Jade Bahr

with Antonio Guterres who feels nothing but gratitude for Leo @LeonardoDiCaprio was at #COP21 in 2015 when the #ParisAgreement was adopted. He has continued to promote its implementation ever since then. At #COP26, I got to thank him for his #ClimateAction work and support for the @UnitedNations as Messenger of Peace. Original source: https://www.instagram.com/p/CVy7fb9rP4X/

#RJat25 spam train #not sorry Closer look at the relationship of Romeo and Mercutio. Since Mercutio has probably never been more queer than in Luhrmans interpretation many people think he's in love with Romeo or at least it's a theory I read more than once. Harold Perrineau Made Shakespeare Sound Natural in ‘Romeo + Juliet’ His modern approach to tackling the Bard’s dense language helped make one of the world’s most famous plays feel accessible to young audiences. Before 1996, we’d never seen a film adaptation of Shakespeare that targeted young audiences and retained his original language. Movies of his plays had traditionally taken a more classical approach to the text. They used crisp diction and English accents that catered to the Masterpiece Theatre crowd but might be boring to the MTV generation. Yet Shakespeare’s plays are filled with young characters making irrational decisions all in the name of love. If anyone should be able to identify with his body of work, it’s teenagers. Baz Luhrmann keenly understood this. And it’s a large part of why Romeo + Juliet (1996) is such an achievement. Luhrmann’s kinetic style of direction helps clue in young audiences to the dynamic energy pulsing through the Bard’s ode to feuding families and star-crossed lovers. But he went further than simply infusing a unique cinematic eye into a centuries-old play. He instructed his actors to deliver Shakespeare’s famously dense dialogue so it sounded like contemporary American speech. This allows teens to better understand the language. This technique not only made a 16th-century play feel veritably modern, but it also helped young audiences realize Shakespeare can be so much more nuanced and relatable than what they learned in high school English class. The entire cast of Romeo + Juliet was more than up to this linguistic challenge, but no one was better at translating the language into modern vernacular than Harold Perrineau, in the role of Romeo’s wisecracking best friend, Mercutio. It’s impossible to deny the infectious vitality of Perrineau’s Mercutio, especially in his entrance. Underscored by Candi Staton’s “Young Hearts Run Free,” the character steps out of a car, cackling with laughter while strutting around in a miniskirt and diamond-encrusted bustier. Perrineau had trained as a dancer for two years with the Alvin Ailey American Dance Theater in New York City, which helped him master the high-energy choreography Mercutio performs in the opening act of the film. While his background as a dancer helped Perrineau bring Mercutio’s physicality to life, he didn’t have the same experience performing Shakespearean dialogue. As he mentions in a retrospective interview: “When we did Romeo + Juliet, I had only done [Shakespeare] in school, so I had a very particular idea of how to do it, which is from studying it. Very classical. So when I got the job … everything I learned, we threw away. We wouldn’t do anything, not the big speech things I learned, none of my diction, none of the iambic pentameter. All of it was thrown away.” Under Luhrmann’s direction, Perrineau surfaced modern speech patterns in the text so the language would be more attuned to younger ears. “[Luhrmann] wanted to find voices we were used to hearing. Patterns of speech we were used to hearing,” Perrineau says. This method allowed teenage audiences to develop a deeper understanding of Mercutio’s thoughts, emotions, and motivations. Even when the old-world Elizabethan language soars over their heads. Take the scene between Mercutio and Romeo (Leonardo DiCaprio) the morning after Romeo ditches his pals to sneak off to Juliet’s balcony. Mercutio’s resentment towards his best friend is still evident when Romeo reemerges from his late-night rendezvous. “Signior Romeo, Bonjour! There’s a French salutation to your French slop. You gave us the counterfeit fairly last night!” When Romeo questions him on what he means, Mercutio says, “The slip, sir, the slip; can you not conceive?” We can read Mercutio’s anger as a misogynistic “pals before gals” mentality. He’s upset his friend would choose to see a girl rather than get wasted with the boys. But Perrineau’s line delivery is dripping with jealousy. The audience understands Mercutio doesn’t just have love for Romeo; he may actually be in love with him. Later in the same scene, after the two men blow off steam razzing each other, Juliet’s Nurse appears looking for Romeo. As she sweeps him away, Mercutio follows closely behind, calling out for his friend. In a last-ditch effort to grab his attention, he pulls out his gun and fires off a single shot, yelling towards him, “Romeo, will you come to your father’s?” On paper, it’s a simple question from a friend asking when he’ll see his buddy again. In Perrineau’s performance, however, we can hear the underlying subtext. He delivers this line with unanticipated desperation that tells the audience exactly what Mercutio is feeling in this moment: confused betrayal. He can sense his best friend pulling away from him, and as his eyes fill with bewilderment, we realize Mercutio’s love for Romeo runs much deeper than we, or the character, may realize. That doesn’t explicitly mean Perrineau’s Mercutio has a sexual attraction to Romeo. When asked about Luhrmann’s intention for their relationship, Perrineau told Vulture: “His vision for it was…they were [in love], but in the way that 14-year-old boys can be in love with each other. It doesn’t necessarily have to be a sexual thing. But sexuality is a thing that young men are always talking about. So it could be confusing. That’s sort of the stuff we played with.” This love affair is often an untapped layer of Mercutio’s relationship with Romeo. In the hands of another actor, Mercutio is merely chaotic comic relief. He’s the energizing life of the party who’s willing to show his ass for a laugh. But in Perrineau’s hands, he becomes so much more nuanced than that. He found complexities in Mercutio that may have been left unexplored in a traditional interpretation of the dialogue. After being stabbed by Juliet’s cousin Tybalt (John Leguizamo), Mercutio tells Romeo, “Ask for me tomorrow, and you’ll find me a grave man.” He turns his back on his friends and stares out into a storm-covered sky. As he looks at his oozing wound, we see in his eyes a dawning realization that his devotion to Romeo has become his ultimate undoing. This epiphany then becomes the motivation for one of the play’s most famous lines, “A plague o’ both your houses!” In Perrineau’s delivery, it isn’t just a curse shouted by a dying man. It’s a renouncement of his friendship with — and love for — Romeo. The audience realizes Mercutio’s death isn’t simply the fatal consequence of the play’s central feud. His life was cut short because of his passionate adoration for his best friend. Baz Luhrmann’s Romeo + Juliet may be reviled by Shakespearean purists (his visual aesthetic is definitely an acquired taste). But the adaptation helped make the Bard’s canon feel more accessible to a sought-after demographic. The popularity of the film even spurred a wave of adaptations aimed at teens through the following decade. What separates this from, say, 10 Things I Hate About You, though, is that Luhrmann didn’t need to dispense with the original language to make modern audiences understand Shakespeare’s text. Instead, he used an actor like Harold Perrineau who could cut through the density of the language in Romeo and Juliet to find character motivations that would surprise, and delight, teenagers in 1996. To put it another way, Luhrmann and Perrineau proved something English teachers have been trying to drill into their student’s heads for years. The complete works of William Shakespeare have always been sexy, exciting, and deeply relatable to young audiences. Source Just LOOK AT HIM! Isn't he gorgeous? I love his perfomance so so much 💖 Source Thank god grumpy Bale didn't get the part!!! On the other hand.. .

