March 6, 20232 yr 15 hours ago, Sugarwater said: Wonder if Leo is going to be coming back to the states for all the Oscar’s parties and stuff. Leoandhismodels think yes. Haha I liked him in Stranger Things. I'm a bit shocked how dreamy he is. He looks so different in the show lol
March 6, 20232 yr Jade, YouNotMe, Barbie Tks for latest Leo pix & vids Richie posted on insta last night was there last night in Paris , so it does seem Leo’s whirlwind European adventure is over just in time for him to attend pre Oscar parties : Personally I’m hoping once the media industry focus on Oscars are over , is when Apple will announce KOTFM release plans
March 7, 20232 yr Hey everybody, thanks for the updates. Looks like the Paris Adventures will never come to an end...of course until they do ;D. I know I forgot a few ppl in my last general text ( @akatosh and @AliceT). I'm with everybody who's crusading for a new project from Mr. DiCaprio. Hopefully, he feels as if he's in the clear to work...and go to work. However, I still feel positively about KOTFM being released this year. Perhaps not at Cannes, but this year for sure. On a side note, I know on here I mentioned something about repetition and used the term wrote when I should have used rote, although there is room for debate, I'll just take the L on that one. But furthermore, I can't wait to see a new DiCaprio film. Looking back on Lee-oh's cinematic involvement with real life challenges and atrocities: Spoiler Mental Retardation https://www.nejm.org/doi/full/10.1056/NEJMoa0805392 Substance Abuse https://www.seasidepalmbeach.com/addiction-blog/scary-effects-of-shooting-up-heroin/ General Morality https://source.wustl.edu/2016/02/people-stay-true-moral-colors-studies-find/ Exploitation https://www.britannica.com/topic/slavery-sociology https://sites.bu.edu/daniellerousseau/2019/04/21/the-real-cost-of-diamonds/ Attempted Genocide https://www.pbs.org/filmfestival/films/osage-murders Global extinction https://www.eurekalert.org/news-releases/662565 World Domination/Disintegration of Freedoms https://www.nationalww2museum.org/war/articles/last-days-dachau-concentration-camp Flawed Psychology https://ahp.apps01.yorku.ca/tag/lobotomy/ And hopefully, "Predatorial" Sympathies. https://www.britannica.com/event/Jonestown
March 7, 20232 yr Another project that never seem to happen. Maybe it's a sign for Leo TO PLAY THE ROLE BY HIMSELF!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Martin Scorsese and Leonardo DiCaprio’s ‘Devil in the White City’ Adaptation Dead at Hulu The thriller series, based on the novel of the same name, has gone through multiple lineups, including Tom Cruise and Keanu Reeves Martin Scorsee and Leonardo DiCaprio’s adaptation of “The Devil in the White City,” based on Erik Larson’s 2003 book about the notorious real-life 19th-century serial killer, is no longer moving forward at Hulu, multiple sources reported on Monday. It’s the latest no-go for the project in a nearly 20-year attempt to bring it to the screen. The most recent version had Keanu Reeves set to star as visionary architect Daniel H. Burnham, but once “Tár” director Todd Field exited in October, so did Reeves. No casting was announced for the title role of Dr. H. H. Holmes, who is considered America’s first modern serial killer. He slaughtered guests who were attending the 1893 Chicago World’s Fair in his diabolical “Murder Castle.” The horrific true story inspired a 2006 episode of “Supernatural.” DiCaprio acquired the rights in 2010 through his Appian Way Productions and Scorsese signed on to direct as a film in 2015. The two stayed on as executive producers when it was repurposed as a TV series in August 2022, and are said to be trying to shop it to a new home. Tom Cruise and Paula Wagner first optioned it for Paramount, but their option lapsed in 2004. Paramount reacquired the film rights in 2007, this time with producers Michael Shamberg and Stacey Sher onboard. The newest iteration had Scorsese, DiCaprio, Sher, Rick Yorn, Sam Shaw, Mark Lafferty and Jennifer Davisson of Appian Way as eps with Shaw adapting and serving as showrunner for ABC Signature and Paramount Television Studios. Source
