Jade Bahr

^It basically says no one is dating for PR anymore 😅

Just thought this is interesting.

^

"The Little Mermaid" UK Premiere (May 15, 2023)

This shooting is pure perfection

Cannes: Native Actor Lily Gladstone Almost Quit the Biz — Then Scorsese Requested a Zoom The star of 'Killers of the Flower Moon,' which premieres at the Cannes Film Festival, was registering for a data analytics course when the acclaimed director reached out to cast her opposite Leo DiCaprio, who says, “She became a source of guidance for all of us.” It was in August 2020, at the height of the COVID-19 pandemic, that Lily Gladstone — who had earned raves playing a lovelorn rancher in Kelly Reichardt’s 2016 indie Certain Women — started to consider a career change. “You just wonder if it’s going to be sustainable,” Gladstone, 36, recalls thinking during that professional dry spell. “So I had my credit card out, registering for a data analytics course.” A self-professed “bee nerd,” she planned to apply for seasonal work with the Department of Agriculture tracking murder hornets — yes, murder hornets — that were wreaking havoc around the country at the time. But as she entered her credit card information, a Gmail notification alerted her to a request for a Zoom meeting with Martin Scorsese. The murder hornets would have to wait. Three years later, Gladstone is approaching her Cannes Film Festival debut as one of the three leads — alongside Leonardo DiCaprio and Robert De Niro — in Scorsese’s latest film, a sprawling historical epic (three-and-a-half-hour runtime and a $200 million budget financed by Apple Studios) called Killers of the Flower Moon. Based on the 2017 nonfiction best-seller by David Grann, the film re-creates a shameful chapter of U.S. history, when members of Oklahoma’s Osage Nation, who’d struck oil in the 1920s, were murdered by greedy white locals with designs on their money. The real-life figure Gladstone plays in Killers is Mollie Burkhart, an Osage woman who married a white man — Ernest Burkhart, played by DiCaprio — only to find herself betrayed in ways that defy comprehension. For Scorsese, all it took was seeing Gladstone’s work in Certain Women to know he’d found his Mollie. “I could see that she trusted in simplicity,” says Scorsese, 80. “She understood her own onscreen presence as an expressive instrument that could speak for itself. That’s quite rare. Her silences, as Mollie, were often more powerful than her words.” If Gladstone’s screen presence is marked by stony reserve, her childhood was anything but. Raised by her father, who is of Blackfeet and Nimiipuu heritage, and her mother, who is white, on the Blackfeet Nation reservation in Browning, Montana, she describes herself as “an energetic and performative kid who got made fun of a lot — just that chubby mixed girl on the rez who had a little bit too much creative energy and not enough outlets.” “But my dad always said, ‘It’s OK, honey. They’ll all want to be your friend when you win your Oscar,’ ” she adds. For her first five years, Gladstone lived in a log cabin with a wood-burning stove. Food was limited to reservation commodities and her dad’s hunting, she says, “while my mom was off working to pay off grad school.” Growing up in the foothills of the Rocky Mountains, she recalls “being snowed in nine months of the year.” Luckily, her dad and grandma were huge movie buffs with an extensive library of classics videotaped off cable TV. “I was watching some pretty sophisticated things for a kid,” Gladstone says. “My first Marty [Scorsese] movie was [1997’s] Kundun. My dad loved Kundun.” Three decades later, she was starring in a Scorsese picture opposite DiCaprio in what would be that megastar’s sixth feature collaboration with the directing legend. If that sounds like pressure, it was, but there was no time to be starstruck. Gladstone needed to locate the inner strength to embody Mollie. She admits that for the first few takes opposite DiCaprio and De Niro, her hands trembled. “Leo was kind of poking my ribs about that for the first few days,” Gladstone recalls of those early jitters. “But in a very sweet, self-aware, tongue-in-cheek way.” The nerves quickly melted away. “Lily has amazing presence and strength,” says DiCaprio, 48. “She spent months studying Mollie Burkhart and her family, working extensively to understand the intricacies of this woman, her relationship with Ernest and her legacy within the Osage community. 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.” Gladstone and DiCaprio held dozens of meetings with Osage leaders and locals to ensure that their input was heard and incorporated. “They shared personal stories that ended up changing the script and helped us flesh out the characters,” she says. For example, during Mollie and Ernest’s first meal together, a thunderstorm occurs. Instead of shutting the doors and windows, Mollie implores Ernest to fall silent and pray through the storm. That beat came from an Osage consultant, Wilson Pipestem, who recalled his grandmother doing the same. (Pipestem also plays his own grandfather, an Osage leader, in the film.) For yet another layer of authenticity, Gladstone and DiCaprio learned to speak Osage for Killers. There are entire scenes in which Mollie and Ernest converse in Osage so as not to let white locals know what they’re saying. “It was really important for the both of us,” says DiCaprio, “in fact, really important for the whole set to immerse ourselves with the Osage. It was only a natural decision for Lily and I to try and learn some of this beautiful language.” Adds Gladstone, “It’s a gift to be able to say these words.” At the core of Killers of the Flower Moon is their relationship, a union sure to provoke heated debate on themes of race, love and betrayal. Scorsese admits to finding their dynamic “tricky” to tackle. “What are they to each other? Does she see through him? Does he really love her? At a certain point, we all decided together that they were truly in love, no matter how crazy or impossible it seemed,” the director says. It was Gladstone who helped shed some light by citing Graham Greene’s The Quiet American, a 1955 novel in which a love story between a CIA agent and a young Vietnamese woman serves as an analogy for America’s doomed involvement in Southeast Asia. “That really clarified matters,” Scorsese says. “The sense of this central, extremely intimate relationship playing out as a microcosm of the wider betrayal of the Osage people.” Recalls Gladstone, “The one thing I said to Leo is: ‘I have to believe you love me. Otherwise, what kind of depth is Mollie allowed?’ “ Audiences can decide for themselves when Killers of the Flower Moon debuts May 20 at the Grand Théâtre Lumière at Cannes ahead of an Oct. 20 theatrical wide release. Now in Vancouver filming Under the Bridge, a true-crime series for Hulu, Gladstone is pulling together a look for the Cannes red carpet that will highlight Indigenous artists. “There’s just so many incredible Native fashion designers right now who deserve that platform,” she says. Indeed, the platform being provided by Killers of the Flower Moon is lost on no one. Says DiCaprio: “We all went in wanting to ensure this story of sinister conspiracies and terrible racial injustices was told correctly and with the utmost respect to the Osage nation.” Adds Gladstone: “There’s a big can of worms that’s being opened. A lot of institutions need to be held accountable for this period of time. This movie just scratches the surface.” Source Haha so cute baby Lily in 1986 🥰