#RJat25 spam train #not sorry 25 Years Later, Romeo + Juliet’s Costumes Are as Magical as Ever Twenty-five years ago, Baz Luhrmann laid his scene in fair Verona—and it was like nothing we’d ever seen before. The Australian auteur’s kaleidoscopic reimagining of Shakespeare’s classic romance, Romeo + Juliet, was a brash thrill ride through the streets of some combination of Venice Beach, Mexico City, and Miami, populated by god-fearing gangsters and glamazons. At the center of it all were two career-defining performances from a young Leonardo DiCaprio and Claire Danes as the star-crossed lovers, their mesmerizing chemistry making for a love story that has stayed in the hearts of millennials ever since. DiCaprio and Danes weren’t the only reasons the film became such a cult classic, however. Yes, there was its iconic soundtrack—Des’ree’s “I’m Kissing You” remains the ultimate karaoke tearjerker—but also the flamboyant costuming. From Mercutio’s glitzy lingerie set and cape as he belted out “Young Hearts Run Free” at the Capulet party, to Juliet’s ethereal angel wings, to the flaming sacred heart on the Hawaiian shirt worn by Romeo in the opening scenes on Verona Beach, these are looks that haven’t just become a part of cinematic history, but fashion history too. (The latter style in particular has never been far from a menswear catwalk over the last 25 years.) Jamie Kennedy, Zak Orth, Leonardo DiCaprio, Dash Mihok, and Harold Perrineau as the young Montagues. Photo: Courtesy of Everett Collection For that, we have the Australian costume designer Kym Barrett to thank. A contemporary of Luhrmann and his wife, Catherine Martin, at art school in Sydney, she first worked as a wardrobe assistant on the first extravaganza in their Red Curtain Trilogy, 1992’s Strictly Ballroom, before signing on to join the couple’s merry band as they began plotting their radical take on Shakespeare. “We were a very ragtag group and wanted to do stuff our own way, and we spent a lot of time working out not just what we wanted to do, but why we wanted to do it,” says Barrett of the collaborative spirit that underpinned the film’s making. “Some of it was luck, and some of it was just really hard work.” It’s under the former category that Barrett slots her memorable collaborations with Dolce & Gabbana (for the young Capulets’ gunslinging leather waistcoats and cowboy belts), Prada (for DiCaprio’s dreamy wedding suit), and Yves Saint Laurent (for the razor-sharp tailoring and gowns worn by the elder generation’s mob bosses and wives). “That was a dream come true,” Barrett adds. Still, the bulk of the clothing was fabricated by Barrett’s team of pattern cutters and seamstresses, including those famous Hawaiian shirts, which were all painstakingly handpainted as riffs on a piece she picked up in a Miami thrift store. Claire Danes as Juliet, wearing her famous angel wings during the balcony scene. Photo: Courtesy of Everett Collection In the years since, Barrett has gone on to become one of Hollywood’s most eminent costume designers, working on The Matrix trilogy later in the ’90s before moving on to projects as wide-ranging as From Hell, The Amazing Spider-Man, and Jordan Peele’s Us. All the same, Barrett looks back on shooting Romeo + Juliet as one of her fondest filmmaking memories. “It was definitely the job you want to have been your first job,” says Barrett. “It was unforgettable.” Here, Barrett shares the story behind the costumes, from her eclectic range of references, to collaborating with Miuccia Prada on DiCaprio’s tailoring, to how she used clothes to bring Shakespeare’s romantic tale back to vivid, unforgettable life. Photo: Courtesy of Everett Collection Vogue: How did the project came your way, and what your process was in the early stages of conceiving the costumes? Kym Barrett: Catherine and Baz and I all went to NIDA [the National Institute of Dramatic Art] in Sydney, so we already had that common ground. First, we made a short film with actors from Sydney in an abandoned lot—we dressed up our friends and shot the Mercutio death scene. And then Baz sent it to Leonardo and to Fox, and they decided to give us small amounts of money to start building up to the project that we wanted to do. We were kind of left on our own, and it just grew from there. Catherine, Baz, Craig [Pearce, screenwriter], and I went to Miami to do research, and Sony gave Baz one of those very first small movie cameras. So we made little video vignettes, and we edited it into what I guess you would call teasers. It was really a learning curve for all of us, but we just took our chances. We were only given $15 million, which is not much money for a movie. We prepped in Canada for a little while, and then we decided to shoot in Mexico City for most of it, so it was a culture shock as well, but also an incredible adventure. The Capulet gang, with John Leguizamo as Tybalt at center. Photo: Courtesy of Everett Collection It’s very impressive that it was your first job as a head costume designer. Did you ever feel nervous about embarking on such a bold and radical take on a story that’s so beloved? We all came out of the theater, and the job delineations aren’t as rigid as they are in films. You tend to do a bit of everything: We would get there in the morning and steam the curtains, or I’d stay late with Catherine and we’d paint the floor. Everyone is kind of an equal collaborator, and we all brought that same methodology to the way we made that film. I think you can see that, because it’s very cohesive and everything is integrated. You can follow the thought process from the writing to the directing style to the cinematography to the sets and costumes and music, and I think that’s one of the reasons it worked. Because obviously, we were working with what was essentially a kind of foreign language. Shakespeare isn’t a normal medium for film. I think we needed to be really solid with the vision