March 7, 20232 yr 45 minutes ago, Jade Bahr said: Another project that never seem to happen. Maybe it's a sign for Leo TO PLAY THE ROLE BY HIMSELF!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Martin Scorsese and Leonardo DiCaprio’s ‘Devil in the White City’ Adaptation Dead at Hulu The thriller series, based on the novel of the same name, has gone through multiple lineups, including Tom Cruise and Keanu Reeves Martin Scorsee and Leonardo DiCaprio’s adaptation of “The Devil in the White City,” based on Erik Larson’s 2003 book about the notorious real-life 19th-century serial killer, is no longer moving forward at Hulu, multiple sources reported on Monday. It’s the latest no-go for the project in a nearly 20-year attempt to bring it to the screen. The most recent version had Keanu Reeves set to star as visionary architect Daniel H. Burnham, but once “Tár” director Todd Field exited in October, so did Reeves. No casting was announced for the title role of Dr. H. H. Holmes, who is considered America’s first modern serial killer. He slaughtered guests who were attending the 1893 Chicago World’s Fair in his diabolical “Murder Castle.” The horrific true story inspired a 2006 episode of “Supernatural.” DiCaprio acquired the rights in 2010 through his Appian Way Productions and Scorsese signed on to direct as a film in 2015. The two stayed on as executive producers when it was repurposed as a TV series in August 2022, and are said to be trying to shop it to a new home. Tom Cruise and Paula Wagner first optioned it for Paramount, but their option lapsed in 2004. Paramount reacquired the film rights in 2007, this time with producers Michael Shamberg and Stacey Sher onboard. The newest iteration had Scorsese, DiCaprio, Sher, Rick Yorn, Sam Shaw, Mark Lafferty and Jennifer Davisson of Appian Way as eps with Shaw adapting and serving as showrunner for ABC Signature and Paramount Television Studios. Source Leo would kill it in this part. I don't understand why he won't just play the part of Holmes.
March 7, 20232 yr 21 minutes ago, kellybsblover said: I don't understand why he won't just play the part of Holmes. Me neither Also isn't Leo going to lose the rights at some point if the project isn't going any further? He owns the rights since 2010. That's 13 fuckin years of nothing. Kill it literally
March 7, 20232 yr 54 minutes ago, kellybsblover said: Leo would kill it in this part. I don't understand why he won't just play the part of Holmes. I don't want to see him as a serial killer! The best one who can do this part is Joaquin Phoenix. It will be perfect for him Also, Adam Driver is a good option for this role. Adrian Brody is amazing too. I can imagine Edward Norton for this role too
March 7, 20232 yr 2 hours ago, Jade Bahr said: Me neither Also isn't Leo going to lose the rights at some point if the project isn't going any further? He owns the rights since 2010. That's 13 fuckin years of nothing. Kill it literally haha I just notice the double meaning there. I think it would be cool to see Leo in streaming service tv show? He needs to get off his you know what and go back to work. ( I ❤️ Leo).
