Jade Bahr

Interesting expensive piece about the successful Leo/Scorsese relationship over the years. Don't know why fox is bringing it now but they also insist KOTFM will come in 2023. But claiming GONY was a box office hit while whining about SI numbers is... bold LOL Leonardo DiCaprio and Martin Scorsese: How Hollywood’s most dynamic duo made box office billions Leonardo DiCaprio and Martin Scorsese team up again for 'Killers of the Flower Moon' in 2023 Leonardo DiCaprio and Martin Scorsese are like peanut butter and jelly, salt and pepper, gin and tonic – one of the best cinematic pairings of a lifetime. Nearly two decades after first working together on the box office hit "Gangs of New York," DiCaprio and Scorsese are joining forces once again for their sixth feature film, "Killers of the Flower Moon," based on the novel by David Grann. The movie, which is set to premiere in May 2023 at the Cannes Film Festival, also marks the 10th collaboration between Scorsese and his longtime friend, Academy Award-winner Robert De Niro. And why stop at a sixth feature when a seventh is on the horizon? The Hollywood Reporter confirmed last week DiCaprio and Scorsese will partner up for an adaptation of another Grann nonfiction book, "The Wager: A Tale of Shipwreck, Mutiny, and Murder," through Apple Original Films. Leonardo DiCaprio and Martin Scorsese have proven to be one of the best cinematic duos of a lifetime, and will join forces for their seventh feature, "The Wager: A Tale of Shipwreck, Mutiny, and Murder," through Apple Original Films. (Getty Images) Since 2002, Scorsese and DiCaprio's films have earned multiple Academy Award wins and dozens of nominations in every major ceremony, and grossed more than $1.3 billion at the box office, with their last major movie, "The Wolf of Wall Street," pulling in $392 million alone. It was De Niro who handpicked DiCaprio to work with him in "This Boy’s Life" in ‘93, and later told his director pal about Leo’s impressive work on set, which eventually led to Scorsese casting him in "Gangs of New York." De Niro and Scorsese are an easy add to the list of best director-actor duos as well, collaborating on major movies across four decades, some of which are considered the greatest films of all time. DiCaprio recalled bumping into the director at a bar in downtown New York after he had finished filming "What's Eating Gilbert Grape," his second film, when he was 18 years old. He told THR he was "sort of paralyzed" upon seeing Scorsese, and stood silently until Marty said: "Hey, kid, I saw your movie. You did a great job. Keep it up." Leo was "blown away" by the encounter. Scorsese responded, "I don’t remember that. I remember seeing the film, of course, and Robert De Niro was the one who told me about Leo. He said, ‘I worked with this kid in this film. You should really work with him someday.’ And he doesn’t usually do that." Robert De Niro first worked with Leonardo DiCaprio on "This Boy's Life" in 1993, and insisted Martin Scorsese look into the actor for future work. The three were pictured in 2010. (Getty Images) Martin Scorsese poses with Leonardo DiCaprio and Cameron Diaz after a screening of "Gangs of New York" during the 55th Cannes film festival. (Anne-Christine Poujoulat/AFP) Howard Breuer, CEO of Newsroom PR, told Fox News Digital that the road to Scorsese and DiCaprio’s cinematic success may not have been paved quite as smoothly as it appears. "Leonardo DiCaprio's starring in all those Scorsese movies may have started with an off-hand comment from De Niro to Scorsese. But these types of partnerships don’t just happen, they involve significant buy-in from the studios and a filmmaker’s other collaborators," Breuer said. "DiCaprio, coming off ‘Romeo + Juliet’ and ‘Titanic,’ was already a known commodity when Scorsese cast him in their first movie together, ‘Gangs of New York,’ which was a film with a $100 million budget requiring a bankable star with appeal to young people." "Gangs of New York," a 20-year passion project from Scorsese, was released in 2002 through Harvey Weinstein’s Miramax Films, and also starred Cameron Diaz, Liam Neeson, John C. Reilly and Oscar-winner Daniel Day-Lewis. Scorsese casting DiCaprio "paid off because the film was a box office success, which is not always a given with a Scorsese film," Breuer added. Leonardo DiCaprio and Martin Scorsese celebrated their win for Best Drama Motion Picture for "The Aviator" at a Post Golden Globe party in 2004. (J. Merritt/FilmMagic) Known for directing "Goodfellas," "Taxi Driver," Raging Bull," and "Casino," Scorsese also had a