Leonardo DiCaprio - (Please Read First Post Prior to Posting)

[Lilja K]

4 minutes ago, Sugarwater said:

Found my video and some more pics.

You can see the back of Leo walking through the rubble at the beginning.

 

https://www.tiktok.com/t/ZTRtHEGaw/
 

https://www.tiktok.com/t/ZTRt911xu/

 

Thank you🌺

[YouNoMe]

Thanks guys for the shout-out and the info. 😍

👏 @Jade Bahr, @Sugarwater, @Lilja K. 

[YouNoMe]

Fun fact...

 

 

[Jade Bahr]

^Haha love those parallels 😍

 

 

So I watched TITANIC again on Tuesday this time with my parents. The cinema was even more crowded than the last time (probably because it was valentines day). Actually the waiting line went through the whole cinema. It was also the first time ever I heard lots of people clapping after the movie ended. It was kinda moving. There was also a group of women (I think my age or maybe a bit younger) who were a mess after the movie. "How cute" was the comment of my mom lol Some other (very young) girls ran straight to the big screen while the credits rolled to take some selfies while giggling like crazies. "Look the next generation of harmed stans" was the dry comment of my dad. For me it's pretty impressive how this 25 years old movie is still capable to get such strong reactions. Call me one movie who manage the same.

My mom also stated compared to the 2012 3D this time it was "just amazing". Even my dad was impressed and he's not a big fan of 3D. I also think it was good for him to see his daughter isn't the only nutcase when it comes to this movie LOL

[akatosh]

Very cool. I plan to see it on  sunday 😄

[YouNoMe]

I know right? @Jade Bahr.

 

 

[Jade Bahr]

 

[Jade Bahr]

Some unseen footage of the Titanic wreck.

 

 

[Jade Bahr]

Titanic Is Still the Purest Expression of Who James Cameron Is

 

As you might have heard, James Cameron’s Titanic reopened in theaters this past weekend. It even made some more money. This is a 3-D rerelease of the Oscar-winning 1997 epic, and what sets it apart from the previous 3-D rerelease (back in 2017) is that this time the film has been retooled with fancy new variable-frame-rate and high-frame-rate technology — the same “motion grading” that was utilized in Avatar: The Way of Water and the Avatar rerelease last September.

 

So how is Titanic with the 3-D and the variable frame rates? I couldn’t tell you. Titanic is one of my all-time-favorite films, but I’d rather remember it the way it was — the way it was produced and the way it looked when it made $1.8 billion, won 11 Oscars, and [cue the swelling strings] captured the hearts of millions, including myself.

 

At the same time, I don’t begrudge Cameron’s nerdy noodling with his greatest picture because this constant need to innovate has proven to be one of his great strengths as a director. Some filmmakers fall in love with the limitless possibilities of technology after some initial successes and disappear down deep, dark career holes (Robert Zemeckis and Ang Lee come to mind), but Cameron seems uniquely able to fuse his visionary side with his artistic one. We might say that Titanic is the purest expression of this.

 

At the time it came out, the knock on the film was that it was one-half corny love story and one-half stunning disaster flick. (Peter Travers of Rolling Stone famously put it on both his top-ten and worst-ten lists.) Many critics dinged Cameron for the clunky dialogue and (what they felt were) unconvincing performances — but they usually praised the second half, in which the ship goes down. The division did seem stark: The first half of Titanic feels at times like it was written by a lovesick teenager, while the second half feels like it was conceived by a sadistic engineer designing an ornate torture device.

 

While I understand these criticisms, I’ve never shared them. Because the structure of Titanic is the point of Titanic: It’s all about the collision between the snarky, tough-guy, tech-head ethos and the soft, the vulnerable, the emotional. We can sense this in the film’s opening scenes as Bill Paxton’s undersea explorer, Brock Lovett, utters flowery narration while holding a video camera up to a monitor display of the Titanic wreck. “It still gets me every time,” Lovett intones as Paxton’s resonant, grown-up-surfer-boy voice makes us wonder if he’s being remotely sincere, “to see the sad ruin of the great ship sitting here, where she landed at 2:30 in the morning, April 15, 1912, after her long fall from the world above.” Then his assistant breaks the spell, chuckling: “You’re so full of shit, boss,” he says, and the two men crack up.