March 7, 20232 yr 1 hour ago, Magical said: I don't want to see him as a serial killer! The best one who can do this part is Joaquin Phoenix. It will be perfect for him Also, Adam Driver is a good option for this role. Adrian Brody is amazing too. I can imagine Edward Norton for this role too But I love Bad Leo... 😈
March 7, 20232 yr Apparently Jude Law and Jeremy Allen White are in talks to star in the -at this point homeless- limited series with Matt Ross to direct. ‘Devil in the White City’ Dead at Hulu The limited series had been in talks with new stars (Jeremy Allen White, Jude Law) and a director (Matt Ross) but the Disney-backed streamer dropped out of doing the series that has been in the works for more than a decade. Producers ABC Signature plans to shop it. Devil in the White City is officially dead at Hulu. Sources say the Disney-backed streamer is no longer moving forward with the limited series that had been in various stages of development for more than a decade. However, sources say producers ABC Signature remains committed to the drama and will be shopping the show to new outlets. The news comes months after leading man Keanu Reeves and director Todd Field (Tár) dropped out of the drama from Martin Scorsese and Leonardo DiCaprio. Sources say Hulu and Paramount Television Studios and Disney’s ABC Signature, who together were on board to produce the series, had been in talks with The Bear star Jeremy Allen White and Jude Law and director Matt Ross for the project. Sources say ABC Signature is still in talks with White, Law and director Ross for the series, though it’s unclear if they will close given the fact that Devil does not currently have a home. Devil has been in the works for more than a decade, including a stint when it was envisioned as a feature film, with Sam Shaw (Hulu’s Castle Rock) on board as writer, showrunner and exec producer. DiCaprio and his Appian Way partner, Jennifer Davisson, exec produce alongside Scorsese. The latter was previously set to direct the feature film take that had been set up at Paramount Pictures with DiCaprio formerly set to star. Reeves — following months of dealmaking — was attached to star and exec produce the series that landed at Hulu for development in 2019 and was formally picked up to series last year. Field was on board to direct the crime drama, which ultimately became a co-production between Paramount Television Studios and Disney’s ABC Signature. Paramount Pictures won the rights to the novel following a massive bidding war in 2015, when Billy Ray was on board to pen the scripts. Field departed three days after Reeves dropped out of the show. Based on Erik Larson’s novel, Devil revolved around Daniel H. Burnham (the role formerly to have been played by Reeves), a demanding but visionary architect who races to make his mark on history with the 1893 Chicago World’s Fair, and Dr. H. H. Holmes, America’s first modern serial killer and the man behind the notorious “Murder Castle” built in the fair’s shadow. Rick Yorn, Stacey Sher and Mark Lafferty also exec produce the series. A formal episode count has not yet been determined. Scorsese and DiCaprio previously teamed for features Gangs of New York, The Aviator, The Departed, Shutter Island and The Wolf of Wall Street. The frequent collaborators had previously developed TV takes on Gangs of New York and Shutter Island, though neither moved beyond the script stage. DiCaprio currently has a film and TV deal at Apple where he exec produced the Apple series Shining Girls. Updated 5:14 p.m.: This story has been updated to reflect that Jeremy Allen White, Jude Law and director Matt Ross are still in talks to board Devil. Source
March 7, 20232 yr Jade Tks for latest new Leo restaurant pic ,as well as , Devil news I read Larson’s book Devil & White City and one of Holmes’ key traits is that he was extremely charismatic and could easily charm both women & men which was key in luring his unsuspecting victims to their deaths He was so charismatic, that even after he was convicted of the murders , Larson stated that the prison authorities had to keep an eye on him as he was charming all of the prison guards & getting special treatment Leo is extremely charismatic and when he flashes his million dollar smile , be it woman or man , one is easily blinded from seeing what is behind the smile = and , sometimes, it is a killer Would LOVE for Leo to do the role
