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

[LuckyGirl]

15 minutes ago, akatosh said:

@LuckyGirlThe part about KOTFM is at about 4:31. The jokes were all bad but at least he didn't use the Leo's young girlfriend one...

 

 

Thanks

yeah at least he didn't and he wasn't funny AT ALL 

but I didn't understand the joke? What does he mean by " premise of the movie"? What did they steal?

[Jade Bahr]

2 hours ago, LuckyGirl said:

but I didn't understand the joke? What does he mean by " premise of the movie"? What did they steal?

He meant the movie should have been focused on the Osage instead the white dudes who already stole everything and now also the movie lol

 

[LuckyGirl]

18 minutes ago, Jade Bahr said:

He meant the movie should have been focused on the Osage instead the white dudes who already stole everything and now also the movie lol

Ahaaaa got it, thanks

 

[akatosh]

The La Times still has Leo on their prediction list:🙏

 

ACTOR
Leonardo DiCaprio, “Killers of the Flower Moon”
Bradley Cooper, “Maestro”
Paul Giamatti, “The Holdovers”
Cillian Murphy, “Oppenheimer”
Jeffrey Wright, “American Fiction”

Possible surprise: Colman Domingo, “Rustin”
Possible snub: DiCaprio

The “Killers” team was so focused on Gladstone that it took for granted that voters would reflexively check off the box next to DiCaprio’s name. Then DiCaprio didn’t land a SAG Awards nomination. The next day, Apple deluged voters with an ad trumpeting DiCaprio’s turn as his “most complex and transformative performance yet.” That might be a stretch, but DiCaprio is terrific as the gullible dimwit who falls under his uncle’s spell and helps plot the murders of his Osage wife’s family. But many voters I’ve talked with are so repulsed — and, at times, confused — by the character’s actions that they can’t vote for him. That might leave the door open for Domingo’s dynamic turn as civil rights hero Bayard Rustin.

 

 

https://www.latimes.com/entertainment-arts/awards/story/2024-01-19/oscar-nominations-2024-predictions?utm_source=reddit.com

 

[Pami]

Some nice words here, I agree when he says Leo is the G.O.A.T of acting.

 

https://www.hollywoodreporter.com/tv/tv-news/jacob-elordi-euphoria-leonardo-dicaprio-saltburn-candle-1235793067/

 

@akatosh

I'm afraid Leo may get an Oscar snub this time. But let's see, in case he doesn't make it to the Oscars, I won't even waste my time watching it. But, let's still hope for the best.

[akatosh]

 

 

[LuckyGirl]

https://vm.tiktok.com/ZGeMVw2E3/

[Jade Bahr]

Oscars: ‘Killers of the Flower Moon’ and ‘Maestro’ stars aim for distinction 28 years in the making

 

In the 95-year history of the Academy Awards, 88 films have each received nominations for both Best Actor and Best Actress. Although there have been 19 cases of two or more movies doing so in a single year, there hasn’t been such an occurrence since 1996, when both lead lineups included performers from “Dead Man Walking” and “Leaving Las Vegas.” However, according to Gold Derby’s late-stage 2024 Oscar nominations predictions, that nearly three-decade gap is set to soon be closed by costar pairs from “Killers of the Flower Moon” and “Maestro.”

 

The vast majority of the Oscars prognosticators who’ve been shaping our odds all season agree that Leonardo DiCaprio and Lily Gladstone (“Killers of the Flower Moon”) and Bradley Cooper and Carey Mulligan (“Maestro”) will all clinch academy mentions for their lead performances. The last such quartet consisted of eventual winners Nicolas Cage (“Leaving Las Vegas”) and Susan Sarandon (“Dead Man Walking”) and their respective costars, Elisabeth Shue and Sean Penn.

 

That was only the fourth time that a pair of similarly nominated films split the two trophies, following instances in 1940 (Robert Donat, “Goodbye, Mr. Chips” and Vivien Leigh, “Gone with the Wind”), 1952 (Humphrey Bogart, “The African Queen” and Leigh, “A Streetcar Named Desire”), and 1978 (Richard Dreyfuss, “The Goodbye Girl” and Diane Keaton, “Annie Hall”).