 

Paxton’s character isn’t discussed much when it comes to Titanic, but he’s clearly a stand-in for Cameron himself, the cynical, high-tech treasure hunter who is about to have his heart broken by the story of an old shipwreck. We see the flip side of this just a couple of scenes later, when Cameron cuts away from the cool, steely hues of the salvage ship to find the aged Rose Calvert (Gloria Stuart) in her cluttered, warmly lit, flower-filled home, where she’s working a potter’s wheel when she sees the TV report of Lovett revealing the discovery of a sketch of the young Rose. Here, then, are the two extremes of the picture, presented in pointed visual contrast, almost as if two completely different films have begun to bleed into each other.

 

This duality within Cameron of the hard-ass and the softy — which I already wrote about a couple of times last year — had always been evident in his work, but it really wasn’t until Titanic that the two sides seemed to take equal hold. In the director’s earlier films, the emotional and personal is often a powerful grace note beneath the action — whether it’s Ripley’s maternal instincts for Newt kicking in during Aliens (1985) or the sentimental turn the relationship between Arnold Schwarzenegger’s T-800 and Edward Furlong’s John Connor takes in Terminator 2: Judgment Day (1991). Cameron did try to alter the mix in The Abyss (1989), which is a tough-as-nails action-thriller that transforms in its final act into an earnest tale of marital reconciliation (and then dorky, wide-eyed, underwater alien wonderment, but that’s a different story). The Abyss is an imperfect masterpiece, but the way that picture uses the tale of an estranged husband and wife’s renewed love for each other to undercut its own macho theatrics holds the seeds of Titanic, a movie that embodies the rift in Cameron’s soul as well as its reconciliation.

 

The director returns to this clash of sensibilities over and over again in Titanic. Hearing Rose’s story, Lovett and his men respond like engineers, obsessed with the mechanics of what’s happening. (“He figures anything big enough to sink the ship they’re going to see in time to turn. But the ship’s too big with too small a rudder. It can’t corner worth shit!”) Rose, meanwhile, focuses not on what objects do but what they evoke — the way she might look in a hand mirror she last handled 84 years ago or at an Art Nouveau comb she ran through her hair as a girl.

 

What does technology have to do with any of this? Obviously, the story of the RMS Titanic is, on a narrative level, a story of man-made grandiosity and hubris, a vision of progress and industry consumed by the ancient icebergs of the great ocean. And Cameron, in making a movie out of it with all the state-of-the-art visual effects that the money of two major studios could buy, knows that he’s working in the same tradition of deluded ambition and extravagance, ready to be undone by forces beyond his control. But he’s built that idea into the aesthetic of his film. The ship is destroyed by the forces of nature, of course, but also, the smart-aleck dudes who find the wreck are emotionally undone by the story of a doomed love affair. In Cameron’s world, these are essentially the same things: The Avatar movies, for example, are all about humans with superior machinery and firepower being defeated by Na’vi warriors who are in direct touch with the natural world — which includes not just oceans and forests and animals but also forces like love, constancy, patience, and family.

 

And Cameron knows to use technology for both sensation and emotion. For all the great effects in Titanic — all those impressive shots of the ship charging through the sea, not to mention the harrowing images of the vessel’s stern hanging in the air as CGI people drop off it — the one that always blows me away is far more intimate. In what is perhaps the film’s most transporting and romantic moment, our lovers stand tightly against each other at the bow of the ship. Jack tells Rose to close her eyes, and when she opens them, she feels like she’s flying through the waves. Framed by the light of an orange sunset, they look out at the blue expanse, their hands gently a-tangle, and kiss. But then, slowly, the shiny new ship around them transforms into a bleak, barnacled wreck, and blue darkness consumes them. The blending of the images is so gradual that young Rose’s shawl is left fluttering phantomlike in the depths for an instant before it, too, fades away. The camera then pulls back to reveal that we’re back in the present, looking at an image of that submerged, decaying bow on a monitor. It then pulls back further to reveal the aged Rose’s face, watching and remembering.

