Leo on PTA set (2 clips):

https://www.instagram.com/p/C25_dVbIjdX/

 

 

@AliceT Riiiiight. I forgot about DLU (time for a rewatch I guess lol). Those kids were pretty grown up too 😃 But nice to see it's a girl this time 😁

5 hours ago, Jade Bahr said:

Leo on PTA set (2 clips):

https://www.instagram.com/p/C25_dVbIjdX/

 

 

@AliceT Riiiiight. I forgot about DLU (time for a rewatch I guess lol). Those kids were pretty grown up too 😃 But nice to see it's a girl this time 😁

I love his man bun, but I hope they let Leo show off his beautiful "long" hair on-screen too. Tks girls!♥️

Sorry honey but not even close.

 

12 hours ago, Jade Bahr said:

Leo on PTA set (2 clips):

https://www.instagram.com/p/C25_dVbIjdX/

So is this Leos real hair or a wig?

    

It’s a wig. We all know that’s not what his hairline looks like. And this is the length of his hair now.

13 minutes ago, Sugarwater said:

It’s a wig. We all know that’s not what his hairline looks like.

😄

 

Leo

17 minutes ago, Jade Bahr said:

😄

 

Leo

😅 I meant his prominent widow’s peak, but yeah that too. 😂

However his natural curly hair is unbeaten 🥰

  

 

Wish he would wear them like this for once in a movie.

 

LOL to the headline. But like I said a trillion times I wanna see this "original more rough" cut of GONY so badly!!! However it's still a mystery to me how Marty and Leo could work with Weinstein yet AGAIN after this mess even though AVIATOR turned out to be amazing. Also trying to picture THE DEPARTED as a franchise 😅

 

Thelma Schoonmaker: “Marty [Scorsese] Would Rather Burn A Film Than Let A Studio Ruin It” — How About ‘Gangs of New York’?

An interesting choice of words from film editor extraordinaire Thelma Schoonmaker, who has worked with Martin Scorsese ever since her landmark work in 1980’s “Raging Bull.”

Schoonmaker says that Scorsese and herself have fought the studios on every single one of their films to avoid them being changed. She claims that they’ve had Final Cut on all of them (which isn’t true):

Marty would burn the film rather than give it up. We would win, but it would be a long, hard battle.

I know Scorsese has fought tooth and nail on many of his films, some of the stories are the stuff of legend, but I can think of one particular instance where they actually lost the battle. It was in 2002 on “Gangs of New York,” with the assaultive nature of Harvey Weinstein sadly prevailing. Why didn’t Scorsese burn the film then?

It’s no secret that the biggest battle Scorsese had with a studio was against Weinstein’s Miramax on that film. Last September, when asked about Weinstein’s interference, Scorsese admitted to a creative struggle that clearly still haunts him to this day.

“I realized that I couldn’t work if I had to make films that way ever again,” Scorsese told GQ. “If that was the only way that I was able to be allowed to make films, then I’d have to stop. Because the results weren’t satisfying. It was at times extremely difficult, and I wouldn’t survive it. I’d be dead. And so I decided it was over, really.”

“I just said, ‘I’m no longer making films,'” Scorsese said of the experience. Yet it was “The Departed” in 2006 that led Scorsese to realize “I can’t work here anymore” after Warner Bros. tried to make it into a “franchise.”

I’ve always admired “Gangs of New York,” but I will admit that as I watched it, in the fall of 2002, there was a sense that something much grander, and greater was missing from the film. Daniel Day-Lewis’ towering performance as Bill the Butcher hid the flaws very well — maybe his greatest performance ever, up there with his Daniel Plainview in “There Will Be Blood.”

The original cut of “Gangs of New York,” which was shown to a few journalists in late 2001, including Hollywood-Elswhere’s Jeffrey Wells, must still be hidden in a vault somewhere. It was said to be over 3 1/2 hours in length. The theatrically released version was 10 minutes short of 3 hours.

Wells reported that the behind-the-scenes battle between Scorsese and Weinstein ended with “a polished, cleaned-up version of the ‘Gangs’ being released in December of 2002” and not the one he had exclusively seen in 2001.

“The work-print version [I saw] is longer by roughly 30 minutes, and more filled out and expressive as a result, but that’s not the thing. The main distinction for me is that it’s plainer and therefore more cinematic, as it doesn’t use the narration track that, in my view, pollutes the official version. It also lacks a musical score, with only some drums and temp music,” Wells wrote.

He added, “I don’t believe Scorsese for a second when he says the theatrical version coming out this Friday is the one that bears his personal stamp of preference. My guess is that Harvey’s mitts are all over this puppy. Scorsese may have his weaknesses or indulgences as a filmmaker, but he’s always let his films play at their own pace and allow them to be true to themselves — their own tempo, themes, moods. He’s used narration before, but never in such a way that the narration wound up feeling like an encumbrance. And he’s never been one to speed his films up when they weren’t working.”