few box office bombs through the years despite critical acclaim behind his name. Regardless, Leo and Marty teamed up again two years later for "The Aviator," where DiCaprio starred as the eccentric and affluent aviation enthusiast, Howard Hughes. The film grossed $214 million on a $110 million budget, and was nominated for 11 Academy Awards, with Cate Blanchett earning a Best Supporting Actress Oscar for her role as Katharine Hepburn. "It’s interesting, because I have been doing this since I was 13," DiCaprio told IndieWire in 2014. "I am almost about to turn 40, and I am looking back at some of the stuff I’ve gotten to do, and at the center of it is this amazing accidental collaboration that I’ve gotten to have with Marty." In 2006, Scorsese and DiCaprio paired up for the crime thriller "The Departed," which also starred Mark Wahlberg, Matt Damon, Jack Nicholson, Martin Sheen and Alec Baldwin, and was produced by Brad Pitt. Earning nearly $300 million at the box office was impressive, but the mob movie also marked Scorsese’s first Academy Award for "Best Director" after seven previous nominations. He received the Oscar from longtime friends George Lucas, Francis Ford Coppola and Steven Spielberg. Martin Scorsese wins Best Director for "The Departed" with presenters, from left, Francis Ford Coppola, Steven Spielberg and George Lucas at the 79th Annual Academy Awards. (Getty Images) Leonardo DiCaprio celebrates with Mark Wahlberg after Scorsese won his first Oscar for Best Director for "The Departed" during the 79th Annual Academy Awards in 2007. (Kevin Winter) DiCaprio and Scorsese partnered for Paramount Pictures' psychological thriller "Shutter Island" in 2010, pulling in a total of $294 million on an $80 million budget, despite widely mixed reviews from film critics and fans alike. But all was forgiven in 2013 with "The Wolf of Wall Street." The biographical tale featured DiCaprio as Jordan Belfort, a stockbroker in New York City who thwarted federal officials as he funneled funds through fake businesses and corrupt companies on Wall Street, only to see his sham life come to an end when authorities figured out the scam. The 180-minute flick also starred Margot Robbie, Jonah Hill, Rob Reiner, Matthew McConaughey and Jon Favreau, and became Scorsese’s biggest release to date, earning almost $400 million globally. While DiCaprio, Hill and Scorsese were all nominated for Oscars, the film scratched at the Academy Awards and DiCaprio lost Best Actor to McConaughey in "Dallas Buyers Club." However, Leo did earn a Golden Globe for Best Actor. "You're a risk-taker and a visionary, and as the history of cinema unfolds you'll be regarded as one of the great artists of our time," he told Scorsese while accepting the Globe. "Thank you for your mentorship, and thank you for encouraging me to take risks on this movie." Martin Scorsese and Leonardo DiCaprio working on the set of "The Wolf of Wall Street" in Manhattan in 2012. (Bobby Bank) Leonardo DiCaprio and Martin Scorsese laugh at a photo call before "The Wolf of Wall Street" world premiere at Cinema Gaumont Opera in Paris, France. (Bertrand Rindoff Petroff) When DiCaprio finally received the Best Actor Academy Award in 2016 for his role in "The Revenant," he made sure to give another shout out to his director friend. "I have to thank everyone from the very onset of my career," he told the audience. "Mr. Caton-Jones for casting me in my first film. Mr. Scorsese for teaching me so much about the cinematic art form." DiCaprio doesn’t take his relationship with Scorsese for granted. "It’s hard for me to quite articulate or put into words everything that I’ve learned from him," DiCaprio told IndieWire. "These key moments, they’re hard to even reflect on because you sort of have to take a breather and look back and realize how much you’ve actually learned." "I’ve grown tremendously as an actor just to be in those moments with him, where he’s giving me the right guidance." Scorsese was equally grateful for DiCaprio when he told THR in 2013: "Working together reignited my enthusiasm for making pictures. There’s always something more, there’s always more to mine with him. He keeps going deeper and deeper." While Breuer speculated, "De Niro making a suggestion to Scorsese is a useful piece of Hollywood lore," he added that it takes more than just a meeting of the minds to make movie magic happen. "It’s not that De Niro couldn’t have made that suggestion to Scorsese," he said of that fateful conversation years ago which sparked the relationship," it’s just that there’s more to it than that." Source