 

Here’s a scene that gains power as the image morphs before our eyes — a tender reminder that nothing lasts forever and that it all can pass in the blink of an eye. A young girl with her whole life ahead of her suddenly becomes an elderly woman with her whole life behind her. Cameron is rightly regarded as a showman who uses visual effects and cinematic technique to blow us away with action and spectacle. But it’s in his ability to also use such tools to quieter, expressive ends that is where he shows his true artistry. And I don’t think he’ll ever top Titanic.

 

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Why Titanic Is Still A Masterpiece 25 Years Later

Titanic's cultural impact has ceased to fade since its release 25 years ago. The James Cameron film is a timeless model of spectacle and substance.

 

A quarter-century has passed since James Cameron's Titanic captivated the world with its story of Rose Dewitt-Bukater's and Jack Dawson's romance aboard the ill-fated ocean liner in 1912. Inspired by the real-life RMS Titanic, which collided with an iceberg and sank in the Atlantic Ocean during its maiden voyage from Southampton, England, to New York, Cameron's film intertwined history's most famous maritime disaster with the fictional love story between Rose, a 17-year-old aristocrat played by Kate Winslet, and Jack, a 20-year-old indigent artist portrayed by Leonardo DiCaprio. In the 25 years since Titanic's release, its enormous impact on cinema and popular culture has ceased to fade.

 

Although not the first motion picture to recount the Titanic's sinking, Cameron's film made history thanks to its astronomical budget and high production quality for its day. Titanic's attention to detail and intense drama bolsters the movie's storytelling ambition and generates a gripping viewing experience. However, Titanic is more than a romance or disaster tale. Instead, the sum of its parts embodies a timeless historical drama and coming-of-age story that delivers spectacle and substance.

 

Titanic's Cultural Impact Is Massive

 

In 1998, Titanic earned 14 Academy Award nominations and won 11 Oscars, including Best Picture. Titanic's success in the late 1990s was undeniable, but its real achievement lies in its enduring cultural impact. After its release, Cameron's film skyrocketed to the worldwide box office's top spot, remaining for 15 consecutive weeks. As a result, Titanic became the first movie to gross $1 billion and the world's highest-earning title for 12 years. Today, Titanic ranks as the third-highest-grossing film of all time, with a profit of roughly $2.2 billion.

 

Winslet and DiCaprio's spellbinding performances cemented Rose and Jack as iconic movie characters and propelled the remarkable careers the two actors have built since. Titanic's famous scenes associated with the lines "I'm flying, Jack," "I want you to draw me like one of your French girls," and "I'll never let go" are instantly recognizable for many and often referenced in relation to the film. Furthermore, the age-old debate over whether Jack could have survived by joining Rose on the floating debris continues to this day.

 

It's impossible to name a more renowned original song than Celine Dion's "My Heart Will Go On," a ballad that won the Oscar and Golden Globe for Best Orginal Song and four Grammys. Titanic's influence on the world has not faltered over the last 25 years. While the Titanic disaster was already an eminent historical event, Cameron's film turned it into a cultural phenomenon.

 

Titanic Was Ahead Of Its Time In 1997

 

Before 1997, cinema had not seen a production as enormous as Titanic. With a budget of around $200 million, Titanic was the most expensive movie ever made at its time of release. A combination of cutting-edge CGI and practical effects worked to recreate the Titanic and its sinking, for which Cameron also commissioned a 775-foot partial replica of the legendary ship.

 

Additionally, Cameron traveled to the Titanic wreck site 33 times to capture the raw footage seen in the film. Every detail of the Titanic's interior — from the luxurious grand staircase to the third-class lower decks — makes the ship feel truly alive, while the characters' costumes designed by Deborah Lynn Scott expertly characterize the period.

 

Titanic's production quality is stunning for a 25-year-old film, as it still stands out among today's major blockbusters despite the many technological advancements in cinema over the last two decades. From the poignancy and command of James Horner's original score to the film's engrossing cinematography and sound design, Titanic was a trailblazing production in 1997 that remains a technical marvel in the modern cinematic landscape.

