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Old interview with Kate talking about Leo, sex tips she got from him and lots more while shooting Titanic. Love this interview so much :heart:

 

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The Unsinkable Kate Winslet

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The English rose of ‘Titanic’ spills all about her battles making the most expensive movie ever, her sex talks with Leonardo DiCaprio and the man she loved and lost.

 

(...)

 

Winslet is a woman of passions. Here is how she got the lead in Titanic: “I closed the script, wept floods of tears and said, ‘Right, I’ve absolutely got to be a part of this. No two ways about it.'” She phoned her agent, and the agent made a couple of calls. Winslet said, “Look, just get me Jim Cameron’s phone number.” She dialed the director’s car phone. “He was on the freeway, and he said, ‘I’m going somewhere.’ And I think he pulled over, and I said, ‘I just have to do this, and you are really mad if you don’t cast me.'” When DiCaprio waffled about signing to play Jack, and both actors were at the Cannes Film Festival, Winslet discovered where DiCaprio was staying, slipped out of a press junket and collared him in his hotel room. “I was thinking, ‘I’m going to persuade him to do this, because I’m not doing it without him, and that’s all there is to it,'” she says. “‘I will have him.’ Because he is fucking brilliant. He’s a fucking genius, and that was absolutely why.”

 

The world probably isn’t big enough for Kate Winslet. Everything she says has special effects in it: Those effects are the words brilliant, absolutely and gorgeous, and because of them, what she says really does seem brilliant, gorgeous and absolute, a slightly better world than the one you live in. She gets impatient with people who can’t keep up with her. “I had a conversation with my little sister, and she went, ‘I’ve got wrinkles ’round my eyes, I’m so depressed.’ And I said, ‘You stupid cow, that’s an exciting thing!'” Winslet is excited by weather (“stunning”) and by messy city road kill: “Oh, hello! Dead squirrel! Splat! How vile!” She makes you feel guilty for not being in a better mood. You get the impression that if you lowered your head to her chest, you’d find her heart racing 120 beats per minute, like a tree shrew’s.

 

(...)

 

What carried Winslet through the filming was DiCaprio. “Did Kate mention that they were really there for each other?” Cameron asks me. “On a long shoot, especially as you get into, like, month five, you’re just in a siege.” They spent hours with one another, keeping their energy up. As Winslet describes Rosarito, it has the sound of a seven-month-long family dinner, with DiCaprio and Winslet trying to scare up fun in the basement. “We were kind of the two goofy kids on the set,” she explains. “Y’know, working with Leonardo DiCaprio — he’s a bit gorgeous, and I was worried that I was going to be bowled over by him, or that he was going to find me all stuffy and Shakespearean and English. But the second we met, we just completely clicked.” They hit it off the way freshmen at college have hit it off for decades. “We’d do the most ridiculous things to each other,” she recalls. “He’d be tickling me, groping me, winding me up. And I’d be doing the same thing back, sort of grabbing his bum.” DiCaprio, 22, seems surprised that Winslet has told me this; his voice turns official. “She was my best friend for seven months,” he says slowly. “We’d unload the stresses of the shoot to each other, vent to each other, watch out for each other. Kate was just the perfect person to work with because she was very much one of the guys, and it would have been much harder without her. We were partners.”

 

“Grossing Kate out was purely Leo’s job,” says Billy Zane, who plays her rich, unappealing fiance in Titanic. “He got really good at it. If he wasn’t rolling back his eyelids, he was making objets d’art out of bodily fluids.” Cameron recalls that DiCaprio had to wear a long coat for much of the shoot. “He would, like, fart in it,” says Cameron, “and then sweep the coat over her face. I mean, if anybody else in the world did that, they’d get slapped, and the other person would walk away and not talk to them for a week. With Leo, Kate would just crack up.” When tabloids tried to do the matchmaking work of turning the friendship into something sexier, Winslet says she and DiCaprio would read the gossip items and laugh. “Just the notion of that was insane it would have been absolutely like incest. I have the relationship with Leo that all the women in the world would envy,” says Winslet, misapprehending just what kind of relationship the world’s women would want to have with the angelic-featured star of Romeo and Juliet. Winslet says that DiCaprio would ask her whether she thought he was handsome: “He would say, ‘So, um, do you really think that?’ I’d say to him, ‘You are absolutely stunning, you complete bastard. How do you do it when you’ve only had two hours sleep?’”