Who said Leo is ESFP? Did he made the test or did someone made the test for him? lol My test result

via deux

via deux

I saw a lot worse movies than TMITIM. I also saw better. But the razzi nomination for Leo here was ridiclious and I will die on that hill. Period. Alone the visuals, costumes, original sets, cast and Leos face are worth the watch. (I also liked the soundtrack).

Agree 💯

Are you guys for real or just naive? People lying all the time on the internet.

KOTFM Update. The movie isn't even done with re shootings it seems 🙈 same article: https://www.worldofreel.com/blog/2022/8/gpa2g8d8lgqypwvhre2h7w1ncbf4jb Me Marty (hopefully this won't be another GONY situation where everything went wrong at some point)

Ok I blame 😁 But I thought more about the passive aggressive stans (mostly on twitter/tiktok etc) turning every of their speculations into nasty speculations since the beginning of twitter lol I still don't understand why a strangers sex life is so important to some people to talk about it in public shamelessly like it's their business. But then calling Leo weird lol

Always wonder how bored people must be to make a fuss over other peoples sex life and don't even feel silly about it lmao

Leo & Demi

Probably old photos (don't follow her much) but for me she's perfect. No way she isn't Leos type. She looks like straight from OUATIH here 🏵️

^Well... Wouldn't consider any of those women as submissive but maybe that's just me.

Didn't Gisele claim she was at her lowest point with Leo very publicity to sell her book? Truly inspiring love.

This will better be good news!

^I think the left one is from the netflix movie BUBA where Leos breakdance story is taken up shortly.

NY sighting

a) how to handle social media b) what social media is really about (life lessons by Charles Hunnam & Rami Malek)

^also find it hilarious how everything is getting a sequel but DLU - which was more successful than most of the other dumb shit together Netflix Announced ‘Gray Man’ Sequel To Distract From Disappointing Ratings Netflix didn’t wait until the opening weekend ratings for The Grey Man went live before announcing a sequel and a spin-off. Now that the first global ratings have come in, they are a little disappointing. Not unlike the conversation concerning Jordan Peele’s Nope and its “in most cases excellent” $44.4 million opening weekend (usually great for an R-rated, star-lite, original live-action horror movie), the notion of The Gray Man only earning 88 million hours on Netflix in the first three days (around 43 million complete views for the 129-minute actioner) “feels” disappointing. Gray Man’s existence as Netflix’s most expensive attempt to craft its own blockbuster franchise. Again, this is all relative, but it's well below what Red Notice (149 million hours) and Don’t Look Up (111 million hours) nabbed in their opening weekends. That’s not to say legs aren’t possible. Don’t Look Up, an Oscar-friendly, all-star Leonardo DiCaprio/Jennifer Lawrence disaster comedy, earned 152 million hours in its first week. Red Notice went from 149 million in weekend one to 129 million in its first Mon-Sun week. However, The Gray Man is based on a popular action spy-lit series, stars Ryan Gosling (as the good spy) and Chris Evans (as the bad spy), and is helmed by the Russos (Avengers: Endgame). It is telling that it earned about as many hours as Sandra Bullock’s action-lite, grimdark post-prison rehabilitation drama The Unforgivable. Suppose it’s only as “leggy” as Red Notice (364 million hours in the first 28 days after a 149 million hour opening weekend). In that case, it’ll end up just over/under The Unforgivable’s first month (214.7 million hours) total. It opened with fewer hours than Ryan Reynolds’ original, $115 million The Adam Project. That family-friendly crowdpleaser opened with 92.4 million hours and legged out to 233 million hours in the first 28 days. Similar legs for The Gray Man (which is PG-13 but not really for kids) will get it at 223 million hours in month one. That is right between The Unforgivable and the $65 million-budgeted Extraction (231.3 million hours). The best-case scenario, however unlikely, is legs like Don’t Look Up. The Adam McKay-directed farce had an advantage of holiday legs (like Bird Box in 2018) and earned 360 million hours from that 111-million-hour debut (and 152 million hours in the first whole Mon-Sun week). That would give The Gray Man 285 million hours, good for third place just above Sandra Bullock’s $20 million-budgeted Bird Box. When you look at the raw opening weekend hours, the film’s debut is high but surprisingly not sky-high, even alongside or below some comparatively much cheaper and lower-profile films. The Russo Bros.’ $200 million spy actioner is a blatant attempt by Netflix to approximate the mega-budget Hollywood actioners. The film has its moments (Julia Butters almost steals the film), and more of the film’s budget is seemingly up on screen versus the likes of Red Notice. It still pales compared to No Time to Die, Mission: Impossible – Fallout and (the $75 million) John Wick: Chapter 3. That’s the problem with Netflix originals. They want to replace the theatrical competition even as most of their original films are trading quality for “push a button and watch it at home” convenience. That’s fine for a one-and-done, especially as Netflix’s greatest weapon is a subscriber base so large that they can pull comparatively massive viewership for the original or new-to-you high-concept star vehicles that used to be Hollywood’s bread and butter. But if you want to build franchises, which can be turned into monetizable IP, those films must be more than just “glad I didn’t see this in theaters” or “It’s fine since it was free on my tv.” While audiences “pressed play” on the abstract concept of Dwayne Johnson, Gal Gadot and Ryan Reynolds in a light action-comedy heist caper, getting them interested in specifically a sequel to Red Notice may be more challenging. Ditto The Gray Man 2 or whatever form that takes, and why Bright 2 was always a bad idea. The announcement of a sequel is a bluff to sell the illusion of success. That’s not a new trick. We’re still waiting on Star Trek 4 (announced days before Star Trek Beyond), Wonder Woman 3 (announced on Wonder Woman 1984’s theatrical and HBO Max opening weekend) and any host of “Studio says a sequel is happening!” follow-ups to Cruella, Jungle Cruise, Green Lantern and more. A sequel was once an (often unplanned) affirmation that audiences saw and liked a movie. Now, in a world where shareholders demand that everything be a franchise and/or a cinematic universe (with no proof that audiences want endless spin-offs to that movie or show they saw and liked), it’s a premature announcement to sell the idea of consumer success. They greenlit a sequel, so it must be a hit! Netflix announced Bright 2, which has yet to materialize, while Red Notice 2 and 3 are still in the “It’s theoretically happening!” stage. We seem to be getting follow-ups to Extraction, Murder Mystery and The Old Guard. Army of the Dead got a near-concurrent Army of Thieves prequel. We’ll see if we get the promised Planet of the Dead. Save for their cheaper and youth-skewing romantic comedies; there’s usually a gulf between a Netflix genre film getting a sequel announcement and that sequel getting made. It’s another example of the streaming giant/disrupter taking a page from the conventional Hollywood playbook. On the other hand, The Sea Beast earned 135 million hours in 17 days from a 33 million hour opening weekend. It might deserve a sequel since audiences are digging it beyond “Hey, it’s what’s new on Netflix this week.” If Netflix were happy with The Gray Man getting opening weekend ratings on par with Adam Sandler’s (exceptionally good) basketball dramedy Hustle (85 million hours) or 365 Days: This Day (77 million hours for the 109-minute Polish erotic sequel to 365 Days), they would have waited until the numbers dropped before announcing a sequel. Instead, they let the word out this morning. The news dominated the media cycle and completely obscured the actual “merely okay in terms of expectations” first ratings. Maybe they know that the Monday ratings are high enough, so it’ll leg out this week. Perhaps they hope word of a franchise will encourage the casually curious to check it out. But make no mistake, announcing a sequel and spin-off for The Gray Man is not an affirmation but rather an illusion of success. Source