 

Titanic's Legacy Lies In Its Storytelling

 

Titanic's most overlooked triumph is its rare status as a high-budget standalone blockbuster that champions a woman's perspective. Titanic is a romance, disaster film, and coming-of-age story all at once. However, despite its element of spectacle, Rose's self-discovery journey and emancipation from her oppressive circumstances lie at the movie's core. In coordination with the "ship of dreams," Titanic's fictional elements deliver more substance than a typical cliché-ridden romance, as Rose and Jack's love story defies many tropes of the genre relating to gender roles and female agency.

 

The novelty of Titanic's storytelling makes it so remarkably impactful, as the film highlights the power of love, no matter how brief, to alter the trajectory of one's life. Forcibly betrothed to her abusive fiancé, Cal Hockley (Billy Zane), to pay off her deceased father's debts, Rose boards the Titanic considering the vessel a "slave ship" taking her to "an endless parade of parties and cotillions, yachts, and polo matches" accompanied by "the same narrow people, the same mindless chatter." A 101-year-old Rose reflects, "I felt like I was standing at a great precipice, with no one to pull me back, no one who cared or even noticed."

 

In Jack, Rose encounters the first person who views her as a human being, granting her the space to explore her identity and make her own decisions. Jack's presence, combined with the disastrous events leading to the Titanic's demise, ultimately enables Rose to choose her own destiny. While Titanic employs the Romeo-and-Juliet concept of a forbidden relationship, Rose and Jack's romance isn't concerned with whether their affinity would have lasted in the real world. Instead, Jack merely serves as the catalyst for Rose's liberation, rescuing her from suicide and inspiring her to live a long and prosperous life following the Titanic disaster.

 

Rose's epiphany through her relationship with Jack ultimately arises from her choices. Despite the immense privilege of being a wealthy white woman in 1912, Titanic emphasizes how status can weaponize itself against women who reject society's rigid expectations for them. Rose's aspirations don't involve existing as a prop for a materialistic husband to control and belittle. Thus her acquisition of agency constitutes the film's most significant theme — more so than the idea of true love. Through Rose and the Titanic's stories, Cameron not only details the importance of self-autonomy but also criticizes unbridled hubris and materialism, which arguably contributed to the "unsinkable ship's" premature end.

 

Elsewhere, Cameron impressively augmented Titanic's historical narrative by including many real-life crew and passengers. From Captain Smith (Bernard Hill) to Thomas Andrews (Victor Garber) and famous first-class passengers like Margaret "Molly" Brown (Kathy Bates) and John Jacob Astor (Eric Braeden), among a multitude of others, the film emphasized telling the true stories of the 2,240 people who sailed on the Titanic in addition to its fictional characters.

 

Titanic's extensive narrative succeeds because Cameron dedicates enough time to exploring the ship before and during the sinking — so much so that the Titanic becomes a character in the film thanks to its lengthy first half spent exploring the living, breathing ship in all of its glory. In the hour and 40 minutes before the Titanic hits the iceberg, Cameron adequately develops Rose's predicament and her evolution from meeting Jack to the moment they fall in love. The chaotic and intense remainder of the movie offers the appropriate impact thanks to Titanic's deliberate pacing.

 

Titanic's 3-hour-and-14-minute run-time enables all facets of its story to breathe without one overshadowing the other and allows for the lifetime's worth of character development Rose undergoes from her three days on the Titanic to resonate with viewers fully. Moreover, it's fitting that Rose and Jack's unlikely romance coincides with the extreme irony of a ship so loudly declared unsinkable plunging to the ocean floor on its first voyage. The extraordinary nature of both scenarios blurs the line between fiction and reality and enables Titanic's sensational fictional narrative to coexist perfectly in tandem with actual history.

 

Why Titanic Is Truly Timeless

 

Titanic's unique blend of drama, action, tragedy, romance, and history makes the film a timeless phenomenon appealing to many audiences. Even 25 years later, the glorious sequences of the Titanic sailing in daylight and the ship's harrowing descent beneath the waves likely won't ever appear dated. Furthermore, the capitulation of what once was the world's largest man-made moving object will never cease to fascinate people — even more than a century later.