Martin Scorsese on the joy of working with Leonardo DiCaprio: “He’s a natural film actor” Leonardo DiCaprio will once again team up with director Martin Scorsese to feature in his next film, Killers of the Flower Moon. DiCaprio has, of course, performed in several Scorsese movies over the years, including The Wolf of Wall Street and The Aviator. In a recent interview between Scorsese and Deadline, the iconic film director opened up on the joys of working with someone like DiCaprio, calling him a “natural film actor”. “What’s great about Leo, and it’s why we work together so often, is he goes there. He goes to these weird places that are so difficult and convoluted, and through the convolution, somehow there’s a clarity that we reach,” Scorsese said. He continued: “And usually it’s in the expression, in his face, in his eyes. I’ve always told him this. He’s a natural film actor. I could shoot a close-up of him, he could be thinking of nothing, and I could intercut anything with it, and people will say, ‘Oh, he’s reacting to such and such’. It’s the Kuleshov experiment. You could do that with him”. Scorsese didn’t stop there, though, and he continued to lavish praise on one of his most frequent collaborators. “There’s something in his face that the camera locks into, in his eyes,” the director added. “The slightest movement, we know it. Thelma [Schoonmaker], editing his footage with me over the years, often goes, ‘Look at this. Look at the eye movement here. I think we should keep it.’ It’s very interesting what goes on behind the eyes. It’s all there.” Killers of the Flower Moon will be released on October 6th, 2023. Source