 

Between shots, Winslet says, she and DiCaprio would snuggle under a blanket in his trailer and talk about sex. “You know, some very, very personal things, asking each other for advice,” she says. “Not necessarily comparing notes but sort of, ‘No, don’t do it like that, do it like this.’ He’s very good at that. I have to say, a lot of those sexual tips he’s given me have worked. And I know it’s vice versa.” 

 

When I tell Winslet the tips might also be useful to our readers, she smiles and shakes her head. “No, it’s too despicable,” she says. “In fact, it can get really graphic. It’s going to turn into a porn piece.”

 

Winslet has only one sweet regret about her relationship with DiCaprio. It was during the scene in which Rose and Jack make love in a Renault touring car in the hold of the ship: steamed windows, trembling actors. “Doing that scene,” she says, “it so wasn’t us. And yet we were so locked into what all that had to be about. The Rose in me was really sort of loving the Jack in him, actually. And even though I didn’t feel that way about Leo, it was quite nice to sort of feel that way in the scene. It was quite lovely. And then, y’know, the camera stopped rolling, and he gets up and walks off, and the scene’s done. And I remember lying there thinking, ‘What a shame that’s over.’ Because it was quite nice. It was.”

 

Winslet recalls that she and DiCaprio would sometimes lie on the set smoking hand-rolled cigarettes and staring up at the stars. Other times, she would watch him play Tomb Raider on Nintendo or they would sing to each other the Bette Midler hit “Wind Beneath My Wings,” an indirect, on-site spoof of the Titanic scene in which Jack leads Rose to the prow of the ship and tells her to close her eyes and spread out her arms. When Winslet had an attack of vertigo on the back of the upended poop deck — spending a week in harnesses suspended 100 feet in the air — DiCaprio calmed her down. “I just told her we were safe,” he says. “She believed me.” One night, very late, Winslet and DiCaprio were lying on the deck during a break. An assistant approached for food orders. “Leo was so tired,” Winslet recalls; he had his head on Winslet’s stomach and asked for a sandwich. “The assistant asked, ‘What do you want on it?’ and Leo said, ‘Oh, Kate will tell you.’ And Leo just kind of fell asleep. And I did know exactly what he wanted this kind of cheese and no tomato and no pickle. I absolutely knew. And I thought, ‘God, that’s really weird that I know this person so well.’ It was brilliant.”

 

Full interview

 

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[b Jade[/b]

 

Thanks for latest Leo related news :) 

 

I well remember this Kate interview ; one of my favorites as well :heart:

 

Also, I found that German interview you posted the other day very interesting especially the part about getting any type of comment from people Leo has worked with after 1998 =his protective circle 

 

 

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Jesse Plemons Joins Leonardo DiCaprio in Apple’s ‘Killers Of The Flower Moon’

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After playing an FBI agent in Judas and the Black Messiah, Jesse Plemons is looking to stay in the bureau. He is set to join Apple Studios’ Killers of the Flower Moon, which Martin Scorsese is directing with Leonardo DiCaprio and Robert De Niro attached to star.

 

Based on David Grann’s bestseller and set in 1920s Oklahoma, Killers of the Flower Moon depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror. Plemons will play the lead FBI agent investigating the murders.

 

Lily Gladstone is also on board to play Mollie Burkhart, an Osage married to Ernest Burkhart (DiCaprio), who is nephew of a powerful local rancher (De Niro).

 

(...)

 

Besides his scene-stealing role in Judas and the Black Messiah, Plemons’ upcoming credits include Disney’s upcoming Jungle Cruise alongside Dwayne Johnson and Emily Blunt, Scott Cooper’s newest film Antlers opposite Keri Russell and produced by Guillermo Del Toro. He also recently appeared in Charlie Kaufman’s I’m Thinking of Ending Things.

 

He also just finished working on the Jane Campion feature The Power of the Dog opposite Benedict Cumberbatch and Kirsten Dunst. 

 

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He reminds me of the late Philip Seymor Hoffman. Not necessarily a bad thing because that man was an hell of an actor. Love the fact that Leo and Scorsese often give fresh faces such great opportunities instead of casting the big names we already knew.

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Christoph Waltz is talking about how Leo is handling his level of fame ("masterful and great" :p) in his latest german interview with GQ:

 

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(...)

 

You were in your 50s when you won an Oscar, three years later the second came. What are the benefits of achieving world fame at this age? Leonardo DiCaprio got such attention when he was 16 years old.

 

Waltz: He's a bad example because he makes it all really masterful and great.

 

What exactly?

 

Maintaining its authenticity and personality to the extent of the star theater. There are better, more blatant examples. It has to do with wanting your head through the wall or learning to use it. Learning to use it is primarily a matter of experience.