 

While any well-made romance movie can eternally capture an audience's heart, Titanic's multifaceted approach to storytelling renders its narrative remarkably timeless, as the significance of Rose's story persists due to society's continuous assault on women's self-autonomy around the world today. As much in 2022 as it was in 1997, Titanic remains a cinematic masterpiece.

 

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Titanic's Huge Re-Release Proves It's the Biggest Box Office Rule Breaker

Titanic's massive 25th-anniversary re-release success proves it breaks all the box office rules established by other top 10 blockbusters.

 

Titanic was one of the highest-grossing movies this weekend, 25 years after its initial release, proving it continues to break all the box office rules. Titanic originally became the highest-grossing movie of all time in 1997, a title it held for over a decade until the release of Avatar in 2009, staying in second place for another decade until Avengers: Endgame finally pushed it down to number three.

 

While Titanic pretty clearly stands apart as an anomaly among the other top 10 movies, it actually breaks a number of unofficial rules seen in trends set by almost every other massive box office hit. A lot of the things that make Titanic's box office unique were more common in top-grossing movies in the 90s, but the fact that Titanic persists in the top 5 highest ranking box office performers ever shows just how much it stands out from the crowd.

 

Titanic is the Oldest Movie in the Top 10 Box Office

 

Released in 1997, Titanic is by far the oldest movie in the list of top 10 highest-grossing movies of all time. The next oldest movie is the #1 ranked Avatar, which released in 2009, and the next oldest is the #10 ranked The Avengers from 2012. Only 11 of the top 200 movies were released before the turn of the century, and the next highest-ranked pre-2000 movie is Jurassic Park from 1993, ranked 31st overall, so Titanic's continued presence in the top 10 is especially notable.

 

In fact, adjusted for inflation, Titanic still ranks second behind Avatar on the top 10 all-time box office list. The numbers are a little weird because both movies have seen multiple re-releases, meaning multiple yearly subtotals need to be adjusted for inflation, but Avatar's cumulative total adjusted for inflation is approximately $4.06 billion, while Titanic's inflation-adjusted total is approximately $3.9 billion, both with clear leads over the #3, Avengers: Endgame with an inflation-adjusted total of approximately $3.3 billion.

 

Titanic's Genre Doesn't Fit The Other Top 10 Box Office Movies

 

A quick glance at the other top 10 movies quickly reveal just how out of place Titanic is compared to the genres of the other nine movies on the list. Other than Titanic, the top 10 includes Avatar, Avengers: Endgame, Avatar: The Way of Water, Star Wars: The Force Awakens, Avengers: Infinity War, Spider-Man: No Way Home, Jurassic World, The Lion King, and The Avengers. While Titanic is a standalone period drama, everything else on the list is a sci-fi/fantasy franchise, other than The Lion King, which is one of Disney's live-action remakes. Four of the top 10 are MCU movies.

 

To illustrate just how alone Titanic is among the top-grossing movies, the vast majority of the top 200 movies of all time are sci-fi/fantasy, action, or animation franchises, and the next highest movie on the list that could be characterized as a "drama" is Joker at #36, which is obviously still a comic book movie. The next biggest outlier on the list is Bohemian Rhapsody at #68. Titanic's presence on the list isn't just a genre anomaly, it's a totally unique phenomenon.

 

Titanic's 3-Hour Run Time is Way Longer Than Most Blockbusters

 

Now that the three-hour-long Avatar: The Way of Water is the fourth highest-grossing movie of all time, it's that uncommon for a longer movie to be on the list, particularly at the top, with second place Avengers: Endgame, third place Titanic, and fourth place Avatar: The Way of Water all clocking in at over three hours, but it's still an anomaly overall, as the general convention is that longer movies are riskier at the box office since they can't be shown as many times per day at a given theater.

 

With an average runtime of just under two-and-a-half hours from every movie in the top 10 (including the three-hour movies), Titanic's three hours and 14-minute runtime is a big outlier. Excluding the three-hour movies, the average for the other seven movies in the top 10 is just two-hours-and-15 minutes, over an hour shorter than Titanic.