Martin Scorsese defends Killers of the Flower Moon's hefty runtime: 'It’s a commitment' Legendary filmmaker Martin Scorsese faces criticism for the length of his movies, including his latest work, The Irishman, which ran for 209 minutes. Despite their extended duration, Scorsese's films have earned acclaim and solidified his status in Hollywood. His upcoming film, Killers of the Flower Moon, is 206 minutes long and once again the director is asked to defend the hefty runtime. Martin Scorsese is one of the greatest filmmakers cinema has ever seen but there is a persisting belief among some that his movies are too long. His last film, The Irishman, clocked 209 minutes, the highest for him. But even other movies he has directed like Gangs of New York (168 mins), The Aviator (170 mins), Casino (178 minutes), Goodfellas (145 mins), and more are longer than your usual fare. That is, of course, because Scorsese has always tried to carve his own path and the acclaim he has received and the stature that he has enjoyed in Hollywood for decades is a testament to the fact that even as long as his movies are, they are damn good. His upcoming Killers of the Flower Moon clocks 206 minutes, just short of The Irishman. While he does not need to, Scorsese finds himself once again having to defend the hefty runtime of his film. While speaking to Deadline, he said, "The risk is there, showing in a theater in the first place. But the risk for this subject matter, and then for running time. It’s a commitment. I know I could sit down and watch a film for three or four hours in a theatre, or certainly five or six hours at home. Now, come on. I say to the audience out there, if there is an audience for this kind of thing, 'Make a commitment. Your life might be enriched. This is a different kind of picture; I really think it is. Well, I’ve given it to you, so hey, commit to going to a theater to see this.'" "Spending the evening, or the afternoon with this picture, with this story, with these people, with this world that reflects on the world we are in today, more so than we might realise," he added. Killers of the Flower Moon is based on journalist David Grann's non-fiction book of the same name. It is scheduled to make its world premiere at the Cannes Film Festival on Saturday. With a budget of $200 million, the film boasts of an impressive cast, including frequent collaborators of Scorsese such as Leonardo DiCaprio and Robert De Niro. Joining them are Jesse Plemons, Lily Gladstone, Brendan Fraser, and John Lithgow, among other notable actors. After its Cannes premiere on May 20, Killers of the Flower Moon will release in select cinemas on October 6. It will then get a wider release on October 20. At one point, it will also be available for streaming on Apple TV+. Source

Slowly I wonder if any of those PTA casting rumors were true.

Haven't read the book but wth is this look? 😅

Never forget the time when Blake didn't want Leo and the result was he went crazy in australia. Poor man 💔 Also proof he isn't always the one in charge in his relationships. Just saying. When Leonardo DiCaprio Broke Up With 24-Year-Old Blake Lively Because He “Wanted To Start A Family” & She Wasn’t Ready? [Reports] Blake Lively was not ready to take her relationship to the next level with Leonardo DiCaprio? Find out the truth. Blake Lively who is currently happily married to Hollywood star Ryan Reynolds and is busy raising a family, but there was a time when he enjoyed a whirlwind romance with superstar Leonardo DiCaprio. When the duo started dating, the actress was just 24, and their romance only lasted for a year. However, do you know what was the real reason behind their breakup? Many reports claimed that Blake was not ready to take the relationship to the next. Scroll below to find out the truth. Blake and Leo first met in November 2010 and then reunited in the May of the following year and felt a connection. The duo then began started dating each other and their romance took them around the world to many places, including Sydney, Disneyland, and among others. However, enjoying each other company for a few months, they decided to part ways, and less than one year later, Blake decided to marry Ray, which left their fans shocked. So, what went wrong between Blake Lively and the Titanic star Leonardo DiCaprio? An insider in the year 2011 told US Weekly the possible reason behind their split and revealed, “Blake wasn’t ready to move to the next level. It was just too much, too quickly.” According to Us Weekly’s insider, it was Leonardo DiCaprio was looking for something serious and wanted to marry. The source revealed, “He’s looking for someone to eventually start a family with …That’s not where she’s at. She’s only 24!” The insider also revealed that Leo was quite more mature than Blake Lively and were not in the same place. Well, despite the claims of the insider, it was Blake Lively who took the plunge and went on to marry Ryan Reynolds in just less than one year after parting ways with Leo. Source

Surprisingly good movie, also love the cover 😍

Don't know how many spoiler this contains: Martin Scorsese, Leonardo DiCaprio & Robert De Niro On How They Found The Emotional Handle For Their Cannes Epic ‘Killers Of The Flower Moon’ Meet Lily Gladstone, The Breakout Star Of ‘Killers Of The Flower Moon’ And An Early Oscar Contender