and really tight, so that all the visuals supported the language and people could relax into it and understand what was happening. I think if you talk to most people who enjoy Shakespeare, the first time they start hearing it or reading it, they’re like, “What’s going on?” But if you just settle in and go with it, it starts to make complete sense to you. And that was one of the aims of doing the film. My job was to support the language with imagery, to help you stop thinking about the language and just go with the story. And I think it was successful in that way. Leonardo DiCaprio wears a handpainted Hawaiian-inspired shirt, designed by Kym Barrett. Photo: Courtesy of Everett Collection DiCaprio in a custom Prada suit. Photo: Courtesy of Everett Collection When it came to fabricating the costumes, how much of it did you produce in-house? And how did the collaborations with Dolce & Gabbana, Prada, and Yves Saint Laurent come about? We made almost everything ourselves. The collaborations with the fashion houses were partly because we were strapped for cash. I had done a bunch of photoshoots in New York and met different people at different showrooms, and when I was thinking about how to design for the Capulets, I was like, well, Dolce & Gabbana is a great jumping-off point. So we struck a deal with them for them to give us old stock that we could use to populate Verona Beach, with all the gangs and the background people. I had this idea of really ornate waist vests that were bulletproof. I showed them those images, and they said, “Oh, we can pull some old stock for you that might be useful.” They came from the showroom with these big boxes of stuff, so the extras fittings were amazingly fun. Everybody loved it. We were able to bastardize some things—we chopped the sleeves off, or we overdyed them to age them, or threw dirt on them. And then I needed a really beautiful suit for Leo when he got married, so we asked Ms. Prada if she would agree to make a suit for him, and she said yes. We were very lucky. And then I had an amazing team in Mexico City, and my cutters and some of my seamstresses came from Montreal, and hair and makeup came from Italy. It was a really international crew—we had people from all over the world speaking all different languages. And that’s such a rich way to work on a creative project, you know? There was this really energetic tension. What was the story behind the Capulet party costumes? I feel like all of them give a little backstory to each of the characters. In the script, [Romeo] says, “Oh bright, bright, angel,” and I knew Catherine wanted Claire to be on the balcony, backlit and silhouetted with the twinkling fairy lights that look like stars. So I knew straight away what that was going to be. And then with Leonardo, he’s like Lancelot. He’s driven away from his own people, from everything he holds dear to him. It’s an echo of the knight in shining armor, only in this case, it doesn’t work out, of course. I wanted to have that duality of it being one of the greatest romances in the world, but also one of the most tragic. I didn’t want to bang people over the head with didactic imagery, but I did want there to be a subconscious connection to stories and myths. The ballroom party is populated with characters from Shakespeare: Lord Capulet is a Roman emperor and Lady Capulet is Cleopatra. Then Paul Rudd as Paris is a bit on the outside, and a bit of a space cadet, so an astronaut felt right. I always thought of him as floating out a bit beyond reality. Diane Venora as Lady Capulet, dressed as Cleopatra, and John Leguizamo as Tybalt, dressed as the devil, during the Capulet party scene. Photo: Courtesy of Everett Collection I’m also curious about that Hawaiian shirt—or should I say those, as there were two. The Capulets definitely have that kind of gunslinging, gangster, low-hipped, cowboy-boots kind of vibe. And then the Montagues are more flyboy. They’re like the guys in Hawaii on leave from the ship. They’re still fighters, but they’re more laid-back and relaxed and American in a way. But both families are super religious, so it made sense that when I designed the shirts, they should have that kind of iconography painted in them. We had an amazing team of fabric painters in our department, and we designed the shirts to have all these different religious symbols embedded in them. Leo’s shirt at the end that he wears in the cathedral was definitely the inspiration and jumping-off point. I found it in a thrift store in Miami, and it already had this very dreamy, romantic Technicolor motif. Then there’s the one with the bleeding heart and the death lilies that the team painted. I chose the flowers as a foreshadowing of what was going to happen. The film and its costumes still serve as a reference to fashion designers—and indeed creatives of all stripes—today. What has made it endure? I think the reason it endures in fashion is that a lot of the people who are now heading up these fashion houses were in that age group 25 years ago. It was a new way of viewing Shakespeare, and I think whether consciously or subconsciously, it impacted people of that generation—especially the music, which was extremely evocative and emotional and carried the story. I think everything came together to serve the characters and made them memorable. Even if the storytelling was heightened, the characters were king. I always say to people that a costume isn’t anything without a person in it. It becomes something when the actor puts it on and becomes the character. And I think that’s why it resonates with people: it’s a testament to the enduring power of Shakespeare and his characters, and our ability to reinterpret them for our time. It was a film about two teenagers that was really made for that age group, and I’m still so proud of it. I’ve done a lot of films by now, and I still think it’s my favorite. Courtesy of Everett Collection Source