 

Titanic's Box Office Performance Doesn't Look Like Any Other Blockbuster

 

In December 1997, Titanic opened to $28.6 million in its first weekend, which is by far the lowest opening weekend in the box office top 10. The next highest is Avatar's $77 million in 2009. Adjusted for inflation, Titanic's opening comes out to $53.4 million in today's dollars, which would still be the lowest opening weekend in the top 10. Titanic's real performance came from its legs. While most movies in the top 10 earned the majority of their total box office in just a few weeks, Titanic's performance stretched out for months. The average multiplier (calculated by dividing the total domestic box office by the opening weekend) for the top 10 excluding Titanic is 3.72, while Titanic's multiplier is 23.02.

 

Compared head-to-head against the second-highest-grossing movie, Avengers: Endgame, Titanic was outgrossed by Endgame for the first 27 days of its run, but day-over-day Titanic made more after that point. Endgame's box office run lasted 35 weeks, but Titanic's performance stretched out for an insane 54-week run, giving it an entirely different box office trajectory than any other movie in the top 10.

 

Titanic Is Still Making Big Bucks At the Box Office

 

Titanic's box office performance doesn't only include its initial 54-week run, either. Typically movies don't make much money after their initial box office run. If they are re-released, its' usually in a limited capacity for a short period of time, making just a few hundred thousand of a few million dollars at most, but Titanic has seen multiple massively successful re-releases, pumping up its box office totals decades after its initial release.

 

Its first re-release came in 2012 for a 3D remaster. During that re-release, Titanic made an astounding additional $350.4 million worldwide. Titanic ranked 21st in the 2012 box office, beating movies like The Lorax and The Expendables 2, which is impressive for a 15-year-old (at the time) movie. This last weekend Titanic was released again for its 25th anniversary, and so far it's grossed $6.4 million domestically and $22.3 million globally, making it one of the top movies at the box office once again.

 

Titanic isn't the only James Cameron movie to see a successful re-release, as the original Avatar has also seen multiple highly lucrative re-releases. In the case of Avatar, a 2021 Chinese re-release earned almost $58 million, pushing Avatar back to the #1 spot after it was briefly passed by Avengers: Endgame in 2019. Ironically, Titanic's re-release comes at the perfect time in Avater: The Way of Water's run, preventing it from claiming the #3 spot at the end of the weekend. The Way of Water may still pass Titanic in the coming weeks, but it just goes to show how much of an impact the movie still has 25 years later.

 

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[Jade Bahr]

KOTFM update.

 

 

Martin Scorsese ‘Killers of the Flower Moon’ is Still Being Edited

You have to wonder why it’s taken so long for Martin Scorsese’s “Killers of the Flower Moon” to be ready. I just heard back from someone saying that he’s still editing the film. Even by Scorsese/Schoonmaker standards, the post-production process has been very long.

The plan, I’m told, is still still a world premiere at Cannes with a fall rollout at various film festivals, but, my source adds, “nothing is certain.”

‘Killers’ was all set to have a teaser released last August, with a late fall release to boot, and then came Scorsese’s sudden call for more reshoots in NYC, mostly having to do with the film’s coda.

Initial production on the $200 million budgeted ‘Killers’ wrapped in October of 2021. Then a series of reshoots occurred in mid-2022, both in New York City and Oklahoma.

When it gets released this fall, it’ll probably have been close to two years since production had wrapped on the film. This would break Scorsese’s post-production length record, 2010’s “Shutter Island” took about 20 months.

Source

 

[Lilja K]

1 hour ago, Jade Bahr said:

KOTFM update.

 

/cdn-cgi/mirage/41470afe617558de309a8bb8b7b315c76ab8e1c07642ab304fa72befa6602115/1280/https://i.pinimg.com/originals/d4/85/a7/d485a7e57a7e5fb203b1de2f8c6934b3.gif

 

Martin Scorsese ‘Killers of the Flower Moon’ is Still Being Edited

You have to wonder why it’s taken so long for Martin Scorsese’s “Killers of the Flower Moon” to be ready. I just heard back from someone saying that he’s still editing the film. Even by Scorsese/Schoonmaker standards, the post-production process has been very long.