March 8, 20232 yr Never to early to talk about the next oscars LOL 18 Early Predictions For Oscars 2024: Actors, Director & Best Picture Even before the films have been released, several movies, directors, and actor performances are already predicted to receive nods at the 2024 Oscars. While the 2023 ceremony has still yet to commence, there are plenty of exciting performances, directorial efforts, and movies that are already predicted to receive nods at the 2024 Oscars. The nominees for the 2023 Oscars event largely offered a fresh change to the Academy’s voting history in relation to genre and diversity, especially with the history that could be made with predicted winners in the acting categories. The 2024 Oscars are expected to follow a similar path, as the slate of 2023 movies features numerous highly-anticipated stories and performances that aren’t apt to be forgotten. Although it’s too early to accurately predict winners at the 2024 Oscars, several films, their stars, and their directors are already front-runners for nominations based on their genres, history at the Academy Awards, and anticipation. However, given none of the films predicted to be nominated in acting, directing, and best picture categories at the 2024 Oscars have been released, the list is apt to change as more films premiere and their official critical consensus is determined. Still, with a year left to go until the 96th Academy Awards ceremony, there are 18 potential nominees in the big four categories from anticipated 2023 movies that already have good chances of earning recognition at the Oscars. Martin Scorsese – Best Director Legendary filmmaker Martin Scorsese is tied with Steven Spielberg for the most directing nominations at the Oscars with nine nods, but he could pull ahead at the 2024 Oscars. Scorsese’s upcoming film Killers of the Flower Moon is one of the most highly anticipated films of 2023, marking the director’s sixth feature film collaboration with Leonardo DiCaprio. Given the fact that Scorsese has received a Best Director nomination at the Oscars for each of his film collaborations with DiCaprio except Shutter Island, May 2023’s Killers of the Flower Moon is likely to earn him another one. If Martin Scorsese scores a Best Director nomination at the 2024 Oscars, he’ll have been recognized in the category 10 times. Leonardo DiCaprio – Best Actor While he didn’t score a nomination for his performance in the 2022 Best Picture nominee Don’t Look Up, Leonardo DiCaprio is expected to receive yet another acting nod at the Oscars for his performance in Martin Scorsese’s upcoming movie Killers of the Flower Moon. DiCaprio has been nominated for the Best Actor Oscars five times already, having won the award in 2016 for his portrayal of Hugh Glass in The Revenant. Two of DiCaprio’s other Best Actor nominations were for movies he made with Martin Scorsese, including The Aviator and The Wolf of Wall Street. As DiCaprio leads another true story adaptation from Scorsese in Killers of the Flower Moon, he’s predicted to earn a nomination for Best Actor at the 2024 Oscars. Killers Of The Flower Moon – Best Picture Martin Scorsese has already directed nine Best Picture-nominated films, with the highly-anticipated Killers of the Flower Moon being set to follow suit at the 2024 Oscars. The Apple TV+ original film is based on the true story of the Osage tribe murders in the 1920s, with Scorsese’s project also having a budget of $200 million. Oscar-winning actors Leonardo DiCaprio and Robert De Niro leading Scorsese's film is a recipe for success at the 96th Academy Awards, especially with Apple leading its campaign after CODA’s 2022 Best Picture win. Source
March 9, 20232 yr Great article. I think I actually agree with every single word (GO COLIN!!!!!!!!!!!!!!!). Also it mentioned Leo so it's not completely off topic LOL The Oscars vs. Regular Dudes It’s hard out here for a normal guy: Since 2010, only three Best Actor awards have gone to performances that weren’t either based on historical figures or defined by remarkable physical transformations Early on in The Banshees of Inisherin, Martin McDonagh’s Academy Award–nominated black comedy, Jonjo the pub owner attempts to comfort Colin Farrell’s character, Pádraic Súilleabháin, evaluating him as “one of life’s good guys.” Pádraic grimaces: “I used to think that’d be a nice thing to be. Now it sounds like the worst thing I ever heard.” If you’re in the hunt for an Academy Award for Best Actor, it might not be the worst thing, but portraying “one of life’s good guys”—just an ordinary dude not based on any historical figure or sporting any sort of showy, prosthetic-heavy accoutrements of transformation—certainly makes it tougher to bring home the gold, even if you’re Farrell in one of the most nominated films of the year. On paper, it would seem that Farrell, nominated for Best Actor in a Leading Role, would be a lock for a win. He’s a beloved actor headlining a film boasting not only nine nominations, but also the rare feat of four acting nods. Just a few weeks ago, Banshees was even tipped as a potential spoiler for Best Picture come March 12. Alas, standing in his way are two of the exact types of performances that regularly beat out an “ordinary dude” performance at the Academy Awards. The first is the transformation, a recognizable actor