Harvey Weinstein, the authoritarian that he was, even bragged at a TIFF dinner that he meddled with Scorsese’s vision:

“So Marty presents the final cut of the movie to me as a final-cut director and it’s three hours and thirty-six minutes,” Weinstein revealed to Vulture. “If you thought there was action in ‘Gangs of New York’ the movie, you should have seen that editing room! But we got the movie down to two hours and 36.”

So, almost a whole hour snipped off. Supposedly, Scorsese’s 216-minute cut had no narration either. Will it ever be released? I sure hope so, but Scorsese has never been one who liked extended cuts; the version released was the final version, but making an exception for ‘Gangs’ would be a much welcomed addition to his filmography.

 

Little interesting trivia.

 

 

 

 

A video with a different angle. Leo does have so many different looks in this movie. It's like catch me of you can 😊 I love the "protective dad" Leo.

 

 

11 minutes ago, akatosh said:

Leo does have so many different looks in this movie. It's like catch me of you can 😊

They probably even use the same wig 😅

 

2 hours ago, akatosh said:

A video with a different angle. Leo does have so many different looks in this movie. It's like catch me of you can 😊 I love the "protective dad" Leo.

 

 

So heartbreaking 😢. Now he is wearing a cap, many different looks indeed.☺️

I dunno if this vid from CCAs was posted before but it's hella cute 

 https://www.instagram.com/reel/C2YUEUqrkx5/

Esquire about Austins try to be the first movie star since Leo - the last movie star so far. Just posting because it's always nice to see that Leo is still... well... the goal every young actor is reaching for.

 

Spoiler

They Don't Make Them Like Austin Butler Anymore

 

 

After Elvis and the Oscar-nomination, the 32-year-old actor is back with two buzzy projects: Masters of the Air and Dune: Part Two. He's got a burning ambition and old-school Hollywood charm—and steely-eyed focus on just one thing.

 

He will take this world in inches. And then, as a man, through sheer force of desire and artistic abandon, he’ll try to become the first movie star since Leonardo DiCaprio became the last movie star.

Doubt him if you will. But don’t underestimate his chances.

(...)

The thing is, Butler wants to be a particular kind of star. Not just a celebrity. Not just an actor. And he doesn’t want to mess it up. Certainly not by sharing too much. Who he is, to some degree, is at odds with what he wants. That desire to probe and share is diametrically opposed, he says, “with the type of career that I want to have, which is to be able to step into all these different types of people. I think of the days of Paul Newman—we didn’t know a ton about his personal life.” It’s like that with a lot of the stars he admires. Leonardo DiCaprio. Christian Bale. Daniel Day-Lewis.

“Did we talk about the Lew Wasserman quote?” he asks me the second time we meet. We’re back at Margaux. Different booth. Different lunch order. Avocado toast with poached eggs on Monday; a grilled-chicken sandwich on Wednesday. Butler’s outfit is a perfect inversion of what he wore two days ago: a dark Henley beneath a white T-shirt. Anyway, back to the quote. “Near the end of Wasserman’s life,” Butler begins, referring to the onetime Tinseltown titan, “when speaking about a young actor, Wasserman said, ‘Only let them see him in a dark room.’ ”

(Funny enough, that quote once ran in these very pages, in Tom Junod’s 2013 profile of DiCaprio. During one passage, DiCaprio’s manager, Rick Yorn, recalls a run-in with Wasserman. “ ‘Lew was old and near the end by this time,’ Yorn says. ‘He died a year or two later. But he knew I was Leo’s manager, and he wanted to give me some advice. He said, “Only let them see him in a dark room.” It took me a minute to figure it out. But what he meant was only let people see him in the movie theater. That’s the dark room.’ ”)

(...)

The next Brad Pitt. The next Leonardo DiCaprio. How many young breakouts have been taunted by such titles just to dissolve into the background? Become that guy in that thing. The one who almost was.

The reality of right now is that whether there will ever be another Brad or Leo is not a question of talent but of the studio system itself. How many of the movies between those two men would even be released in theaters if they were made today? The Beach, The Basketball Diaries, Thelma & Louise—they’d be critically acclaimed streaming releases at best in 2024. Some would become TV shows.

(...)

It’s impossible to forecast the future of Hollywood. Will grown-up movies make a comeback? Will Movie Stars continue to exist?