The plan, I’m told, is still still a world premiere at Cannes with a fall rollout at various film festivals, but, my source adds, “nothing is certain.”

‘Killers’ was all set to have a teaser released last August, with a late fall release to boot, and then came Scorsese’s sudden call for more reshoots in NYC, mostly having to do with the film’s coda.

Initial production on the $200 million budgeted ‘Killers’ wrapped in October of 2021. Then a series of reshoots occurred in mid-2022, both in New York City and Oklahoma.

When it gets released this fall, it’ll probably have been close to two years since production had wrapped on the film. This would break Scorsese’s post-production length record, 2010’s “Shutter Island” took about 20 months.

Source

 

I'll post it again😂

[YouNoMe]

This blast from the past. Lookin' like his granddad, Wilhelm. 

 

 

[LuckyGirl]

 

[Jade Bahr]

So I started reading BLOOD ON SNOW and it's... so bad. I'm still debating with myself if I should read on after the male main character finding poorly excuses in one whole chapter why he's a hitman - mainly because he sucks in beating the shit out of women what makes it impossible for him to work as a pimp but he has no regrets in killing them (like this are his only options to make money). I mean uhm... WHAT???

 

Eventually I missed something here but so far this is my review of the book

 

That explains why Leo dropped out and Tobey jumped in LOL

 

On the other hand I watched the movie based on Jo Nesbos book Midnight Sun called

and it wasn't that bad. It's also about a hitman. Does this dude ever write about something else? LOL

 

Also worth to mention

Spoiler

Alessandro Borghi is pretty hot

 

Those eyes? Lord

 

[Jade Bahr]

Just another Austin praising Leo round.

 

Austin Butler Looked Up to Leonardo DiCaprio's Career When He Was Younger

Austin Butler is opening up about looking up to Leonardo DiCaprio.

 

The 31-year-old Oscar nominated Elvis star recently opened up about whose career he thought his would look like when he was a teenager doing auditions, and he noted Leo, who also started out at a young age.

 

“I started looking at a lot of different people’s careers. And Leo, when I was about 15, became that guy, because he’d made that transition [from child actor]. Every film that he chose, you could see the level of passion that he still had for the work,” Austin shared with Vanity Fair. “And that’s been a surreal thing, looking back at what my dreams were when I was 15, and then getting to work with the people that he got to work with, getting to be on set with him. There’s a lot of these pinch-me moments in my life and that’s definitely one of them.”

 

“I remember being younger, being 16 or something, and comparing myself to what I saw in Leo’s career when he was 19 or something, going from Gilbert Grape and Basketball Diaries and then Titanic. I was 20 and I was looking back and going, ‘Oh, no, my dreams are never going to come true in the same way,’” he added.

 

“I mean, I had times where I just thought, Oh, maybe it’ll never happen or I’ll never get those opportunities. But now, in retrospect, I can look back and go, if I had some film that hit really big when I was younger, I wouldn’t have had to keep going back to the drawing board and saying, ‘How do you get better at this?’”

 

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[Lilja K]

23 minutes ago, Jade Bahr said:

Just another Austin praising Leo round

It's nice to see that people still admire Leo, he really deserves 💖

[Jade Bahr]

credit to hellodergisi

 

Some input

[LuckyGirl]

 

[oxford25]

We don't see Leo in these pix, but supposedly Leo is in LONDON and threw a pre Bafta party last night  

 

 

Quote

Maya Jama looked sensational on Saturday as she joined a star-studded turn out for Leonardo DiCaprio's pre-BAFTA party in London.

The television presenter, 28, showed off her incredible physique in a figure-hugging black dress with a racy cut-out down the side and tassels flowing at the bottom.

The garment hugged the Love Island host's curvaceous physique and left plenty of skin on show as she left the party at The Twenty Two in London.

 

https://www.dailymail.co.uk/tvshowbiz/article-11768597/Maya-Jama-shows-incredible-physique-joins-Leonardo-DiCaprio-pre-BAFTA-party.html\\

 

 

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