 

In all, the 19 past sets of two or three nominees for both awards produced nine male and 10 female winners. The only two films that took both prizes were “Network” (1977, Peter Finch and Faye Dunaway) and “On Golden Pond” (1982, Henry Fonda and Katharine Hepburn), leaving “Rocky” and then both “Atlantic City” and “Reds” with neither.

 

Those 1982 movies were the last trio to jointly pull off this nominations feat, following “The African Queen,” “A Place in the Sun,” and “A Streetcar Named Desire” in 1952 and “Bonnie and Clyde,” “The Graduate,” and “Guess Who’s Coming to Dinner” in 1968. There’s virtually no chance of that subset growing this year, unless “Past Lives” stars Teo Yoo and Greta Lee both miraculously land bids alongside the two expected duos.

 

As of now, our odds indicate that the “Killers of the Flower Moon” and “Maestro” leads will ultimately be defeated in both categories by Cillian Murphy (“Oppenheimer”) and Emma Stone (“Poor Things”). From a historical standpoint, this would make sense given the fully failed attempts of six previous quartets, the last of whom starred in “The Remains of the Day” (Anthony Hopkins and Emma Thompson) and “What’s Love Got to Do with It” (Laurence Fishburne and Angela Bassett) and lost in 1994 to Tom Hanks (“Philadelphia”) and Holly Hunter (“The Piano”).

 

Fortunately, the current hopefuls can take some comfort in the fact that, based on precedent, the most likely outcome of their situation would involve just one film winning one of the two awards. In this regard, Gladstone or Mulligan would follow Best Actress recipients Greer Garson (“Mrs. Miniver,” 1943), Grace Kelly (“The Country Girl,” 1955), Patricia Neal (“Hud,” 1964), and Hepburn (“Guess Who’s Coming to Dinner”), while Cooper or DiCaprio would emulate Lionel Barrymore (“A Free Soul,” 1931), James Stewart (“The Philadelphia Story,” 1941), and David Niven (“Separate Tables,” 1959).

 

Thinking back over the last 27 years, there were many times when a case like this presumably almost happened, such as when DiCaprio’s 1998 snub for “Titanic” kept it from joining “As Good As It Gets” in both lineups and even when 2017 supporting victor Viola Davis (“Fences”) was initially running a lead campaign that might have put her film on the list alongside “La La Land.” Based on the strength of the current quartet this late in the game, one could argue that there’s never been a better opportunity for a 20th addition.

 

 

[Jade Bahr]

Not really Leo related but after Flower Moon it's now Summer Moon.

 

 

[akatosh]

Cool to see more indigenous stories coming to the big screen. Or am I only just noticing them now because of KOTFM?

 

Clips of the new behind the scenes features on the Titanic 4k Blu-Ray:

 

[Sugarwater]

4 minutes ago, akatosh said:

Cool to see more indigenous stories coming to the big screen. Or am I only just noticing them now because of KOTFM?

They are currently casting a lot of indigenous people here in Oklahoma for something that involves Lou Diamond Phillips. 

[akatosh]

PTA’s New Film Has Started Production in Eureka, California

Production on Paul Thomas Anderson’s new film has begun in Eureka, on the coast of California.

This past December, PTA stated that the film would have a “contemporary setting.” We also learned that the film would be the director’s “most commercial” effort yet. The definition of “commercial” could either be story-wise or the fact that it features one of the biggest stars in the world as part of its cast.

Leonardo DiCaprio is set to star in the film, alongside Sean Penn and Regina Hall. While not confirmed, there have been a few other actors rumored for this “ensemble” film, including Viggo Mortensen, and Rachel Taylor.

