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Jade Bahr

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  1. The 21 Biggest Actor-Director Pairings to Get Excited About in 2023 Martin Scorsese and Leonardo DiCaprio reunite for "Killers of the Flower Moon." Plus Greta Gerwig and Margot Robbie unleash "Barbie"; Cillian Murphy finally gets a starring role in a Christopher Nolan film; and more. (Clockwise from bottom left): Adele Lim and Stephanie Hsu; Martin Scorsese and Leo DiCaprio; Greta Gerwig and Margot Robbie; Ari Aster and Joaquin Phoenix(s) Plenty of filmmakers have likened finishing a movie to pulling off a miracle. The desire to realize a shared vision somehow drives a film’s cast and crew to not only do their best individual work, but to bring out the best possible performances in each other. No relationship exemplifies the importance of that dynamic quite like the bond between the most effective actor-director duos. From Steven Spielberg and Tom Hanks to Quentin Tarantino and Samuel L. Jackson, directors and actors who work well together tend to do so a lot. They hone their communication style and understanding of each other’s respective artistry, and repeatedly apply that knowledge as their films improve with time (you know, theoretically). That’s what makes the return of Leonardo DiCaprio to the Martin Scorsese filmography in this year’s “Killers of the Flower Moon,” his first film with Scorsese in 10 years, so exciting. (...) Martin Scorsese and Leo DiCaprio, “Killers of the Flower Moon” So far, Martin Scorsese and Leo DiCaprio have collaborated on one short film, 2015’s “Audition,” and five features (chronologically): “Gangs of New York,” “The Aviator,” “The Departed,” “Shutter Island,” and “The Wolf of Wall Street,” Each was met with various degrees of critical and box office success, further solidifying the pair’s indiviudal and shared significance — though each was already legendary in his own right. Adapted from David Grann’s non-fiction book of the same name, “Killers of the Flower Moon” chronicles an FBI murder investigation centering on mysterious deaths amid Oklahoma’s Osage people in the 1920s. Source
  2. Deadline is pretty sure KOTFM is going to Cannes. International Insider: Cannes Contenders Hello Insiders. The international biz descended on the UK for the London TV Screenings this week, and we were there to cover it in full. Jesse Whittock here to guide you through all the film and TV news. Cannes Contenders The buzz starts now: It might still be 10 weeks’ away but things are starting to feel a little bit Cannes Film Festival already. First, Triangle of Sadness director and two-time Palme d’Or winner Ruben Östlund was unveiled as jury president for its upcoming 76th edition, 50 years after his Swedish compatriot Ingrid Bergman served in the role. Then Andreas and Mel dropped this mega rundown of 32 films we might be watching on the Côte d’Azur in May. Among them is Martin Scorsese’s Killers of the Flower Moon, which teams two of the director’s favorite collaborators, Leonardo DiCaprio and Robert De Niro, and tells the story of the Osage Nation murders of the 1920s and the birth of the FBI. Seems locked on. Source
  3. Sam Claflin and Camila Morrone on Daisy Jones & The Six: ‘The easiest part of filming is being with each other’ Sam Claflin and Camila Morrone discuss how they built Billy and Camila Dunne’s relationship in Daisy Jones & The Six “Ever since the chemistry read, it just felt very natural with Sam,” says Camila Morrone. “I think we genuinely like each other – at least, I genuinely like him, we’re still figuring out if the feelings are reciprocated.” “They’re reciprocated,” Sam Claflin jumps in. Claflin and Morrone spoke to us ahead of the release of Daisy Jones & The Six, Amazon Prime Video’s hotly anticipated adaptation of Taylor Jenkins Reid’s novel of the same name. The series charts the rise and fall of the biggest rock band in the world, from their humble Pittsburgh beginnings to what turned out to be their last ever performance together. Claflin plays Billy Dunne, charismatic but single-minded lead singer of The Six, while Morrone plays Camila Dunne, the photographer and artist married to Billy. They shared their experiences of working together on Daisy Jones & The Six, and explained how they developed their characters’ relationship together. How do they approach something like that, as actors? “Sam and I, we’re kind of partners – when I was struggling and not getting somewhere, and feeling frustrated or tired or like