives a clear sense of not only that transition period, but also snippets of the present. The actors pictured all come across as very real, present-day people. A still of Margaret Sisk effusively smiling, her hands grasping one another as she stands on set of a traditional village with Moira Red Corn and Tammy Balduff, and of Native men seeing the opening oil-strike dance scene played back to them on a camera, both show true Native joy. Such a coveted, high-end book that will not go up for sale, as of this time, means that the public library and the three Wahzhazhe-led organizations will have a job of protecting their copies. Pawhuska Public Library staff member Lenna Hayes said that from past experiences, a book such as Making of the ‘Killers of the Flower Moon’ would not ever be made available for checkout. “It will go into the reference section, to be protected,” Hayes said. While Renfro had not yet delivered the book to the ONM, WCC or White Hair Memorial at the time of this article, the Pawhuska City Library confirmed that they have their copy of Making of ‘Killers of the Flower Moon,’ and the book will be available at the reference desk within the next thirty days. The public will be allowed to review the book from an area where staff can see them, and will also be allowed to take photographs of the book as long as images are not used for distribution. “I hope people will enjoy the publicly available copies,” said Renfro, who was very proud to donate the book to the library of his own Osage community, where he grew up. “I’m trying to find the best place in Fairfax to have one but don’t have that firmed up yet,” he said. “And also,” he said, “people can see it with their friends who have a copy.” Those lucky enough to know someone in possession of a copy of Making of ‘Killers of the Flower Moon’ are likely soon to be making the rounds. Until then, those pictured in and connected to the film will be awaiting their late Christmas gifts, which will keep arriving well into winter 2024. https://osagenews.org/making-of-killers-of-the-flower-moon-book-created-at-request-of-scorsese/ I'm disappointed the book won't be for sale. So we will probably never read the behind the scenes stories and see the images unless someone takes pictures and posts them online. I would love for the sweet Leo and Lily pic to show up somewhere...

PTA’s New Film Has Started Production in Eureka, California Production on Paul Thomas Anderson’s new film has begun in Eureka, on the coast of California. This past December, PTA stated that the film would have a “contemporary setting.” We also learned that the film would be the director’s “most commercial” effort yet. The definition of “commercial” could either be story-wise or the fact that it features one of the biggest stars in the world as part of its cast. Leonardo DiCaprio is set to star in the film, alongside Sean Penn and Regina Hall. While not confirmed, there have been a few other actors rumored for this “ensemble” film, including Viggo Mortensen, and Rachel Taylor. The film is still untitled. Warner Bros is backing this one, Anderson wrote the script, and he will be producing the film as well. The plot is also being kept under wraps. A reported budget estimated to be approaching $100 million has been set up for this it. Suffice to say, we’ll be keeping a close eye out on this one. https://www.worldofreel.com/blog/2024/1/22/23fgn10f818mfdyd9zi4m6uxyi5htf

Cool to see more indigenous stories coming to the big screen. Or am I only just noticing them now because of KOTFM? Clips of the new behind the scenes features on the Titanic 4k Blu-Ray:

The La Times still has Leo on their prediction list:🙏 ACTOR Leonardo DiCaprio, “Killers of the Flower Moon” Bradley Cooper, “Maestro” Paul Giamatti, “The Holdovers” Cillian Murphy, “Oppenheimer” Jeffrey Wright, “American Fiction” Possible surprise: Colman Domingo, “Rustin” Possible snub: DiCaprio The “Killers” team was so focused on Gladstone that it took for granted that voters would reflexively check off the box next to DiCaprio’s name. Then DiCaprio didn’t land a SAG Awards nomination. The next day, Apple deluged voters with an ad trumpeting DiCaprio’s turn as his “most complex and transformative performance yet.” That might be a stretch, but DiCaprio is terrific as the gullible dimwit who falls under his uncle’s spell and helps plot the murders of his Osage wife’s family. But many voters I’ve talked with are so repulsed — and, at times, confused — by the character’s actions that they can’t vote for him. That might leave the door open for Domingo’s dynamic turn as civil rights hero Bayard Rustin. https://www.latimes.com/entertainment-arts/awards/story/2024-01-19/oscar-nominations-2024-predictions?utm_source=reddit.com

@LuckyGirlThe part about KOTFM is at about 4:31. The jokes were all bad but at least he didn't use the Leo's young girlfriend one...

Some love for Leo and KOTFM at the Online Film Critics Society: Best Picture Anatomy of a Fall Asteroid City Barbie The Holdovers Killers of the Flower Moon May December Oppenheimer Past Lives Poor Things 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 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 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 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 Adapted Screenplay American Fiction Killers of the Flower Moon Oppenheimer Poor Things The Zone of Interest Best Editing Anatomy of a Fall Barbie Killers of the Flower Moon Oppenheimer Poor Things Best Cinematography Asteroid City Barbie Killers of the Flower Moon Oppenheimer Poor Things Best Original Score Killers of the Flower Moon Oppenheimer Poor Things Spider-Man: Across the Spider-Verse The Zone of Interest Best Production Design Asteroid City Barbie Killers of the Flower Moon Oppenheimer Poor Things Best Costume Design Asteroid City Barbie Killers of the Flower Moon Oppenheimer Poor Things https://ofcs.org/awards/2023-awards-27th-annual/

I thought Saltburn was really entertaining and Barry Keoghan and Rosamund Pike were great in it. And Jacob Elordi is really nice to look at.😊Loved him in Euphoria. Did he get a BAFTA nomination for just looking great? I still want to see Poor Things , The Holdovers, All of Us Strangers and American Fiction. But I still have to wait for the theater releases in my area...

Leo still has a slight chance. BAFTA has a jury system for their nominations (actors and directors). The top 3 voted performances get nominated and the other 3 noms are chosen by a jury. Cillian, Paul and Bradley were probably top 3 and the others were the jury votes. They often times choose poc or british people to make the nominations more diverse. Colman Domingo is Leo's biggest thread for the 5th spot at the Oscars. I saw Rustin last week and Colman is not bad but certainly doesn't come close to Leo's perfomance. And the movie was really forgetable... KOTFM did get 9 nominations overall. So that's not bad. But it doesn't seem to be winning any awards.. I still hope to see Leo, Lily and Marty get their Oscar nominations tuesday. Let's keep our fingers crossed!🙏

^yeah just saw the nominees . O man. I had a feeling Leo might miss but Lily??? And Marty and Screenplay too?🥹😭

We already read these nice words from Marty in the artice some days ago but hearing them is nice too 😊

Maybe she is reminiscing about this glorious moment:😊