But I’ll tell you what I do know: From the second that Austin Butler appears as the young-adult Elvis, moments before the first musical performance of the film, bristling with an intoxicating swirl of nerves, excitement, and untapped confidence; from the minute he, as Buck Cleven, leans in, desire written all over his face, a smile flirting with the corners of his mouth, and whispers, “A girl worth writing to is hard to find”—well, there’s no taking your eyes off him.

Source

 

It seems Leo appears in Edward Zwicks (Blood Diamond) memoir "shopping" some models between takes LMAO

 

 

“I’ll be dropping a few names,” Ed Zwick confesses in the introduction to his book. “Over the years I have worked with self-proclaimed masters-of-the-universe, unheralded geniuses, hacks, sociopaths, savants, and saints.”

 

Leonardo DiCaprio was ‘paging through Victoria’s Secret catalogue’ on set of Blood Diamond, director claims

Filmmaker Edward Zwick recalled hilarious anecdote in which the star’s love life was gently ribbed by actor Jennifer Connelly

 

Leonardo DiCaprio was found “paging through a Victoria’s Secret catalogue” on the set of Blood Diamond, his director has claimed in a new memoir.

 

The funny anecdote was recalled by filmmaker Edward Zwick, who has written the story of his life in a new book titled Hits, Flops, and Other Illusions: My Fortysomething Years in Hollywood. Zwick is best known for directing films including the Tom Cruise hit The Last Samurai and Glory, which won Denzel Washington his first Oscar.

 

Shared in a photo of the book taken by film critic Bilge Ebiri on Twitter/X, Zwick mentioned his DiCaprio memory while recalling the making of Blood Diamond, his 2006 thriller set during the Sierra Leone civil war.

 

Zwick heaped praise on the “terrific” DiCaprio and his two co-stars, Jennifer Connelly and Djimon Hounsou, and said he remembered “only one instance of even the mildest misbehaviour” between them, adding: “It’s more a testament to their camaraderie than anything else”.

 

“It seems Leo was currently between gorgeous girlfriends,” Zwick wrote. “One morning I walked into the makeup trailer as I often did to discuss the day’s work with him. I found him in the chair waiting for his turn and noticed he was paging through a Victoria’s Secret catalogue.

 

“‘What are you doing?’ I asked. [Connelly] was in the chair beside him. Without even looking over, she said, ‘Shopping’.”

 

Zwick’s book Hits, Flops, and Other Illusions: My Fortysomething Years in Hollywood is released on 29 February.

 

 

1 hour ago, Jade Bahr said:

Esquire about Austins try to be the first movie star since Leo - the last movie star so far. Just posting because it's always nice to see that Leo is still... well... the goal every young actor is reaching for.

 

  Hide contents

They Don't Make Them Like Austin Butler Anymore

 

 

After Elvis and the Oscar-nomination, the 32-year-old actor is back with two buzzy projects: Masters of the Air and Dune: Part Two. He's got a burning ambition and old-school Hollywood charm—and steely-eyed focus on just one thing.

 

He will take this world in inches. And then, as a man, through sheer force of desire and artistic abandon, he’ll try to become the first movie star since Leonardo DiCaprio became the last movie star.

Doubt him if you will. But don’t underestimate his chances.

(...)

The thing is, Butler wants to be a particular kind of star. Not just a celebrity. Not just an actor. And he doesn’t want to mess it up. Certainly not by sharing too much. Who he is, to some degree, is at odds with what he wants. That desire to probe and share is diametrically opposed, he says, “with the type of career that I want to have, which is to be able to step into all these different types of people. I think of the days of Paul Newman—we didn’t know a ton about his personal life.” It’s like that with a lot of the stars he admires. Leonardo DiCaprio. Christian Bale. Daniel Day-Lewis.

“Did we talk about the Lew Wasserman quote?” he asks me the second time we meet. We’re back at Margaux. Different booth. Different lunch order. Avocado toast with poached eggs on Monday; a grilled-chicken sandwich on Wednesday. Butler’s outfit is a perfect inversion of what he wore two days ago: a dark Henley beneath a white T-shirt. Anyway, back to the quote. “Near the end of Wasserman’s life,” Butler begins, referring to the onetime Tinseltown titan, “when speaking about a young actor, Wasserman said, ‘Only let them see him in a dark room.’ ”

(Funny enough, that quote once ran in these very pages, in Tom Junod’s 2013 profile of DiCaprio. During one passage, DiCaprio’s manager, Rick Yorn, recalls a run-in with Wasserman. “ ‘Lew was old and near the end by this time,’ Yorn says. ‘He died a year or two later. But he knew I was Leo’s manager, and he wanted to give me some advice. He said, “Only let them see him in a dark room.” It took me a minute to figure it out. But what he meant was only let people see him in the movie theater. That’s the dark room.’ ”)

(...)