caked in prosthetics and prone to histrionics, typically preceded by a “first look” image that generates the kind of “Oh wow, I don’t even recognize them” buzz that kick-starts an Oscar campaign. These are your Gary Oldmans in Darkest Hours, your Joaquin Phoenixes in Jokers. And this year, it’s The Whale’s Brendan Fraser, whose character, Charlie, doesn’t do much more than sit on a couch and get berated by visitors, but who’s under enough silicone rubber to crush a small dog. The second is the historical figure pick, also known as a famous person playing a famous person, with bonus points added if they’re a musical artist. This is Rami Malek in Bohemian Rhapsody, Eddie Redmayne in The Theory of Everything, and this year, Austin Butler in Elvis. While Butler is just a young buck, and while an anti-youth bias has hurt people like Timothée Chalamet or even Leonardo DiCaprio in the past, it may not matter here because people know what Elvis looked and sounded like, and Butler sure does look and sound like Elvis! The Academy has been seduced by these kinds of performances for a while. Since 2010, only three performances that don’t fall into these two camps have taken home the Oscar for Best Actor: Jean Dujardin in The Artist, Casey Affleck in Manchester by the Sea, and Anthony Hopkins in The Father. And in each of those years, there bizarrely wasn’t even a real competitive analogue to these types of bait-y turns: Dujardin’s chief competition was George Clooney in The Descendants, Affleck’s was Denzel Washington in Fences, and Hopkins’s was Chadwick Boseman in Ma Rainey’s Black Bottom, all also “ordinary dudes.” When given the opportunity, the Academy will always choose a transformation or a real-life figure over the normal guy. And on March 12, it’s likely they’ll do it again. The question is: Why? Certainly, each win has its own context. Sure, in 2018, when Oldman beat Chalamet’s performance in Call Me by Your Name and Daniel Kaluuya’s in Get Out, it was for a makeup-heavy portrayal of a historical figure (a double whammy!). But it was also about seizing the opportunity to reward a veteran character actor, acknowledging that the young ones would have more days in the sun down the road. Indeed, three years later, Kaluuya got his win—for playing a real person. And in the case of Redmayne’s and Malek’s wins for playing Stephen Hawking in The Theory of Everything and Freddie Mercury in Bohemian Rhapsody, respectively, it was widely reported at the time that both of them were savvy campaigners, shaking hands and kissing babies all over town in the lead-up to their eventual victories. That still doesn’t make it less glaring that, in a year when Birdman won Best Picture, Best Director, Best Original Screenplay, and Best Cinematography, the Academy still found a way to pass over Michael Keaton’s ordinary-dude lead performance for Redmayne’s transformation into Hawking in a far less beloved film. Or that Bradley Cooper, playing a fictional musician and doing all his own singing and playing, somehow lost to Malek, playing a real-life famous one in a performance that plays mostly like a mediocre “Lip Sync for Your Life” challenge on RuPaul’s Drag Race. These choices make more sense when you realize that the Academy is made up of various different branches (writers, directors, actors, craftspeople, etc.), each varying in age, gender, and racial demographics. Through that lens, it becomes a bit easier to understand how nonactors would see Bohemian Rhapsody and say, “Wow, I love Freddie Mercury, and Rami Malek looks just like him! This is acting!” It’s the same logic that would explain why the Academy overlooked any number of exceptional performances by Phoenix over the years only to finally reward him for the one in which he smears clown paint on his face, dances in a bathroom like Twyla Tharp, and sleeps in a fridge. But the biggest branch of the Academy, by quite a margin, is, in fact, that of the actors themselves. If they’re the ones with the biggest say in the eventual winners here, shouldn’t that be reflected in the choices? Should the winners not then demonstrate a more nuanced understanding of the craft of acting, how an empathetic depiction of normal human behavior can be just as effective as a big, flashy biopic performance, if not more so? Perhaps that’s giving actors too much credit. It’s possible they are drawn to these types of performances because they are so objectively the centerpieces of their films, the engines that drive them far more than their directors. It’s also possible that they’ve fallen prey to the cynical mimeographic tricks of a Bohemian Rhapsody or an Elvis, the ones that invite side-by-side comparisons of Malek’s performance and Mercury’s own at Live Aid, or Butler’s take on “If I Can Dream” against Presley’s 1968 comeback special. Such tricks turn the act of performance into a sort of