#RJat25 spam train #not sorry Another great article! That's the power of a good movie. Being still relevant after 25 years. Argue with the wall if you disagree. How Romeo + Juliet Shook Up Shakespeare for a New Generation Twenty-five years later, Baz Luhrmann's adaption of the classic play still resonates. I was in my ninth grade English class when I watched Romeo + Juliet for the first time. It was the early 2000s: the era of flip phones, AIM, and Myspace. Shakespeare had long carried the reputation of being tough to teach, as language has evolved over the centuries. But in the new millennium, literature teachers were facing unchartered territory in the battle for students’ attention spans. When my class watched Romeo and Juliet, Franco Zeffirelli’s 1968 film adaptation, it didn’t offer much help in translating the words of the 16th-century playwright for a 21st-century audience. So when my teacher rolled in the TV on wheels and popped in the VHS tape of Baz Luhrmann’s 1996 version—which marks its 25th anniversary today—my peers and I were predictably skeptical. But it didn’t take long for even the most Shakespeare-averse student to become totally enthralled with the dizzying, vibrant cinematography that’s now a cornerstone of Luhrmann’s canon. Set in a fictional, modern-day Verona Beach (a real-life mash-up of Miami, Mexico City, and Boca del Rio, Veracruz), the movie opens with a news anchor reading the play’s famous prologue and setting the scene for “where civil blood makes civil hands unclean.” What follows are two hours of unrelenting action and drama set against the most widely read love story of all time. Of course, everyone knows this story will end tragically, but before then, a lot has to happen. The play may be about a teen romance, but it’s also about the ways in which class, family, and religion shape who and what we love. Luhrmann’s lavish, visually indulgent interpretation helped bring these themes to life for a new generation. As over-the-top as Romeo + Juliet may be, there’s an unsettling realism to Luhrmann’s contemporary retelling of the age-old story. It seems completely plausible that these spoiled kids from wealthy, warring families would cross paths and end up falling for one another. Maybe not within the span of 24 hours, but still, it feels like it could happen. Part of what makes Luhrmann’s adaptation so accessible are its stars. Leonardo DiCaprio is in a league of his own today, but back in 1996, he was still pre-Titanic and had done mostly television up to that point. Making him Romeo all but cemented his heartthrob status and propelled him into a new level of celebritydom. Claire Danes followed a similar path after stepping into the role of Juliet, becoming a sought-after actress who’s still serving up emotions as the queen of ugly crying. In addition to the two leads, John Leguizamo as Tybalt and Harold Perrineau as Mercutio are also perfectly cast, bringing not just diversity in terms of ethnicity and skin color, but also diversity of craft and interpretation. Leguizamo’s Tybalt is snaky and fueled by a constant need for rage and revenge; Perrineau’s Mercutio lives for the spotlight and bending and blurring gender norms. Both ping-pong between unapologetically flamboyant and hopelessly vulnerable, and their performances leave absolutely everything on the screen. And then there’s Paul Rudd, whose ageless charm somehow makes Dave Paris—the nobleman Juliet’s parents are trying to set her up with—a rather lovable character, despite being totally oblivious to the fact that Juliet is enamored with someone else. Beyond the cinematography and cast, the film is also uniquely marked by its soundtrack, which is equal parts electric and somber. When we first meet DiCaprio as our forlorn Romeo, he’s sitting by the water at sunset, wearing a suit jacket over a white shirt unbuttoned at the collar. He’s journaling—brooding over his unrequited love for Rosaline, the unseen niece of Lord Capulet (in the 1996 adaptation, his full name is Fulgencio Capulet). As he smokes a cigarette and roams around the sandy, orange-drenched beach, Radiohead’s “Talk Show Host” starts playing. The moment is so emo that any teen—regardless of era—could relate. (Has Olivia Rodrigo watched Romeo + Juliet yet? Inquiring minds need to know.) There's also the meet-cute between Romeo and Juliet in the bathroom of the Capulet mansion, as “I’m Kissing You” by Des’ree is playing in the background—only to reveal that Des’ree herself is, in fact, singing at the big party in the other room. I still get goosebumps every time I think about it. Other notable musical moments from the film come via the late Quindon Tarver, who as a choir boy sings soul-moving covers of Prince’s “When Doves Cry” and Rozalla’s “Everybody’s Free (To Feel Good).” Both renditions are included in the soundtrack, which went on to sell more than two million copies, earning double-platinum status. Reception to the movie was mixed at the time. Roger Ebert wasn’t totally sold on the radical retelling, referring to it as “the mess that the new punk version of Romeo & Juliet makes of Shakespeare’s tragedy.” The late film critic gave it just two stars, calling both DiCaprio and Danes “talented and appealing young actors,” but who were, at least from his vantage point, “in over their heads.” Despite critics being divided, the film grossed nearly $150 million worldwide and went on to defeat Titanic at the 1998 BAFTAs for best direction, original music, and production design. Considering the manner in which Titanic dominated pop culture discourse for the last few years of the ’90s, that’s a real achievement. Few contemporary adaptations of Shakespeare’s work have been as culturally resonant, likely because none has been able to capture the specific combination of star power, moving musicality, and visual intensity that Luhrmann achieved with Romeo + Juliet. One noteworthy mention is Maqbool, a 2003 Indian crime drama based on Macbeth, starring Irrfan Khan as the titular character. It didn’t receive nearly as much global recognition, but if you like seeing Shakespeare set in the modern world, it's essential. Perhaps what makes Romeo + Juliet as relevant as ever is its ability to be rooted in the tradition of the past while still making room for tomorrow and the way of the future, whatever that may be. That overwhelming sense of uncertainty that encompasses our youth—it never really goes away. Time morphing into something intangible and hard to measure seems to be the essence of adulthood—especially in our current climate. I often feel disconnected from the now, because I cannot make sense of it. That’s how the characters in the film are portrayed, too, and their aimlessness feels like a kind of comforting kinship that I can revisit over and over again. In truth, Romeo + Juliet made Shakespeare as timeless as ever. Source