I wasn’t achieving something that I wanted to achieve in the scene, I do feel like Sam was very supportive of me and helped me up,” says Morrone. “That’s just who he is, as a guy.” “You know, it’s hard not to love Cami,” agrees Claflin. “Honestly, playing a character where you have to see something in that person and build chemistry [with them], I feel like it wass just there ingrained in us already because she’s a good person. There’s immediately a trust.” “That’s the easiest part of filming, being with each other,” says Morrone. As the band goes from strength to strength, Billy and Camila’s relationship becomes increasingly strained – especially with the addition of new lead singer Daisy Jones (Riley Keough), who forms a tumultuous professional relationship and intense personal connection with Billy. “The hardest part was when we had to be disconnected. Finding that – ‘I don’t like you at the minute’, ‘please take me back’, you know – that was challenging,” says Claflin. “But honestly, it was a blessing I think to have not only Cami, but the whole cast – there was so much chemistry and genuine love for one another that it was, as can be said, I think that [building those relationships] was the easy part really. “Yeah, very communicative, and really supportive of each other,” says Morrone, echoing Claflin’s appreciation for the rest of the Daisy Jones cast. “It’s not just on set for the, you know, six or seven months we were filming – even now, I feel like we would all hold each other up if the other one needed it, show up and just help.” “As an actor, I think you have to be generous and try and adapt for the other person, and there were definitely high stakes moments [on Daisy Jones].” “The one thing I have to say that Cami brought to the table was that she was like, ‘in order to make this a proper relationship, I am going to just touch you, feel you, put my arm around you, kiss you’,” says Claflin, praising Morrone. “We were both willing and wanting to make it be authentic. We weren’t afraid of the other – despite COVID and everything being very, very health and safety – we were very, I don’t know, just very in touch with each other. Literally! But we were very connected in that way, we both saw the relationship the same way. It was very natural. “We had free rein,” agrees Morrone. “We were comfortable around each other.” “There’s a natural evolution,” says Claflin. “Look at us now,” says Morrone. “Look at us now,” he sings back to her. “You’re just trying to plug your song on Spotify!” laughs Morrone. Source
  4. Camila Morrone Steps Into Her Own Spotlight The Daisy Jones & The Six actress is the star of her own show. Winding through Laurel Canyon on my way to Beverly Hills is the closest I’ll probably get to time travel. The historic neighborhood, with its bright, hand-painted signs calling for peace and love and charming Spanish- and cottage-style houses, was the epicenter of ’60s and ’70s counterculture. A one-time home to Joni Mitchell, Frank Zappa, Mama Cass, and Jim Morrison, the Canyon leads to Sunset Boulevard, which is currently plastered with billboards for Daisy Jones & The Six. The décor is fitting: the area figures heavily into the series adaptation of the popular novel by Taylor Jenkins Reid, which follows the origin, come-up, and downfall of a fictional ’70s rock band with Fleetwood Mac levels of fame. A few miles southwest, and about five decades through time, Camila Morrone, who stars in the series, strides through the doors of a Beverly Hills café. Flanked by two large, blond dogs, she introduces herself as Cami and is dressed head to toe in black: a tiered maxi dress, a chunky leather belt accentuating her waist, Adidas Gazelles, a cashmere sweater covered in dog hair (courtesy of her shedding rescues, Jack and Sally), and a quilted Chanel hobo bag. “What can I get you to drink? You’re meeting me at my local coffee shop!” she insists. We strike up a deal — I’ll watch the dogs while she gets the coffee. This seems more than amenable to Jack and Sally, who plop down on the floor, unbothered. She returns with our iced beverages despite the frigid 59-degree weather, which, by L.A. standards, may as well be sub-zero temps. “Cheers,” she offers, clinking our plastic cups. We had initially planned to meet near the Canyon for a hike, but Jack and Sally were eager to be taken on “a quick walkie,” one of the everyday tasks Morrone relishes when she’s not traveling for work. She points out a flower shop next to the café and proceeds to gush at how “gorgeous” and “endearingly staged” the floral arrangements are in the boutique. Although she’s clearly settled in Beverly Hills now, Morrone, 25, has called all corners of the city home. This deep familiarity with L.A. is a by-product of having divorced parents who came to Los Angeles from Argentina shortly before Morrone’s birth and raised her everywhere from the West Side to the Valley. “I was never able to have a base anywhere or a solid, consistent group of friends. That was hard for me,” she says between sips of her iced matcha latte. “Growing up, I had a little bit of jealousy toward the kids that had known each other since pre-K.” Perhaps that was a blessing in disguise: The constant upheaval of her childhood is what helped Morrone acclimate to her unpredictable line of work, leading her to eventually star in indie films like Never Goin’ Back and Mickey and the Bear. “It is what prepared me for the lifestyle of a nomad, picking up and relocating, and picking up and relocating, which I actually enjoy because it makes me feel like a citizen of the world,” she says. As someone who has worked professionally since her early teens, Morrone emphasizes the importance of having financial independence as an adult. While her Daisy Jones character takes agency over her life in a way that will surely be controversial to fans of the book, for the actress, feelings of “empowerment” arise from making her own decisions about the roles she auditions for, the friends she surrounds herself with, and running her household. “Believing in myself gives me that feeling of, Wow, maybe I can achieve the things that I want to achieve.” Soon after our meeting, Morrone will take off on yet another grand adventure. First, she’ll travel to London to begin the press tour for Daisy Jones & The Six. Afterward, the cast — which includes Riley Keough, Sam Claflin, and Suki Waterhouse — will continue onto L.A., New York, and Austin for South by Southwest. “I have the jitters,” she says of her impending trip. “It doesn’t stop until the finale of the show.” (Unfortunately, Jack and Sally will sit out the tour; Morrone’s friend will dogsit in the interim.) In spite of her nerves, she is overflowing with excitement at the thought of reuniting with her castmates, who haven’t all been in the same room together since filming wrapped. The group is used to digital communication, though; after filming was shut down by the pandemic, the crew kept in touch via WhatsApp. “If someone peeked into this group chat … there’s some content,” she says coyly, likening the group dynamic to that of adult summer camp. “We were like hyenas, laughing uncontrollably. No one could focus. It’s like when you put all of us together in a room, we just get the giggles.” Morrone’s character — also named Camila — is not a member of the titular Six, but she is the nexus of the band. “Daisy is the flashier character,” she says of her foil, played by Keough, “but I really found this beauty in Camila that was palpable and powerful. This woman was soft spoken and consistent, but had a real impact on people.” As the wife of the Six’s front man, Billy Dunne (Claflin), Camila spends much of the series in her husband’s shadow, supporting her partner’s creative endeavors while working to make her own name as a photographer and taking up the mantle of less glamorous responsibilities. Morrone doesn’t have to look far to draw inspiration for the character: last summer she was subject to much scrutiny after ending a years-long relationship with a titanically famous boyfriend. When asked about the obvious parallels, Morrone remains diplomatic. “With any character that I play, I try to bring what I know from my real life,” she says. “That’s the main thing that I learned in acting class, how to tap into moments in your life that were impactful. So I don’t think it’s any different for Camilla, I just tapped into what I knew. I do see her as incredibly independent, despite Billy being a rock star.” Today, Morrone can’t help but feel like she’s on the precipice of something big. Maybe it’s because this time tomorrow she’ll be en route to London to promote her first major show, backed by every publicist and advertiser in Amazon’s arsenal. But perhaps it’s something more universal that comes with age. “I’ve never learned so much as being 25 years old,” she says. “I am just starting to feel like a woman. But I also feel little in a lot of senses.” (It’s no surprise that her taste in literature reflects this theme: She is looking forward to reading Milk Fed by Melissa Broder on