 

(...)

 

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A guide to Leonardo DiCaprio's style evolution

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From pint-sized child star to Hollywood heartthrob, here’s your breakdown of Leo’s career, through the lens of the clothes he wore.

 

There is a particular era of 90s fashion that we owe to three men: River, Keanu and Leo. The trio, who all became juggernaut stars of the decade, quietly used fashion to inform the way their acting careers were unfolding. While River Phoenix’s story was tragically cut short and Keanu Reeves’ proclivity for grunge stood the test of time, there’s a maturation to what Leonardo DiCaprio has worn over the past 20 years. Once a fan of the low-key Americana look and rebelling against black tie codes, his style on the red carpet and off has become more refined as time has passed.

 

From the days of kids television to Titanic, and eventually wearing his ecological message on his sleeve, this is Leonardo DiCaprio’s style evolution from the 90s to today.

 

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On the set of Parenthood, 1991

 

Before Leonardo DiCaprio became a household name, he was a plucky teenager appearing in kids TV. In the early 90s, the young actor was cast as Garry Buckman in Parenthood, a short-lived series inspired by the Ron Howard movie of the same name. It only lasted one season, but Leo’s face was beamed into living rooms across America, dressed most famously in stonewash denim, vintage-style plaid and a camouflage overshirt. It wasn’t his own wardrobe, but it showed off the early stages of this newly formed star.

 

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At an AIDS fundraiser, 1992

 

Two years before starring as the drug-addicted teen in The Basketball Diaries, and a year before his What’s Eating Gilbert Grape breakout, a baby Leo rocked up to an MTV-held AIDS basketball fundraiser in full regalia. For the event (in which we assume he partook), he wore a Champion basketball jersey, white Nike tube socks and a pair of black Air Maestro Flights, a silhouette long-gone out of production. But the real piece de resistance? The triple-layered basketball shorts. An inexplicable but otherwise iconic flex.

 

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At the What’s Eating Gilbert Grape premiere, 1993

 

In what would become a rare moment of creative casualwear for Leo, he showed up to the premiere of What’s Eating Gilbert Grape alongside co-star Johnny Depp. Forgoing a suit or a standard T-shirt and jeans look, Leo paired navy slacks and a tan belt with a ribbed cardigan layered beneath a contrast stitch workman jacket. As would become standard, it’s the accessories that make it memorable: a red and blue friendship-style beaded necklace.

 

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In New York City, 1993

 

The year is 1993 and Leonardo DiCaprio is quickly becoming Hollywood’s hot property. Having just turned 19, he was in New York City (presumably doing press for What’s Eating Gilbert Grape) when this picture was taken. In it, we see the first proper look at Leo’s relaxed personal style, at the time akin to industry peers like River Phoenix and Keanu Reeves. Leo layered a basic white T-shirt under a black fine-knit sweater, pairing the top half with the 90s go-to, blue jeans. But it’s the accessories that pop here: not only is Leo rocking a snake-chain necklace, but a silver chain attached to the waist of his jeans.

 

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Departing LAX, 1993

 

In the midst of promo on his first feature film (the underseen This Boy’s Life), Leo flexed this airport look for an LA paparazzo as he prepared to board a flight to Dallas, Texas. A standout image that seems to carry 90s teen style culture, Leo layered a terry polo shirt under a classic grey jersey sweatshirt, alongside his go-to blue denim and a pair of Puma Suedes. This is one of the first photos we’d get of him wearing a baseball cap (this one bears the mascot of a Cleveland team) — an accessory he’s still wearing regularly today.

 

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At the Golden Globes, 1994

 

With What’s Eating Gilbert Grape deemed a critical success, Leo had become American cinema’s new-found heartthrob — and racked up a Golden Globe and Oscar nomination in the process. In early 1994, Leo turned up to his first Globes in a red carpet look that remains his most ostentatious. Breaking formal codes, Leo paired his super wide-lapelled tuxedo jacket and chequered waistcoat with a monk-neck shirt — no bow tie. Intentional style statement or not, it aligned perfectly with his public positioning as the new kid on the block: roguish, and willing to take risks.

 

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On the red carpet with Gwyneth Paltrow, 1994

 

Weeks after his Globes red carpet appearance, Leo was invited to the National Board of Review awards ceremony in New York. Having flaunted his laidback take on black tie a few weeks prior, here he opted for a preppier formal look. Spotted on the red carpet alongside Gwyneth Paltrow, he wore another monk neck collared shirt, this time paired with a slouched navy corduroy suit.