Watched the THE GRAY MAN yesterday. What a freakin disaster 🤦‍♀️ The only good thing was Ryan Gosling and his body 👀 (he's welcome doing my laungerie like this any time 🥰) Bad story (really nothing new, nothing original, nothing thrilling), bad dialogs (not smart, not funny, nothing), bad performances (Chris Evans is coming for the Razzi I swear), dumb characters (almost eveything they did was just... stupid and senseless like wth). They even managed to waste gorgeous Ana de Armas. At least she had the only one memorable line. Gosh. I really can't believe this shit took netflix 200 million freakin dollars - also wondered where they spend all this money because almost everything just looked awful. Why I am whining about this here? Because I was curious after watching this mess if it's already beaten DLU. Thank god it's not LOL How well is The Gray Man performing on Netflix? Finally, let’s examine how well The Gray Man is performing and whether it will become Netflix’s most-watched English movie and beat Red Notice. It’s a little too early to know exactly how well The Gray Man has performed but it is expected to break into the most popular English language films based on hours watched in the first 28 days. With that said, based on the first 3 days of performance, it may not be able to top either Red Notice or Don’t Look Up. Source

Not interested in who? 😅

^ Are they playing volleyball... on a yacht? LOL

Can't help but a man in black is giving me some strong sexy vibes. It's probably the Zorro effect aka my first super hero crush LOL But Rickie everyone wants a bite no matter what

^of course sweet innocent Taylor isn't the one to blame here - like always. If Leo would make such a statement people would send him straight to hell. Including freakin Taylor. But he's the "hypocrite"???