The film is still untitled. Warner Bros is backing this one, Anderson wrote the script, and he will be producing the film as well. The plot is also being kept under wraps. A reported budget estimated to be approaching $100 million has been set up for this it. Suffice to say, we’ll be keeping a close eye out on this one.

https://www.worldofreel.com/blog/2024/1/22/23fgn10f818mfdyd9zi4m6uxyi5htf

 

[Sugarwater]

4 hours ago, Sugarwater said:

They are currently casting a lot of indigenous people here in Oklahoma for something that involves Lou Diamond Phillips. 

I couldn’t remember the name when I originally posted, but they just emailed another casting call. It’s called Keep Quiet

[Sugarwater]

2 hours ago, akatosh said:

PTA’s New Film Has Started Production in Eureka, California

Production on Paul Thomas Anderson’s new film has begun in Eureka, on the coast of California.

This past December, PTA stated that the film would have a “contemporary setting.” We also learned that the film would be the director’s “most commercial” effort yet. The definition of “commercial” could either be story-wise or the fact that it features one of the biggest stars in the world as part of its cast.

Leonardo DiCaprio is set to star in the film, alongside Sean Penn and Regina Hall. While not confirmed, there have been a few other actors rumored for this “ensemble” film, including Viggo Mortensen, and Rachel Taylor.

The film is still untitled. Warner Bros is backing this one, Anderson wrote the script, and he will be producing the film as well. The plot is also being kept under wraps. A reported budget estimated to be approaching $100 million has been set up for this it. Suffice to say, we’ll be keeping a close eye out on this one.

https://www.worldofreel.com/blog/2024/1/22/23fgn10f818mfdyd9zi4m6uxyi5htf

 

Yay!!!

[Pami]

4 hours ago, akatosh said:

Cool to see more indigenous stories coming to the big screen. Or am I only just noticing them now because of KOTFM?

 

Clips of the new behind the scenes features on the Titanic 4k Blu-Ray:

 

This is where it all started for me.♥️

[akatosh]

Making of ‘Killers of the Flower Moon’ book created at request of Scorsese

 

The book is currently available for viewing at the Pawhuska City Library. A copy of the book will also be available for public viewing at the Osage Nation Museum, the Wahzhazhe Cultural Center and the White Hair Memorial.

 

“I remember feeling it all became palpably real to me—immediate, living, personal. The story took on a face, but mainly a heart. I was transformed—and daunted by the work ahead.” – Martin Scorsese

This epigraph opens the newly-released Making of ‘Killers of the Flower Moon’ book, a limited-edition luxury book created at the request of the filmmaker in order to document the film. Following the quote from Scorsese on how the Osage changed him, a spread of photos follows, picturing principal cast members juxtaposed with “Wi’-gi-e,” Elise Paschen’s poem from Bestiary.

A luxury coffee table book made by Assouline, the cover features an artistic representation of Wahzhazhe ie orthography designed by Dr. Jessica Moore Harjo and the interior cover design pictures ribbon work by Janet Emde of Grayhorse, in a close-up of the blanket which Lily Gladstone wore in the film. In the table of contents appear the titles of five essays written by Rolling Stone writer and reporter David Fear, and an introduction by Principal Chief Geoffrey Standing Bear. 

Such a “making-of book” is customary for Scorsese movies, according to Chad Renfro, Osage film and consulting producer for KOTFM, and by virtue of precedent, the book will not be for sale. Yet the deeply collaborative nature of Scorsese’s work with the Grayhorse District and the greater Osage community make this movie different from the filmmaker’s other projects, just as the book is different.

 

Chief Standing Bear wrote the introduction, after which cultural context pieces by Shannon Shaw Duty intersperse with five full-length essays by Rolling Stone writer and reporter David Fear, and cinematographic photo spreads. The seasoned reporters expand on subjects such as “Elders,” “Awakening,” and “‘put[ting] away the old things,’” respectively, overall providing an illuminating narrative of the filming, which include morsels such as the behind-the-scenes telling of Lily Gladstone’s and Leonardo DiCaprio’s first scene filmed together on set, and ways in which Osages are now reckoning with the legacy of former wealth, lost traditions, and Boarding School experiences.