 

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In Romeo + Juliet, 1994

 

This is something of a cheat move, considering it’s not an original Leo wardrobe look, but it has been branded into our brains as the quintessential image of the young actor. In 1996, the Baz Luhrmann-helmed cult classic, Romeo + Juliet, blessed us with a number of iconic outfits that would become talking points decades after the movie’s release. Romeo’s Hawaiian shirt — a proudly off-kilter take on Shakespearean fashion — undoubtedly had an effect on Leo’s position as a stylish star in contemporary Hollywood.

 

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Front row at Versus Versace, 1997

 

In 1997, as the fashion world went starry-eyed over Leonardo’s turn in Romeo + Juliet — not yet aware that he’d soon become the star of the biggest movie ever made, Titanic — Leo made a rare visit to fashion week. Despite the fact that his looks are retroactively celebrated, Leo wasn’t formally engaged with the fashion world in the manner that many celebrities of his calibre were at the time. His appearance at the 1997 Versus Versace show, mere months before Gianni passed, was therefore a real surprise. He went low-key for the affair and sat front row in a casual black suit and wide-collared brown shirt. Once again, it’s his accessories that stand out: those sunset orange-tinted glasses, rimmed with gold, are eyewear catnip to 2020 fashion enthusiasts.

 

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Backstage at an A Tribe Called Quest show, 1998

 

Six months after Titanic became a record-breaking Oscar hit, Leo had started to pull back from public life and red carpet events. As such, sightings of him were few and far between. But his style remained consistent with the slouched, unpretentious aesthetic he’d established in his teens. Backstage at an A Tribe Called Quest show in the summer, Leo appeared alongside stars Q-Tip and Harmony Korine, donning a white T-shirt and gold embroidered Boston Red Sox cap. Unfussy; a standard look he’d carry into the 00s.

 

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At the Screen Actors Guild Awards, 2005

 

The early 00s saw Leo rock up to premieres and photocalls for movies like Catch Me If You Can, The Beach and The Aviator in a series of grey or black suits — insights into his personal fashion sense were hard to pin down. But an image from the rehearsals for the Screen Actors Guild Awards in 2005 caught him casually. In it, you can see clearly what matters most to him. An advocate for environmental policy and combating the climate crisis, Leo wore a long-sleeve T-shirt bearing the logo of the NRDC, a charity that, since 1970, has worked to fight climate change.

 

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Attending an Oscar nominee luncheon, 2006

 

Formality shaped Leo’s wardrobe by the mid-2000s. Gone were the roguish looks of his teen years and twenties; in their place, rare public appearances were shaped almost entirely by the conservative nature of red carpet wear. His get-up for the 2006 Oscar nominee luncheon (the year he was nominated for Blood Diamond) was a pinstripe grey suit with open-collared shirt. A classic. 

 

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At the Oscars, 2016

 

Over two decades after securing his first Oscar nomination as a teenager, and with six nominations under his belt, Leonardo DiCaprio hit the red carpet at the 2016 Academy Awards in a slick Giorgio Armani tuxedo. That night, he took home the Best Actor prize for The Revenant, and dedicated a large part of his speech to the underprivileged and indigenous people: “Let us not take this planet for granted, I do not take tonight for granted”. Leo had grown up, had worn his bow tie this time and, finally, won big.

 

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Jesse Plemons, Not Leonardo DiCaprio, Will Lead Scorsese’s Killers of the Flower Moon

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Jesse Plemons has landed the lead role in Martin Scorsese’s Killers of the Flower Moon, The Hollywood Reporter reports. Plemons will play Tom White, an FBI agent investigating the murders of the oil-producing Osage Nation in 1920s Oklahoma. Scorsese favorite Leonardo DiCaprio, who has been attached to the film since 2017, will instead be playing a secondary character alongside Robert De Niro. The film is set to shoot this summer for Apple, despite Scorsese’s notorious dislike of streaming (but apparent love for its budget). Plemons worked with Scorsese previously on The Irishman and also starred in the weirdest film of this weirdest of years, I’m Thinking of Ending Things, though perhaps he is remembered most fondly as Landry Clarke in Friday Night Lights. Maybe now he’ll get the household name recognition he deserves.

 

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Today is last day of filming on Look Up

 

It is due to wrap after 62 days of filming

 

 

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Jade

 

Tks for latest articles and especially Waltz’s comments about Leo :) 

 

For those of you who saw Scorsese’s Irishman = Plemmons  played Jimmy Hoffa’s  adoptive son who aids DeNiro in luring Hoffa to the “hit” 

 

 

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