The next Brad Pitt. The next Leonardo DiCaprio. How many young breakouts have been taunted by such titles just to dissolve into the background? Become that guy in that thing. The one who almost was.

The reality of right now is that whether there will ever be another Brad or Leo is not a question of talent but of the studio system itself. How many of the movies between those two men would even be released in theaters if they were made today? The Beach, The Basketball Diaries, Thelma & Louise—they’d be critically acclaimed streaming releases at best in 2024. Some would become TV shows.

(...)

It’s impossible to forecast the future of Hollywood. Will grown-up movies make a comeback? Will Movie Stars continue to exist?

But I’ll tell you what I do know: From the second that Austin Butler appears as the young-adult Elvis, moments before the first musical performance of the film, bristling with an intoxicating swirl of nerves, excitement, and untapped confidence; from the minute he, as Buck Cleven, leans in, desire written all over his face, a smile flirting with the corners of his mouth, and whispers, “A girl worth writing to is hard to find”—well, there’s no taking your eyes off him.

Source

 

My personal opinion of Butler from interviews and the only movie I've seen him in which was Elvis is that he lacks a personality and most importantly talent but maybe that's just me. 😃

 

3 hours ago, Jade Bahr said:

Esquire about Austins try to be the first movie star since Leo - the last movie star so far. Just posting because it's always nice to see that Leo is still... well... the goal every young actor is reaching for.

 

  Hide contents

They Don't Make Them Like Austin Butler Anymore

 

 

After Elvis and the Oscar-nomination, the 32-year-old actor is back with two buzzy projects: Masters of the Air and Dune: Part Two. He's got a burning ambition and old-school Hollywood charm—and steely-eyed focus on just one thing.

 

He will take this world in inches. And then, as a man, through sheer force of desire and artistic abandon, he’ll try to become the first movie star since Leonardo DiCaprio became the last movie star.

Doubt him if you will. But don’t underestimate his chances.

(...)

The thing is, Butler wants to be a particular kind of star. Not just a celebrity. Not just an actor. And he doesn’t want to mess it up. Certainly not by sharing too much. Who he is, to some degree, is at odds with what he wants. That desire to probe and share is diametrically opposed, he says, “with the type of career that I want to have, which is to be able to step into all these different types of people. I think of the days of Paul Newman—we didn’t know a ton about his personal life.” It’s like that with a lot of the stars he admires. Leonardo DiCaprio. Christian Bale. Daniel Day-Lewis.

“Did we talk about the Lew Wasserman quote?” he asks me the second time we meet. We’re back at Margaux. Different booth. Different lunch order. Avocado toast with poached eggs on Monday; a grilled-chicken sandwich on Wednesday. Butler’s outfit is a perfect inversion of what he wore two days ago: a dark Henley beneath a white T-shirt. Anyway, back to the quote. “Near the end of Wasserman’s life,” Butler begins, referring to the onetime Tinseltown titan, “when speaking about a young actor, Wasserman said, ‘Only let them see him in a dark room.’ ”

(Funny enough, that quote once ran in these very pages, in Tom Junod’s 2013 profile of DiCaprio. During one passage, DiCaprio’s manager, Rick Yorn, recalls a run-in with Wasserman. “ ‘Lew was old and near the end by this time,’ Yorn says. ‘He died a year or two later. But he knew I was Leo’s manager, and he wanted to give me some advice. He said, “Only let them see him in a dark room.” It took me a minute to figure it out. But what he meant was only let people see him in the movie theater. That’s the dark room.’ ”)

(...)

The next Brad Pitt. The next Leonardo DiCaprio. How many young breakouts have been taunted by such titles just to dissolve into the background? Become that guy in that thing. The one who almost was.

The reality of right now is that whether there will ever be another Brad or Leo is not a question of talent but of the studio system itself. How many of the movies between those two men would even be released in theaters if they were made today? The Beach, The Basketball Diaries, Thelma & Louise—they’d be critically acclaimed streaming releases at best in 2024. Some would become TV shows.

(...)

It’s impossible to forecast the future of Hollywood. Will grown-up movies make a comeback? Will Movie Stars continue to exist?

But I’ll tell you what I do know: From the second that Austin Butler appears as the young-adult Elvis, moments before the first musical performance of the film, bristling with an intoxicating swirl of nerves, excitement, and untapped confidence; from the minute he, as Buck Cleven, leans in, desire written all over his face, a smile flirting with the corners of his mouth, and whispers, “A girl worth writing to is hard to find”—well, there’s no taking your eyes off him.

Source

 

 

There's always another "new" Leo every five years. But they never come close to Leo's talent... I don't like Austin too much. He was alright in Elvis and OUATIH but I miss that special something.