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moiselles

By moiselles
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SexyLeo91

SexyLeo91

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32 minutes ago, Jade Bahr said:

^God, she was so young :oh_no: I would have probably died of embarrassment kissing those young men especially with only 14 🙈

😁 I would have been blushing, embarrassed and everything.

 

Thanks ox for the videos, pics and Barbie for the link! That luncheon looked enjoyable!

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oxford25

oxford25

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From Sasha Stone of Awards Daily  

 

A Love Letter to Quentin Tarantino and Once Upon a Time in Hollywood

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Back in 1993 I was attending UCLA. It took me a while to get through college. I had a hard time getting through life in general. Only intensive therapy got me to the point where I was about to graduate at 29 years old with a bachelor’s degree. I’d applied to the film department but wasn’t accepted, so I took the next best offer and entered the theater department as a playwright. And yes, that is the degree I have – playwriting. The entire UC statewide university system had and still have an annual writing contest called the Samuel Goldwyn Creative Writing contest. On a lark, I wrote a screenplay in about a week. I just plowed through it, writing and day and night. And I thought, what the hell, I’ll submit it. Well, what a shock to find I had become one of the five finalists. I would go on to win third place and got my script mentioned in Variety and the Hollywood Reporter. That led to several agents asking me to send my screenplay. I ended up getting one meeting out of it. More than one person I met with told me, “Your writing reminds me of an up-and-coming filmmaker named Quentin Tarantino.”

That’s the year Tarantino’s career began. I would end up dropping out of Columbia Graduate Film School and retreating online. He would become one of the greatest directors America has ever produced. I always kept my eye on Tarantino, vicariously imagining the kind of success I might have achieved if I’d had my shit together enough to pursue my dream full-force as he did. It took me a long while to become a Tarantino fan but even from the beginning I always appreciated that his films seemed to burst forth from a fully-formed universe of his making. When you watch a Tarantino movie you step into an alternate reality that only he knows how to create.

 

I never expected that any of his films would land on my list of most watched movies. It’s not a big list but the titles on it are beloved. Then I saw Once Upon a Time in Hollywood. It’s the Tarantino movie that has at last grabbed and won’t let go, the movie that I’ve not only already watched many times but the one I know I’ll continue to watch and adore for the rest of my life.

 

The reason I think it’s the best film he’s ever made — his most accomplished and his most profound — is because, for me, it’s the first time his vision feels so intensely disciplined. Instead of putting everything in that occurs to his fertile mind, he’s made it mean, clean, and surprisingly lean — even though he tells a long story with several paths that diverge from the main one. If you watch it a few times you’ll understand why it’s his tightest film. Even when it’s as leisurely as the laid-back era it depicts, there’s never a wasted shot, never a scene that lags, because he knows that coaxing his audience to sink into sync with the rhythms of 1969 is the only way for us to feel how L.A. used to be, to understand what we’ve lost.

 

It goes without saying that Tarantino is a brilliant director. Once Upon a Time in Hollywood is filled with memorable shots and riveting sequences, from tracking shot that follows Cliff Booth into the suspense of Spahn Ranch, to the cars speeding down hairpin turns through the Hollywood Hills, or Margot Robbie dancing with oblivious bliss through a party where she seems to be lit by her own inner light. Even the smaller insert shots are impressive. One of cowboy boots walking up some steps as a woman in heels is walking down them. In this film he’s always mixing fact and fiction, overlapping real with unreal. Mirroring a lively active movie set with an abandoned and desolate movie set now infiltrated by hippies.

 

Of course, the story’s tension is felt most acutely if you know what the story is about. Maybe you had to live through it to really get it and perhaps this is where my own path lived alongside Tarantino’s starts to matter. He worked in a video store, and I worked in a video store, because that’s what movie geeks did in the 1980s. We grew both grew up in LA at the dawn of the 1960s. Our lives were touched by the Manson murders at an age when we were most impressionable. My parents met at Pandora’s Box on Sunset, a club which is glimpsed in one of the movie’s many roving street vistas, meticulously recreated.

t isn’t just that Tarantino’s film reminds me of my own past, and a lifestyle so vibrant that it’s burned into the memories of those of us who lived it; it’s also that the two main characters, Rick and Cliff, are both so likable, so full-tilt irresistible. How could anyone not become completely invested in their fates. And that’s why their story matters. It matters because we come to care about what happens to them. We get the privilege of spending the last innocent afternoon with a woman who’s on a collision course with the Manson family, and we ache for the fate we fear we already know is looming. We also meet a pair of unexpected heroes whose accidental paths have potentially put them in harm’s way as well. But then… Then we are given a gift.

 

A gift for those of us who spent many sleepless nights wondering how our sunlit world could be darkened and bloodied so fast. A way to escape the catastrophe that caused American culture to turn on a dime that hot August night in 1969.