Cannes: Why Martin Scorsese and Backers Declined a Spot in Competition for ‘Killers of the Flower Moon’ The Palme d'Or-winning filmmaker's latest work is set to premiere out of competition on Saturday. At the 2023 Cannes Film Festival, which kicks off Tuesday, six titles — not counting midnight screenings or the TV series The Idol — will screen “out of competition,” meaning with a big red carpet premiere and the heavy media coverage that accompanies one, but without eligibility for festival prizes. They include and cineastes’ most highly anticipated title, Martin Scorsese’s Killers of the Flower Moon. (...) Among those, Killers is a unique case, in that fest director Thierry Fremaux revealed in April that it was — and remains — invited to screen in competition. He said that he initially offered the film only of an out of competition slot, since its worldwide digital distributor Apple, like most other streamers, won’t usually wait for a lengthy theatrical window prior to streaming them, as required by the fest for a competition slot. But then Apple indicated that it would do so with Killers (which Paramount will distribute theatrically in France and the U.S.). “So,” Fremaux explained, “I said, ‘Well, in that case, you are welcome in competition.’ And now we’ll see what their response is.” Scorsese — who has previously had numerous films play at Cannes both in competition (including Taxi Driver, which won the Palme d’Or in 1976, and After Hours, for which he was awarded 1985’s best director prize) and out of it (numerous documentaries) — and Apple have opted not to take up Fremaux on his offer. That begs the question: why would a legendary filmmaker and a flush distributor, armed with what Fremaux describes as “an extremely strong film” that drove him to tears, not want to screen a film in competition at the world’s most prestigious film fest? Some filmmakers are averse to the idea of competition. Woody Allen, for instance, has brought more than a dozen films to Cannes dating back to 1979’s Manhattan. Three opened the fest, but none have played in competition. Allen explained in 2016, “For any group to judge other people is something one should never do… I don’t believe in it, and I don’t want to participate.” Others have followed suit. Jacques Audiard, whose Dheepan won the Palme in 2015, said in 2018 that he will henceforth refuse competition spots, stating, “I don’t want to be in competition anywhere.” And that was also the takeaway of Stephen Frears after he presided over the competition jury in 2007; despite having previously screened multiple films in competition, he kept his next, 2010’s Tamara Drewe, out of it. Other times, a filmmaker and/or distributor is concerned about managing expectations for a film. The New York Times noted way back in 1974, “An increasing number of established filmmakers… decline to compete at Cannes, reasoning that the loss of the grand prize to some upstart newcomer can be more damaging than winning can be prestigious.” Columbia University film professor Annette Insdorf, a veteran of many Cannes fests, tells THR, “I don’t recall that it ever helps the ‘masters’ who have films in competition. There is less pressure for filmmakers when their work is reviewed on its own terms.” That factored into the calculation to keep Ang Lee’s Crouching Tiger, Hidden Dragon out of competition at the fest in 1999, according to Sony Classics co-chief Tom Bernard: “The movie just gets written about differently if it’s in competition. We wanted people to discover it without the context of competition.” On rare occasions, a veteran filmmaker simply feels magnanimous and wants to give lesser-known filmmakers a chance to compete. That was the explanation of Steven Soderbergh, whose sex, lies and videotape won the Palme in 1989, for why he initially declined a competition slot for 2013’s Behind the Candelabra (before Fremaux talked him into reconsidering). Robert Altman, who won the Palme in 1970 for M*A*S*H, found all of these sorts of explanations to be lacking, telling Roger Ebert in 1977, “If you don’t want to be in competition, that means you’re either too arrogant or too scared. So you might lose? I’ve lost before; there’s nothing wrong with losing.” That said, nobody in the know regards Scorsese as arrogant or scared — quite the opposite. Instead, THR hears that he and his backers have based their position regarding Killers on the fact that two American films that premiered out of competition last year, Top Gun: Maverick and Elvis, generated tremendous buzz at the fest, made a fortune at the box office and ended up going just as far in the awards season as the film won the Palme, Triangle of Sadness (all three received best picture Oscar nominations), so there is no reason to try to fix what isn’t broken. Source

Can't help but Leo and Lewis look kinda good together

😅

InStyle germany

Can't wait to watch the 3rd season of THE GREAT 😍

Nora Attal is also married 🤣 https://www.arabnews.com/node/2097661/lifestyle

New 🥰 credit to Dennys Ilic

^according to google she is married to a italian DJ (?). But what do you expect from the press? Leo is standing next to a woman means he's dating her of course 😅

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