her flight and hopes to tackle Ottessa Moshfegh’s My Year of Rest and Relaxation when she finds a free moment in her increasingly busy schedule.) Jack and Sally are attracting far more attention than their owner, with passersby rubbernecking to catch a glimpse of the two beautiful dogs splayed out on the tile floor. “This is what I like to call a foster fail,” Morrone says, thrusting her chin in the direction of her pups, whom she adopted early in the pandemic. “I really did not foster them with the intention of adopting them … Here I am with two Siberian Huskies.” As we prepare to part ways, Morrone glances down at Jack and Sally, who are resting at her feet. She coos and snaps a few photos before she stands to her feet. It’s time for walkies. https://www.thecut.com/2023/03/camila-morrone-daisy-jones-and-the-six-interview.html
  5. Grocery shopping (March 1) in Los Angeles more: https://www.justjared.com/2023/03/01/charlie-hunnam-spends-his-wednesday-afternoon-running-errands-in-l-a/
  6. Guys, length isn’t everything when it comes to film-making Martin Scorsese’s latest film will join a slew of three-hour slogs. These directors, mostly male, need to rein themselves in Let’s be honest about this. No film needs to be longer than three hours. And fewer than you might think can justify breaking the 2hrs 40m mark. News that Martin Scorsese’s latest film, Killers of the Flower Moon, is clocking in at well over three hours is only the latest in what seems to be a trend in mainstream cinema towards the butt-numbing end of the running time spectrum. If any director knows what to do with every last frame of a rumoured 3hrs 20m, it is Scorsese. But this does raise the question: are marathon movies really what the audience wants? There’s a theory that, in the age of TikTok, the collective attention span is shrinking. Is expecting punters to sit through more than three hours the best way to lure post-pandemic audiences back into cinemas? There’s a tacit assumption that a hefty running time automatically conveys event movie status or that anything over three hours is a Big, Important Artistic Statement worthy of note. In the last year, Damien Chazelle’s Babylon clocked in at an overwrought 3hrs 9m; Avatar: The Way of Water was 3hrs 12 damp minutes; Andrew Dominik’s polarising Marilyn Monroe biopic Blonde was just shy of the three-hour mark at 2hrs 47m. And the original cut of Alejandro González Iñárritu’s Bardo: False Chronicle of a Handful of Truths hit 2hrs 54m, before Iñárritu re-edited, shaving off 20 or so minutes. But of these, only Avatar, with a current box-office tally just shy of $2.25bn, can legitimately lay claim to the event movie tag. The others? It’s fair to say that audiences stayed away in droves. But for Blonde and Bardo, which, like Scorsese’s previous picture, The Irishman (3hrs 29m), were financed by Netflix, the theatrical releases were deliberately limited, suggesting box office performance is less of a concern. And this – the rise of streaming platforms – is one factor that may explain the trend towards longer films. Viewing habits, as evidenced by the concept of “blitzing” through a long-form series, have shifted. If viewers will happily watch four episodes of, say, Breaking Bad, back to back, why wouldn’t they spend the same length of time with a film? But while this works as a home-viewing option, cinema visits are more of an investment – in time and effort, as well as financially. And the date-night staple of dinner and a movie is rather skewered when the films are three-hour whoppers. A movie and a bag of convenience store peanuts doesn’t quite have the same allure. There’s another factor though. It’s no coincidence that all of these recent examples were directed by men. And with the notable exception of Chantal Akerman’s BFI best film poll-topper Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (3hrs 22m), the same tends to be true historically. There’s an argument to be made in some cases that the three-hour cine-slog is just a form of manspreading; another example of men taking up space just because they can. It’s reflected in the audience also: there’s an irksome breed of ultra-competitive film bro who would rather pee into a bottle than miss even a minute of Filipino director Lav Diaz’s latest long hauler. It’s worth repeating at this point: size isn’t everything, guys. Source Or like Rose already pointed out 1912 #queen