unimaginative game of copy and paste, but they also slyly make the act of rewarding them seem more objective. The closer the comparison, the argument might go, the better the performance. Of course, it’s also possible that other actors simply like these performances the most. And that’s valid. After all, one can remain immune to the fat-suit dramatics and goofy sentimentality of Fraser’s performance in The Whale while at the same time understanding that he’s been justifiably working on a comeback narrative all season, portraying genuine gratitude for a second act after an unjust blackballing. One could also cop to finding Butler’s Elvis turn an impressive but unmoving bit of museum waxwork imitation while simultaneously feeling excited by the prospect of a new movie star on the rise. It’s not that it’s impossible to understand the reasoning and appeal behind either of these potential wins; it’s that it’s frustrating to see these types of performances once again overshadow an “ordinary dude” performance as skillful as Farrell’s in Banshees. Throw aside his innate understanding of the rhythms and cadences of McDonagh’s script, or even how he skillfully transitions from comedy to pathos with unmatched ease. It’s his portrayal of a good man, a benevolent, easygoing puppy dog who is slowly driven to hate and division, that forms the entire tragic crux of the film, an arc more compelling than the static soapiness and Wikipedia entry perfunctoriness of his competitors. And while there are no YouTube comparison videos of him and other real-life slightly dumb Irish guys who love their donkeys and are going through a sad time, the no-man’s-land after the end of a significant relationship is something with which surely anyone—even Academy voters—can empathize. Should said voters crave proof that Farrell can also wildly transform, they should look no further than 2022’s The Batman, in which his padded, prosthetic-caked, scene-stealing take on the Penguin plays as a sort of amalgamation of both Fraser’s performance and that of Butler’s costar Tom Hanks, and yet is somehow more engaging and entertaining than either. All that said, this is not a piece meant to argue for a Farrell win on March 12; it’s merely one that ponders how an organization meant to champion imagination makes such consistently unimaginative choices when it comes to rewarding actors. A look back at Academy history reveals this to be a fairly recent epidemic, at least in the Best Actor category. Compared to the post-2010s count of three performances not based on a historical figure or boasting any major physical transformation, there were four from 2000 to 2009, eight in the ’90s, six in the ’80s, and a whopping nine in the ’70s. That decade alone saw rewards for such legendary film figures as The French Connection’s “Popeye” Doyle, The Godfather’s Vito Corleone, One Flew Over the Cuckoo’s Nest’s Randle McMurphy, and Network’s Howard Beale. That’s a far cry from the Madame Tussauds exhibit this category has become since the 2010s. There was a brief glimmer that the tide had turned on nomination morning, when Paul Mescal and Brian Tyree Henry surprised with nominations for understated ordinary-dude performances. It seemed the promise of a new generation drawn to making less bait-y but subtler, richer, and more rewarding work, as well as the possibility of an Academy ready to reward such choices. Perhaps this was a bellwether in favor of the ordinary dudes, and in turn in favor of Farrell, who was in one of the most beloved movies of the year and also seemed to be exactly the kind of actor’s actor the Academy couldn’t resist rewarding. Alas, the award gauntlet eventually left Farrell in the dust, along with his stack of critics’ wins and his Golden Globe Award for Best Actor in a Musical or Comedy. The race is now firmly between Butler (with his Globe and BAFTA) and Fraser (with Critics Choice and SAG awards). The cycle continues, and either the Whale or Elvis shall triumph. But to quote Elvis himself, if I can dream of a better land, I might dream of an award season when prosthetics are locked up, biopics are shut down, and ordinary dudes run amok. Imagine the rich, interesting slate of acting nominees we might have without Freddie Mercury, Stephen Hawking, Winston Churchill, and the Joker crashing the party. Perhaps, then, it might not seem so impossible for “one of life’s good guys” to take home the gold. Source