I can feel her 😅

Love his Gatsby hair 😍 Source

I think it's kinda cute smart how he makes sure everyone knows that he didn't fly private this time after the massive backlash when he did the last time Leonardo DiCaprio Reportedly Flew Commercial to Attend the COP26 Climate Change Conference The actor and activist is expected to speak at various events surrounding the United Nations conference. Leonardo DiCaprio reportedly hopped aboard a commercial flight to Scotland this week to participate in the COP26 environmental summit. The actor and environmental activist was swarmed by fans when he arrived at the Glasgow SEC Centre on Monday after seemingly flying into the country via commercial airline. He was even spotted catching a connecting flight in London, per Page Six. DiCaprio wore a mask and suit as he was ushered by bodyguards into the conference center, at the same time that President Joe Biden and U.K. Prime Minister Boris Johnson appeared together to share their joint vision for a “Build Back Better World” and why there’s a demanding need to invest trillions of dollars into fighting climate change and how that will actually generate millions of green jobs in turn. In the afternoon, DiCaprio paid a visit to the Kew Carbon Garden at the conference built as part of The Royal Botanic Gardens’ campaign to protect the Ebo Forest of Cameroon from logging, which is also a threat to the area’s indigenous endangered species, like its population of rare chimpanzees. The Oscar winner is expected to speak at various peripheral events occurring in conjunction with the conference. He already made his first surprise cameo at an evening hosted by environmentalists at The Engine Works venue in Glasgow’s Maryhill district. Emmy-nominated writer and producer Paul Goodenough shared a photo of himself with DiCaprio holding his new book, The Most Important Comic Book on Earth: Stories to Save the World, on social media, writing in the caption, “What a hero…He was wonderful and we chatted for ages despite everyone wanting a piece of him.” While in the city, DiCaprio is also expected to meet with his friend and fellow climate activist, Greta Thunberg, whom he first met in 2019 at the last COP25 conference hosted in Madrid. The actor’s insistence on flying with the general public instead of taking a private jet to the conference already demonstrates more of a commitment to the environment than some of his fellow conference attendees. Many activists were outraged to see some 400 private planes carrying both world leaders and some of the richest people on the planet arrive in Glasgow and Edinburgh over the weekend ahead of the summit, including Prince Albert of Monaco and Jeff Bezos. Britain’s Secretary of State Liz Truss defended the huge volume of air traffic, telling BBC Breakfast, “It’s really important that we do have people face to face. I think everybody who’s ever done a Zoom call knows that they’re quite useful for some things. But when you really get into crunch negotiations, when you want to look somebody in the eye and talk to them face to face, you do need to meet in person. And this is really critical.” Matt Finch, of the UK’s Transport and Environment campaign group, explained to Scotland’s Sunday Mail, however, that all that private travel is taking a serious toll. “The average private jet, and we are not talking Air Force One, emits two tons of CO2 for every hour in flight,” Finch highlights. “It can’t be stressed enough how bad private jets are for the environment, it is the worst way to travel by miles. Our research has found that most journeys could easily be completed on scheduled flights. Private jets are very prestigious but it is difficult to avoid the hypocrisy of using one while claiming to be fighting climate change. To put it in context, the total carbon footprint of an ordinary citizen—including everywhere they travel and everything they consume—is around eight tons a year. So an executive or politician taking one long haul private flight will burn more CO2 than several normal people do in a year.” Source Leonardo DiCaprio skips private plane to fly to COP26 summit, unlike ‘eco-hypocrites’ Jeff Bezos, Prince Charles and Bill Gates The ‘actor and environmentalist’ hasn’t always been known for his environmentally friendly travel choices and was called out several years ago for regularly using diesel-burning private jets and yachts for vacation Leonardo DiCaprio faced a mob of fans and fellow environmentalists as he arrived for Monday’s opening of the COP26 climate summit, and was praised for being one of the summit’s few VIPs to not jet into Glasgow, Scotland on a luxury private plane. DiCaprio, who describes himself on social media as an “actor and environmentalist,” was swept into Glasgow’s SEC Centre by police and bodyguards, after proving some of his eco bona fides by arriving by commercial plane, according to the Daily Mail. DiCaprio hasn’t always been so environmentally sensitive when it comes to his travel choices. Several years ago, he was called out for being an “eco-hypocrite” for his extensive use of diesel-burning private planes and yachts to travel around the world for business and pleasure. DiCaprio’s choice of transport for this pivotal climate summit certainly departed from how other “green” VIPs made their way to Glasgow. Jeff Bezos, Bill Gates, Prince Charles, Prince Albert of Monaco and others angered environmentalists by using private planes to travel to Scotland, Insider and Page Six reported. A fleet of some 400 private planes, led by Bezos’s $65 million Gulf Stream, descended on Scotland over the weekend and created what one local news outlet described as “an extraordinary traffic jam (that) forced empty planes to fly 30 miles to find space to park,” Page Six reported. The private jets were expected to shuttle some 1,000 world leaders, CEOs and their staff around to various events for the summit, which was organized to “bring together world leaders to commit to urgent global climate action,” Insider said. During Monday’s opening, some of those world leaders, including U.S. President Joe Biden and UN Secretary General António Guterres, delivered apocalyptic warnings about the earth’s future, the New York Times reported. They described how there was scarce time left to avert catastrophic global warming unless governments and businesses aggressively commit to cutting greenhouse emissions. A-list attendees seemed fine with excusing themselves from this message when it came to their personal travel convenience. The European advocacy group Transport and Environment said in a May report that private planes were five to 14 times as polluting as commercial planes on a per passenger basis, and 50 times as polluting as trains, Insider reported. Matt Finch, the UK policy manager for the Transport and Environment group, despaired of the contradictory message sent by VIP attendees. Their private jet travel was expected to produce more global warming gas than 1,600 Scots burn through in a year, according to Scotland’s Sunday Mail. Finch told the Sunday Mail: “The average private jet, and we are not talking Air Force One, emits 2 tons of CO2 for every hour in flight. “It can’t be stressed enough how bad private jets are for the environment, it is the worst way to travel by miles,” Finch said. “Our research has found that most journeys could easily be completed on scheduled flights.” Speaking of Air Force One, Joe Biden also faced criticism for using his official plane to travel to Scotland, though it’s hard to imagine how else an American president would safely travel. Meanwhile, leaders from Canada, France, Germany, India, Israel and Japan likewise used their own aircraft, the Insider added. UK Prime Minister Boris Johnson planned to return to London from Scotland on a private jet, though his spokesperson insisted it ran on sustainable fuel, The Guardian reported. His spokesperson said: “It is important that the prime minister is able to move round the country, and obviously we face significant time constraints.” Prince Charles’ spokesperson also justified the royal’s use of a private jet to travel to Glasgow from the G20 summit in Rome by saying the flight used “sustainable aviation fuel,” the Daily Mail reported. This outrage over A-listers’ private jet use for the COP26 summit echoes the controversy that erupted in 2019 when the world’s rich and famous flew to the Italian coast to attend a Google-hosted conference on global warming. Italian press reports said that these attendees arrived in more than 100 private jets. The attendees included Barack Obama, Prince Harry, Katy Perry, Orlando Bloom and Harry Styles. Some, including billionaire David Geffen, sailed into the so-called “Google Camp” via their massive private yachts. DiCaprio also attended the Google conference, although it’s not clear if he arrived by commercial or private plane, but the megastar hasn’t always been so heroic when it comes to eschewing the luxuries of private jet travel. The “Wolf of Wall Street” star once famously rented the world’s fifth largest yacht, owned by a UAE oil tycoon, to watch the World Cup in Brazil, according energy expert Robert Rapier, writing in a 2016 Forbes column. Such personal lifestyle choices have long threatened DiCaprio’s moral authority, even as his eponymous Leonardo DiCaprio Foundation has reportedly donated millions of dollars to support projects that protect wildlife and the environment, Rapier said. In 2016, DiCaprio used his Oscar acceptance speech to call climate change “real” and “the greatest threat to our species.” “We need to support leaders around the world who do not speak for the big polluters, but who speak for all of humanity, for the indigenous people of the world, for the billions and billions of underprivileged people out there who would be most affected by this,” DiCaprio said. Several months after that speech, DiCaprio was labeled one of those “big polluters” and an “eco-hypocrite” when it was learned he flew 8,000 miles on private plane from France to New York to pick up an environmental award, Quartz reported. Just 24 hours later, DiCaprio further expanded his carbon footprint by flying on a private plane back to France to attend an AIDS benefit gala, Quartz added. With DiCaprio’s commercial jet trip to Glasgow, it appears that he has learned an important lesson about walking the talk for environmentally friendly travel. Or, the actor has become smarter about letting the media know when he makes the right choices. At the COP26 summit, DiCaprio is expected to deliver a speech and to meet up with Greta Thunberg. In 2019, DiCaprio called the teen climate change activist the “leader of our time” and revealed they had “made a commitment to support one another, in hopes of securing a brighter future for our planet.” Source Sometimes it's really a challenge to save the world I have to admit not to say it's impossible to please everyone.