After Lily Gladstone’s historic Best Actress award at the Golden Globes, interest in the book is only expected to increase, but currently four copies are planned to be publicly available—at the Pawhuska Public Library, the Osage Nation Museum, the Wahzhazhe Cultural Center, and the White Hair Memorial.

For Gladstone’s role in KOTFM, they became the first Indigenous person to receive the award, but this making-of book reveals that she was not even initially considered in auditions, but had instead agreed to read interlocutor lines for auditioning actors as simply a favor to casting director Ellen Lewis. Scorsese questioned who the actress was, and why she wasn’t in the running, and ultimately, he and DiCaprio settled on her as “[their Mollie].”

The book is intended as an exclusive keepsake documenting the film, but Chief Standing Bear expressed a desire for it to be more public than it has initially been intended to be. He received a copy of Making of ‘Killers of the Flower Moon’ just before leaving for the Golden Globes, and said he is looking forward to reading the whole of it on his return home after attending the 14th Governors Awards for KOTFM. “It would be nice if [the book] was more public, for sale or otherwise,” he said.

In his introduction, Standing Bear wrote that the Osage had been tense about how the film would portray them since first hearing about it. “…[K]nowing that past depictions of the Native American in movies have been less than flattering and sometimes insulting,” he wrote, he went on to describe his first meeting with Scorsese as initially awkward.

“It was a bit awkward when I told him that we liked his movies GoodFellas, Casino, The Departed and others, but frankly, we were concerned his focus on the Osage would be as bloodied murder victims.” Scorsese’s reply did not promise curtailed gore, but it did strike Standing Bear as memorable. The meeting, which Fear writes about in detail later in the book, lasted hours after the filmmaker’s reply: “‘This is a story about trust and betrayal. About the trust of the Osage people and the betrayal of that trust by everyone, and at the same time it is a story of the trust of an Osage woman in her non-Osage husband, and the betrayal of that trust,’” Standing Bear quotes.

 

Bloodied images of Osage death were rampant in the film, but not featured in the book, which displays portraits, movie stills and candid shots of filming captured by Melinda Sue Gordon, Brigitte Lacombe, and Stephen Berkman, the last of whom used historic photograph processes with long exposures, including tin type and dry plate.

Fear’s first essay follows the introduction, and he begins with the last scene filmed, a dance scene filmed on the Osage Nation campus in Pawhuska, Okla., which Fear describes in expansive character detail, along with delivering a characterization of the movie as a “sprawling period piece, a love story, a Freudian family drama, a much-needed corrective regarding crimes unfairly relegated to footnotes in our country’s checkered history … [a] true-story tragedy that can’t easily be summed up.”

Throughout the book, Fear analyses the film as a psychological pseudo-Western created to break the film industry’s cycle of historical Native erasure and maligning via an accurate portrait of enmeshed, dependent abuse born out of a white-and-Native power imbalance. He writes, “It isn’t far-fetched to think that a mythology built on racial bias, one endlessly playing at a theater near you, had primed the pump for a mindset in which Indigenous people were viewed not as fellow Americans but as an obstacle to the American dream,” and does a solid job of engaging the prejudices to which Osages are still subjected to present-day.

Aesthetically, the book matches the aesthetic of the film, which used a European tint for scenes with white actors and a natural color scheme for Osage-only scenes. Throughout the book, Duty’s and Fear’s interviews and exposition contain a treasure trove of insights about not only the making of the film, but also the Osage community.

For instance, the late John Williams is quoted on the meaningfulness of a younger member of the tribe being the one to write the song used in the final dance scene, and how that contribution proves there is a generation who can still carry on culture and traditions. Everett Waller is reported as noting that the filming of the delegation preparing to go to Washington occurred on a day when the moon was exactly how it had been a hundred years prior, a full Flower Moon.