  7. Variety discussing the pro and conts regarding a movie premiere in Cannes (not just for KOTFM but in general. Thought it's interesting) Will Hollywood Hit Cannes? ‘Indiana Jones 5,’ ‘Killers of the Flower Moon’ Weigh Festival Debuts Will Hollywood decamp for Cannes this year? Organizers for the annual celebration of all things cinema certainly hope so, though their ambitions could collide with a new spirit of economizing that’s making studios hesitant about shelling out the hundreds of thousands of dollars it takes to pull off a Riviera bow. Cannes Film Festival chief Thierry Frémaux has barely gotten over his jet lag after a whirlwind trip to Los Angeles this month, but he’s already planning a return visit as he attempts to pull together one of the most formidable lineups in the 76-year history of the event. He’s made it clear to studio executives that he would love to highlight both their blockbusters and their awards contenders, and though formal offers have not been made or accepted, this year’s Cannes has the potential to match or even surpass the 2022 edition — which played host to Tom Cruise and “Top Gun: Maverick” and Austin Butler and Tom Hanks with “Elvis” — in movie star moments. Apple is weighing sending Martin Scorsese’s “Killers of the Flower Moon” to the festival, and with it a cast that includes Leonardo DiCaprio, Robert De Niro and Jesse Plemons. Focus is expected to hit the Croisette with Wes Anderson’s “Asteroid City.” The ensemble film boasts a cavalcade of stars, including Hanks, Margot Robbie, Scarlett Johansson and Tilda Swinton. Anderson, who has an apartment in Paris, was in Cannes 2021 with “The French Dispatch,” which played in competition. His “Moonrise Kingdom” opened the festival and competed in 2012. (...) When it comes to securing a Cannes berth, studio executives say that Frémaux wields outsize influence on the U.S. titles. Festivals such as Toronto or Sundance rely more on teams of programmers, but the Cannes chief seems to be the most important and final word on what studio films screen at the oceanside fest. In March, Cannes will begin notifying talent if they have made the cut. For those studios that snag an invite, a Cannes debut allows them to command global attention. In the case of “Top Gun: Maverick,” a celebration of the U.S. Air Force that was seen as more of a domestic play, premiering at Cannes helped the studio introduce the film to European audiences. Not only was Cruise on hand, but the event also included an aerial display for the ages, as French fighter jets took to the sky streaming blue, white and red smoke. It worked. “Top Gun: Maverick” went on to make more than $770 million internationally, more than half its nearly $1.5 million global gross. In the past, some studios were hesitant to open in Cannes, because it felt too far removed from the fall Oscar season. But that stance has softened. Although it takes place months before many of the biggest awards shows, Cannes has proven to be a strong showcase for potential Oscar contenders. Not only did “Parasite” open at the festival en route to its best picture victory, but three best picture nominees this year — “Elvis,” “Top Gun: Maverick” and “Triangle of Sadness” — all debuted at the 2022 festival. A larger concern, studio sources say, is the cost of attending Cannes. For a splashy premiere, the price tag can climb to more than $1 million. That’s because A-list stars usually fly private and have glam teams that often must be ferried to the festival. Stars can bring one to two guests on the studio dime and a personal publicist, but that number is fungible, and the bigger the actor, the larger the retinue of handlers and hangers-on. And the parties themselves are also eye-wateringly expensive, with venues and caterers tacking on steep charges the second they hear the words “Cannes premiere.” Given that most entertainment companies are laying off staff and looking for ways to rein in spending as they glance worriedly toward a potential recession, those are checks that studios are wary of writing. “The farther away an event is, the higher the costs,” says one film publicist. “And Cannes is about as far away and about as expensive as it gets.” Source
  8. So I guess I can't watch all episodes tomorrow. Damn 😭
  9. Cami, Sienna and Diane. That's some girl power I can live with 😍 February 28: walking with Sienna Miller and bumping into Diane Kruger. New York City. Source: camimorrone.com I think the connection with Sienna is she's with Tom Sturridge, Sturridge is best friends with RPatz and RPatz is with Suki. Also both girls have a history with Leo lmao
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