This woman represents all of us in so many ways 😅

Source Source Source Source

Was this already posted? Adam McKay about Leos commitment to his role in DLU. Director of Don’t Look Up, Adam McKay was interviewed by Entertainment Weekly Magazine for their November issue to talk about the Oval Office scene, which we got a sneak peak of during Netflix’s first Tudum Global Event. While speaking about the scene which involves Leo’s Dr. Randall Mindy & Jen Lawrence’s Kate Dibiasky as they have a meeting with the president Janie Orlean (Meryl Streep) & her son/Chief of Staff Jason (Jonah Hill) to warn them about the comet that is about to hit earth, McKay commented on just how dedicated to role Leo got. Throughout the film, particularly in this scene, Dr. Mindy’s dialogue about the comet has a lot of astronomical jargon that comes with it. As Leo is always so committed to the roles that he plays & in most cases goes beyond what is expected of him when it comes to portraying the characters in his movies, when it came to playing Dr. Randall Mindy he did nothing less then this. To convincingly play his character who is an astronomy professor at Michigan State university, Leo meet & spoke with real-life astronomer & film consultant Amy Mainzer. Here is what McKay said about just how committed Leo got to his role in the film, “Leo the guy doesn’t half-step it. He had these long conversations about the real mathematics behind this. He really did get about six months of quality education on orbital dynamics”. Source

More of Leo in Glasgow. Source Source Source Clip (Leo walking while looking tall and slim and handsome): https://www.instagram.com/p/CVxrd0XgiB4/

^Because I had a LOT OF FREE TIME the last days I found this adorable very creative and very Leo loving family doing great Leo things every halloween #leobeingleo Can you name the movies? 🎬 01.) 02.) 03.) 04.) 05.) 06.)

Same girl, same. Me at every error in the past days. it felt like thousands of them

#RJat25 spam train #not sorry Baz Luhrman is spoiling us There's so much detail in this scene that I’ll cover later in my Q&A, but what was extraordinary was that this church in Mexico was actually real. We had a very supportive parish that allowed us to shoot the final death scene in here (adhering to certain stipulations, of course). I have to say in the history of all my work, the night we spent in that candlelit church was one of the most serene and beautiful shooting experiences of my life…🙏 #RJat25 Source

#RJat25 spam train #not sorry Great article about one of the greatest interpretations of Shakespeare on screen. Don't argue with me on that. I Panned Romeo + Juliet in 1996. Now I Think It's One of the Best Shakespeare Adaptations Romeo and Juliet is rarely lauded as the greatest of Shakespeare’s plays, an honor that usually goes to Hamlet or Macbeth or King Lear. Yet Romeo and Juliet might be the most important Shakespeare: It’s the one almost everybody reads first, the one that entices our young, unformed selves to struggle with its language, initially so strange to modern ears. It’s a story of gang wars fueled by testosterone, love at first sight, and melodramatic, I-can’t-live-without-you double suicide, but it’s also the gateway drug to one of the richest, most resonant bodies of work in the English language. Romeo and Juliet is a crazy-beautiful play, and although there are thousands of ways to adapt it, from staid to gonzo, Baz Luhrmann’s William Shakespeare’s Romeo + Juliet—25 years old this week—is, among film versions, perhaps the most purely alive. Romeo and Juliet is rarely lauded as the greatest of Shakespeare’s plays, an honor that usually goes to Hamlet or Macbeth or King Lear. Yet Romeo and Juliet might be the most important Shakespeare: It’s the one almost everybody reads first, the one that entices our young, unformed selves to struggle with its language, initially so strange to modern ears. It’s a story of gang wars fueled by testosterone, love at first sight, and melodramatic, I-can’t-live-without-you double suicide, but it’s also the gateway drug to one of the richest, most resonant bodies of work in the English language. Romeo and Juliet is a crazy-beautiful play, and although there are thousands of ways to adapt it, from staid to gonzo, Baz Luhrmann’s William Shakespeare’s Romeo + Juliet—25 years old this week—is, among film versions, perhaps the most purely alive. But the actors in Luhrmann’s version, Leonardo DiCaprio and Claire Danes, aged 21 and 17 at the time of filming, are even more luminous than Zeffirelli’s gorgeously youthful duo, and in today’s context, their performances are even more touching than they were 25 years ago. The film overall has aged better than you’d think—which is to say it has hardly aged at all. Although Luhrmann and co-writer Craig Pearce had to trim the play to fit into a reasonable two-hour runtime, their script largely preserves the original language. Watching Romeo + Juliet today is to be reminded of the wonder of Shakespeare, a writer whose work is so capacious and elastic that it can enfold countless interpretations and reinventions, winning over one generation after another with ease. Lurhmann and his longtime production and costume designer Catherine Martin (also his wife) re-envisioned the play’s Verona setting in Mexico City and Veracruz, incorporating real-life locations—like Mexico City’s extravagantly decorated Immaculate Heart of Mary Church—into the story. Guns, rather than swords and daggers, are the weapons of choice, and like many of the props and costumes used in the film, they’re adorned with vibrant Catholic iconography—a handgun decorated with a benevolent Virgin Mary makes for a particularly vivid and painful irony. The Montague gang, a bunch of blockhead yobbos who favor tropical shirts unbuttoned over bare chests, stand off against the Capulet guys, a crew of slickly dressed urban cowboys in Cuban-heeled boots, with a hatred that’s white-hot. The Capulet Tybalt (John Leguizamo) is a sly devil with a soul patch and twin spit-curls, a sexy hothead who’s been carrying a grudge so long he has no idea how it started. That’s the essential tragedy of the Capulets and the Montagues: They have no idea why they’re fighting, but their warring ways mean that the union of the Montague Romeo and the Capulet Juliet is hopeless. In Luhrmann’s vision, the most affecting casualty of the gang wars between the two is Romeo’s bestie Mercutio—a loyal companion who is possibly in love with his friend—played by Harold Perrineau as a glittery-gorgeous heir to disco legend Sylvester. Luhrmann’s film is a dizzying assemblage of fast cutting and mad camera swirls; scenes sometimes chop off abruptly, leaving you reaching out, longing for more—but even that is part of the movie’s brash, prismatic lyricism, and because of it, Perrineau’s entrance is one of the most memorable in all of 1990s cinema: He arrives on the scene—a crumbling seaside amusement park—leaping out of a convertible in a two-piece silver mini-shorts outfit and heels, wearing a white candy-floss wig, his lips a smear of red lipstick. The song that heralds his arrival is Kym Mazelle’s version of the Candi Staton hit “Young Hearts Run Free.” He’s here, he’s queer, get used to it: Perrineau’s Mercutio is a bold pirouette of freedom. His death at Tybalt’s hand—which occurs just as, in real life, a storm was brewing in Veracruz, where the scene was being shot—leaves a hole in the film. It’s a turning point that feels like a personal wound. That’s just one example of the piercing immediacy of Romeo + Juliet. And the film’s array of gifted actors—some of whom are completely comfortable with Shakespearean language, others attempting it for possibly the first time—is part of its ever-unfolding delight. The late Pete Postlethwaite is both rousing and affecting as Father Laurence (his name a slight variation on the play’s Friar Laurence), an optimistic man of the cloth who hopes that the love between two young people will heal the rift between warring families. The marvelous character actor Miriam Margolyes is effervescent as Juliet’s loyal, adoring Nurse. Paul Rudd makes a beaming, squeaky-clean “Dave” Paris, the suitor Juliet’s parents (played by Paul Sorvino and Diane Venora) have chosen for her, never mind that he’s all wrong. Because there’s only one true husband for Danes’ Juliet, and you know it from the moment the two meet, at a costume ball at the Capulets’ swanky mansion. DiCaprio’s disguised Romeo spies his Juliet from the other side of an aquarium shimmering with polychrome fish. First he sees just one coquettish eye: it’s framed by a piece of coral, like a jewel. The moment the two spot one another is so radiant with possibility it defies language. This is how a great filmed version of Shakespeare can unlock a whole world, especially for a young person who’s anxious about comprehending the language. DiCaprio’s Romeo—first glimpsed in a moody moment by the sea, as he writes in his journal—is practically alight with a charming, nonthreatening openness. But it’s Danes who’s most heartrending: Her features have a malleable softness. In her moment of deepest despair, her face crumples—it is one of the most naked instances of ugly-crying in the movies, and Danes raises her hand to her face almost instinctively, to shield us from Juliet’s pain, and to afford her character some privacy. When Romeo + Juliet was first released, many critics scoffed. I was one of them—I believe I referred to the film as “garish junk” in my review. But in the days after I filed that review, I kept thinking about the movie, about those young faces—about that ugly crying, about the way Romeo comes to Juliet on the night of their wedding, after he has killed Tybalt, and how the shelves in her bedroom are lined with her childhood dolls. I found myself longing to see the film again, and so I did. The second time, I got it. The fast cutting no longer annoyed me—once I went along with the current, the movie’s rhythms made complete sense. I realized that this was not only not a bad movie; it was one of the most beautiful film versions of Shakespeare I had ever seen. I recall friends complaining that DiCaprio and Danes had no idea what they were doing, that they had no mastery over the material. But that’s exactly the point: their Romeo + Juliet is one of pure feeling, a flame burning fast and clean. Movies are neither made nor received in a vacuum, and they have a life beyond what we can initially imagine for them. That’s why so many of today’s grownups who saw Romeo + Juliet as kids will never forget it. And that is how a play lives forever, reinvented again and again across the centuries, even as its bones and its heart remain intact. Source