 

Once Upon a Time in Hollywood is the best film Tarantino has ever made because it is a love letter to the art of movies and the magic that movies can conjure. Yes, on one level it’s a way to reimagine, even for 2 hours, a world that might have remained unchanged by a tragedy so horrific. But it is also a love letter to a time and a place and an attitude that have long since vanished. Once Upon a TAime in Hollywood take the fragments of that era that still remain — the neon lights of the El Coyote, the endless boulevards that stretch like tawny limbs to take us from here to there. The dreamers who come here to make something of themselves, to find success, to risk failure, or to settle for something in between. Somehow out of this fairy tale wasteland a brilliantly inventive director was born.

 

This has been a year of great, great movies. They are so many that are so great that even the ones that aren’t as great as the greatest are still great. Years like this don’t come around very often. We should be reveling in the wealth of artistry we’re here to witness. That’s another thing to think about when we soak in the nostalgia of a golden age gone by — to be reminded that few people saw what a golden age it was until it was over.

Tarantino faced some hard, personal truths in this film which is, at its heart, about reconciling present efforts with former glory. Many of his fans believe that his best movies are behind him but I don’t think that’s true. A certain kind of Tarantino movie might be a thing of the past. But now he’s reaching down deeper and finding new things to say, as only one of our most interesting and original auteurs is able to do.

 

Once Upon a Time in Hollywood completes Tarantino’s trilogy of horrifying realities and redemptive rewrites of faraway moments in history. No one can erase those horrors; they are still with us every day, as painful lessons need to be. But Tarantino understands that the function of cinema is often to offer a great escape, a fantasy, a nightmare remade as a dream, the chance to sit in the dark and imagine what if.

 

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BarbieErin

BarbieErin

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The one talking with Leo in this video above is a Brazilian indian from the tribe Guajajara, she's there with director Petra Costal, she's nominated for best documentary called The Edge of Democracy, it's about politics and the impeachment that took former president Dilma Rousseff from the government of Brazil. When Petra was nominated, she said that if she met Leo than she would apologize in name of Brazilians for the absurds our current freak president said about him and the Amazon. Thanks Petra!  

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oxford25

oxford25

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Bodyoflies

 

Yes , we have been spoiled with so many great new Leo pix & vids this award season 

 

Hoping we’ll be seeing more this Sunday from the BAfta red carpet :thumbsup: 

 

Like you , I’m thrilled rather than a big lull in pix /news once the award season is over that we’ll a new movie making experience to look forward to in March :clap: 

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oxford25

oxford25

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Barbie

 

A friend just sent me that , too adorable  :heart: 

 

Reminds me of the pix below of Leo in elevator after he won the Oscar night, he did his eyes like that 

 

 

Flowers of Killer Moon

 

I had completely forgotten that 4 years ago  that  Brad 's production company was also bidding for right to Flowers of the Killer Moon 

 

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David Grann’s KILLERS OF THE FLOWER MOON is lining up to be the biggest package and bidding war of 2016, with several A-List producers now fighting for territories. Sources have confirmed to The Tracking Board that among the producers looking to snap up this hot property are George Clooney, Brad Pitt, Brett Ratner and Star Wars producer Kathleen Kennedy.

The book, from New Yorker staff writer Grann, isn’t set for publication until June, 2017, but it’s already triggered a feeding frenzy on the rights market. The non-fiction chronicles the real-life 1920s mystery surrounding the suspicious deaths of several Osage Indians, who were at the time among the richest people on the planet. The story follows the twists and turns of the investigation that eventually became the first major case solved by J. Edgar Hoover’s brand new FBI. David Halpern from The Robbins Office reps the book, with Matthew Snyder of CAA handling the film rights.

Grann is the author of The Lost City of Z, the adaptation of which is currently in production with Pitt’s Plan B, and he wrote the article The Brand, which is the basis for the new Showtime series from Narcos executive producer Jose Padilha. The established relationship between Grann and Pitt could prove to be an edge in this all-out battle taking place today, since some of the town’s most powerful names are now involved.

We can now confirm that in addition to Plan B, Smokehouse Pictures, RatPac Entertainment and Kennedy Marshall, Amy Pascal’s Pascal Pictures, Scott Rudin‘s Scott Rudin Productions, Matt Reeves’s 6th & Idaho, Leonardo DiCaprio’s Appian Way, Peter Chernin’s Chernin Entertainment, Jason Blum’s Blumhouse and Bold Films are all in the mix, currently trying to secure territories.

Blumhouse has a first-look with Universal; Clooney, Pascal and Rudin have first-looks with Sony; DiCaprio has a first-look with Warner Bros.; Reeves and Chernin have first-looks with 20th Century Fox; Plan B has a first-look with New Regency; Kennedy Marshall has a first-look with DreamWorks.

With so many elite names coming in for the same territory, we’re hearing several are partnering up, and studios are already prepping bids, while the conversation has now begun to include talent and director attachments.

This one is going to be hot, as we’re expecting no less than a handful of packages to begin to come together, as everyone in town eyes who the ultimate winner will be. Keep it here, as we track the project, as the details continue to surface…

 

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