March 9, 20232 yr The 20 Best Actors of All Time Coming up with a list that englobes the “best actors of all time” is no easy undertaking. It might be a highly subjective endeavour, in fact, seeing as everyone has their own tastes and requirements to be called the “best.” That said, there have been some great actors that shine just a little bit brighter than your everyday Hollywood celebrity, and that’s a fact. Knowing full well that this list is as subjective as they come, we’ve come up with a listing of the 20 actors who we believe are among the best artists to ever grace the silver screen. 2. Leonardo DiCaprio Starting in the movie business at a young age is rarely kind to child actors, but some of them, like Leonardo DiCaprio, end up reshaping the entire entertainment industry for the better. Not only is DiCaprio an incredible actor, but he’s also an immensely altruistic fellow, helping the environment and those in need with his philanthropic organizations. In 2015, thanks to The Revenant, Leonardo DiCaprio finally managed what some thought was impossible: he finally won the Academy Award for Best Actor in a Leading Role, an accolade he had been pursuing for quite some time. full list
March 9, 20232 yr Uhm... what??????????????!!!!!!!!!!!!!!!!!!!!!!!!!! Is this a serious site? Exclusive: Leonardo DiCaprio Reteaming With Quentin Tarantino For Final Movie We've learned that Leonardo DiCaprio will appear in Quentin Tarantino's final feature film. We still don’t know what the director’s final film will be, but we know of one of the stars who will appear. Our trusted and proven sources have told us that Leonardo DiCaprio is set to appear in Quentin Tarantino’s final movie. Whether or not it will be the long-rumored Kill Bill 3 or something else has yet to be revealed. For some time now, Tarantino has vowed to end his feature directorial career with his tenth film, though last we heard the director hadn’t chosen anything, and everything from Kill Bill 3 to Star Trek 4 was in the running. The latter of those two has since been put to bed, and now that we’ve learned Leonardo DiCaprio will be in the feature, it would seem to suggest Kill Bill 3 isn’t Quentin Tarantino’s most likely choice. While DiCaprio’s romantic partners may be on the younger side, the actor will turn 49 years old this year and — unlike David Carradine when he appeared in the Kill Bill films — doesn’t have a lot of experience playing martial arts masters. That doesn’t completely discount the notion of Kill Bill 3. Tarantino’s films are known to be ensemble affairs and while Leonardo DiCaprio doesn’t tend to play second fiddle to other stars, for the Oscar-winning Quentin Tarantino, The Revenant star might make an exception. He could play a supporting character who doesn’t need to throw any fancy kicks like Michael Parks or Julie Dreyfus in the first film. Regardless of what part he plays in the film, Leonardo DiCaprio is fated to be given high praise in any mention of the career of Quentin Tarantino, particularly when it comes to the second half of the director’s time behind the camera. DiCaprio’s first time in a Tarantino feature was in the director’s seventh film, 2012’s Django Unchained. DiCaprio played hard against type as the film’s chief villain — the unapologetically sadistic and racist plantation owner Calvin Candie from whom Django (Jamie Foxx) and Dr. Schultz (Christoph Waltz) seek to liberate Broomhilda (Kerry Washington). Leonardo DiCaprio worked with Quentin Tarantino in the director’s latest feature, 2019’s Once Upon a Time in Hollywood. This time DiCaprio played the protagonist Rick Dalton, a 1950s TV star who finds his celebrity fading at the twilight of the 1960s. Once Upon a Time in Hollywood found both DiCaprio and Tarantino nominated for Oscars (Tarantino for 3), though sadly neither won in their various categories. We’d like to tell you we have an idea about when we’ll get to see Leonardo DiCaprio in Quentin Tarantino’s final film, but judging by the intervals between his previous movies, it’s impossible to even guess. This July will mark four years since the wide theatrical release of Tarantino’s ninth film, and a quick glance at IMDb tells us that the longest interval between his releases so far is six years (between 1997’s Jackie Brown and 2003’s Kill Bill: Vol. 1). As soon as we know more, we’ll make sure you do too. Source
March 9, 20232 yr Thanks for all the articles, jade. I will say MY OPINION here, after seeing Elvis, Banshees of Inisheran and The Whale: even though I think Colin and Brendan Gleeson both did a great job at Banshees but I think Barry Keoghan was the absolute better actor in the movie along side with the supporting actress. So in no way Collin Farrel had a better performance than Brendan Fraser ( that man made me cry like a baby with his performance) or Austin Butler (that was soo brilliant). I think Brendan will beat Austin but if Austin wins it won't be unfair, but I think Brendan was superior in the emotional range. But with saying all that above, I still understand the article take on Oscar giving more awards to historical figures, real life people and physical transformation performances. But this time around I can't disagree with Brendan and Austin being the best contenders this year.
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