Why is Leonardo DiCaprio at COP26 in Glasgow? Leonardo DiCaprio is in Glasgow for COP26 - but did you know he was a climate activist? The climate conference has seen some of the world's most influential people descend on Scotland's biggest city - including the Titanic actor. DiCaprio has been involved in climate and environmental activism for over 20-years, spanning most of his career. Here's what you need to know about why he is at Glasgow's COP26... Why is Leonardo DiCaprio at COP26 in Glasgow? Leonardo DiCaprio is somewhat of a climate change activist, having been on outspoken environmental issues throughout much of his long career. In fact, he has been discussing environmental issues before it has even reached the main public domain - he started The Leonardo DiCaprio Foundation in 1998. His foundation gives money and grants to conservation projects, with the mission of protecting the Earth’s last wild places and creating solutions to build a better and more sustainable relationship between humanity and the natural world. As well as his own foundation, the award winning actor serves on the board of various climate and environmental groups, including the World Wildlife Fund, the Natural Resources Defense Council, International Fund for Animal Welfare, Pristine Seas and Oceans 5. He has also featured in various media campagns and adverts to spread the word and raise awareness of environmental issues, while his Twitter bio describes him as an "actor and environmentalist". What is Leonardo DiCaprio doing at COP26? Ahead of the climate conference in Glasgow, Leonardo DiCaprio tweeted: "The climate crisis is here. #COP26 must be a turning point to protect people and the planet. Leaders, the world is watching and urging you to rise to this moment. There’s no time to lose. #ActNow." So far, he has been spotted in Maryhill at an event at The Engine Works. He has also urged leaders "to take crucial climate action" at COP26, in order to "save humanity". In a tweet on Monday evening, the actor said: "I join @antonioguterres in urging leaders at #COP26 to take crucial #ClimateAction, safeguard our future, and save humanity. Now is the time for ambition, solidarity, and action. @UN" Source

#RJat25 spam train #not sorry What a fuck!ng intense scene. One remarkable thing about this scene was that we had locked down a very famous roundabout in the middle of Mexico City for the stunt team to get this car stunt filmed. They guaranteed they would be able to get the car wreckage to hit a certain mark and indeed, they fulfilled their promise perfectly before we had to reset to stage the rest of the sequence. Once we had the wide shots in the can in the very small amount of time that we could hold the location, we are able to shoot the true emotional moments on another day in the studio. It points out Leonardo’s incredible ability to re-find the moment, that his close up staring up into the rain actually happened several days later inside a sound stage…🎬 #RJat25 Source

A little round up from what we missed Leo related when the forum was down Here we go!!! New pic of "what a hero ❤️" Leo from Glasgow Source DLU udpate. Source via Deuxmoi cheers Leo 🍸🍾 Leonardo DiCaprio dressed as a 100-year-old man for Halloween 🎃 Leonardo DiCaprio dressed up as a 100-year-old man for Halloween — and no one recognized him at a star-studded Beverly Hills, Calif., bash, we hear. A source told us that at billionaire Nicolas Berggruen’s Halloween bash at the former Hearst estate, which he bought last month for over $63 million, the Oscar winner attended incognito with his girlfriend, Camila Morrone. Said a spy: “Leo went as a 100-year-old man in professional makeup so no one recognized him.” (Some saw the white wig and mistook the star for Andy Warhol.) Sources said that guests also included rapper Drake, rocker Beck, tech investor twins Cameron and Tyler Winklevoss, model Alessandra Ambrosio, and international art gallerist Isabelle Bscher, among others. DiCaprio, 46, was formerly known as an incognito party fixture at George Clooney, Rande Gerber and Mike Meldman’s annual Casamigos Halloween bash. In 2016, he and buddy Tobey Maguire showed up to the party with their faces fully obscured by wolf masks. DiCaprio, of course, starred in “The Wolf of Wall Street” in 2013. The movie star and activist subsequently headed from Los Angeles to the Scottish environmental summit, COP26, over the weekend. But unlike many of the other bigwigs who arrived at the conference via private jet, we hear that DiCaprio flew commercial. He was spotted connecting flights in London. Attendees at the environmental conference also included Jeff Bezos, Bill Gates, Prince Albert of Monaco and others. Meanwhile, at Berggruen’s Halloween party, Drake seemed to skip a costume altogether and go as himself, we hear. Perhaps he was costumed out after hosting a dress up 35th birthday party last week for himself with a “Narcos” theme. A rep for DiCaprio did not comment. Source

DLU Update - new still of President Streep Some fans thinks that means her performance is strong enough to campaign like uhm always via Empire: As McKay tells Empire in the Spider-Man: No Way Home issue, Streep’s character is “an amalgam of all the ridiculous, ineffective Presidents that the United States has had over the past 40, 50 years.” And she’s far from the only big name in an astonishingly star-studded cast – one that features leads in Leonardo DiCaprio and Jennifer Lawrence (an astronomer duo warning of an approaching comet), plus Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Cate Blanchett, Himesh Patel, and appearances from Ariana Grande and Scott ‘Kid Cudi’ Mescudi. It’s a stacked line-up that even McKay can’t believe. “Of course, it’s great to get tremendous actors in your movie, but I never expected it to be this many, and to this degree,” he says. “Initially I had a couple of people in mine – ‘Well, if we could get them, that would be great’ – and it just kind of kept snowballing.” Source

Love this 😍💞 25 YEARS OF ROMEO + JULIET (1996) dir. Baz Luhrmann “If love be rough with you, be rough with love.” Source

Love all of those little BTS #thx again Mr Luhrman Romantic scenes are very hard to shoot… they’re very sensitive. We were so blessed to have Claire Danes, who was not only beyond her years in terms of her acting ability, but also extremely intelligent and evolved as a young woman. Leo, who I’ve worked with several times, is also truly caring and makes everyone feel comfortable on set, particularly his partner. Two truly great talents bringing this love story to life… #RJat25 #RomeoAndJuliet

In the last image of Leonardo, you can see the choppiness of the ocean and the real wind. It’s hard to paint the picture of just how tough this scene became when a hurricane blew in… Crucially, we all had to consider whether we’d continue shooting. I distinctly remember wearing sand goggles, and how brave and strong the cast were to go out and shoot this scene. Ultimately, we really only got one master shot here that allowed us to build the rest of the scene when we picked it up later on at our re-shoots in San Francisco. If you look in the movie, it’s an uncut master shot where Romeo, lamenting the death of Mercutio, runs and gets in the car to seek revenge upon Tybalt. #RJat25 #RomeoAndJuliet Source Love this shot of Mercutio. Trivia: Did you know Christian Bale was interested to play the role of Mercutio? It's not like he couldn't handle the whole unbuttoned shirt thing lol

‘Titanic’ Remains Leonardo DiCaprio’s Best Role, 24 almost 25 Years On Twenty-two years ago, one of my favorite movies of all time was released to the world. No, I’m not talking about Mouse Hunt. No one talks about Mouse Hunt anymore. I’, talking about Titanic. Look, I know it’s fun to shit on this movie, but I have a love for it that is deep and eternal. Here’s the thing though—it was never just about Leo, for me, it was about the completely avoidable human tragedy that anyone who could do some basic math (people > lifeboats) would have seen coming. It’s a movie about love, yes, but also the inequities of class and gender, breaking free of how others define you, and also, a very solid disaster epic which is basically my favorite type of movie. Titanic is a great movie that holds up, but since a large part of its success was due to teenagers, it’s shit on. Which, you know, never happens, ever, so that’s a shock. …then there is Leo. I remember Leo-mania very well, because as a tween/teen during its heyday, he was on the cover of basically every thing. Titanic was the grand crescendo which was already in top gear because only a year before, he had starred in the criminally great (and I would argue, definitive) version of Romeo and Juliet alongside Claire Danes. Yet, Titanic holds my heart, and I believe it to be his best role. Leo built his career on the hearts of the teens and tweens who loved him. I have no doubt in my mind a large part of the success of Titanic was due to how many damn times people in my peer group saw the movie in theaters. Friends, I know I went at least three times during its original run, when I was 13. I also know my friend saw it at least five times. We were hardly an aberration in this. There’s just something about this movie that struck a chord with us. Maybe because it tapped into teenage Rose’s angst, and thus all of ours, with lines like “I feel I’m standing in the middle of a crowded room, screaming at the top of my lungs, and no one even looks up.” Leo, as Jack, was her ever faithful, love-at-first-sight boyfriend who saved her life, sexed her up but good, literally died for her, and the most magical thing he did? He f*cking listened to Rose when no one else in her life would. I mean, come on! At thirteen, you couldn’t top that (for me, at least.) Leo still can’t top that—and you will never convince me that wrestling a bear was his greatest cinematic feat. Is the movie realistic in its portrayal of Jack and Rose’s romance-on-steroids, falling in love for a lifetime over approximately three days? Well, no, but why does it have to be? Was there room on the flotsam for him? Technically yes, but he had to die because Rose had to go live her life without him so that they could be reunited at her death, at the site where they first met. Duh. (She deffo, deffo died at the end. It was not a dream, friends.) For all these reasons, and because 13-year old Katy Hudson would be horrified if I didn’t declare it so, Titanic is Leonardo DiCaprio’s best role, and will forever remain so. Source #titanic at 25

Leo coming straight for his next oscar nom 😎