In addition to being an item of document, as Scorsese intended, the book has great strengths, the standouts of which are cultural contributions from Osages, and Fear’s situation of the film industry—and the Western in particular—as deeply complicit actors in perpetuating racist ideologies into present day America. In highlighting an ongoing American cycle of historical gaslighting, Fear summarizes Osage history starting in 500 A.D. and continuing through removals into the 1920s and David Grann’s efforts to tell the story of the Osage murders.

 

Shaw Duty notes important and insightful cultural information, such as acknowledging the women elders of the Grayhorse District who met with actors to share information which is not written in history books. She names Billie Ponca, Dolores “DeeDee” Goodeagle and Cecelia Tallchief as the ones who counseled DiCaprio and other cast members. Through Fear, DiCaprio also recounts talking to a relative of Burkhart who had been able to hear confidences from Mollie in her time, regarding what had truly happened emotionally between them.

The second-hand narrative of Mollie Burkhart’s experience left DiCaprio enlightened and disturbed, Fear writes, a reaction which mirrors many viewers of the film itself. The book is less triggering, as it thankfully has an absence of bloody and violent images, which are spared from insight by other venerated behind-the-scenes contributors such as editor Thelma Schoonmaker and cinematographer Rodrigo Prieto.

Assouline is known for its beautiful books, which often include those from the world of fashion, design and art, and in this respect the book follows the norm. A portrait of Talee Red Corn holding the sacred pipe is super-imposed with Wahzhazhe ie.

𐒼𐒰𐓆𐒻͘ 𐓈𐒰͘ 𐓍𐒷𐒼𐓇𐒷 𐒰͘𐒼𐒻𐓐𐒷 𐓈𐒰͘𐒼𐒰𐓈𐓐𐒰͘.

Tomorrow we will bury this one.

𐓁𐒰͘𐓁𐒻𐓂͘𐓄𐒰 𐓍𐒷𐒼𐓇𐒷 𐓁𐒻𐒼𐒰𐓇𐒻𐒼𐒷 𐒷𐒼𐓂͘.

This Pipe Person.

𐓁𐒰͘𐓁𐒻𐓂͘𐓄𐒰 𐓍𐒷𐒼𐓇𐒷 𐓏𐒰𐓓𐒻͘𐓈𐒰͘𐒼𐒰𐓏𐒰𐒼𐓇𐒻𐓍𐒷 𐓁𐒰͘𐓄𐒷—

This one gave us courage—

𐓍𐒷𐒼𐓇𐒷 𐓏𐒰𐒼𐒰͘𐓈𐒰 𐓏𐒰𐓄𐒰𐓓𐒻͘𐓍𐒷 𐓁𐒰͘𐓄𐒷.

This one has been our messenger to Wakondah.

Many gorgeous images of Gladstone and her sisters and mother in the film grace the pages, and her own insights on the filming are abundant. In the third chapter-length essay, Fear notes that the script reminded her of Graham Greene novels. He quotes Gladstone, “‘It had to do with letting the dynamics of the relationship serve as an allegory for the historical narrative,’” she says, specifically of The Quiet American.

 

Shaw Duty writes, “this film became an opportunity to show a transitional period within our history when our culture risked obliteration—but managed to survive to the present,” and the book gives a clear sense of not only that transition period, but also snippets of the present. The actors pictured all come across as very real, present-day people. A still of Margaret Sisk effusively smiling, her hands grasping one another as she stands on set of a traditional village with Moira Red Corn and Tammy Balduff, and of Native men seeing the opening oil-strike dance scene played back to them on a camera, both show true Native joy.

Such a coveted, high-end book that will not go up for sale, as of this time, means that the public library and the three Wahzhazhe-led organizations will have a job of protecting their copies. Pawhuska Public Library staff member Lenna Hayes said that from past experiences, a book such as Making of the ‘Killers of the Flower Moon’ would not ever be made available for checkout. “It will go into the reference section, to be protected,” Hayes said.

While Renfro had not yet delivered the book to the ONM, WCC or White Hair Memorial at the time of this article, the Pawhuska City Library confirmed that they have their copy of Making of ‘Killers of the Flower Moon,’ and the book will be available at the reference desk within the next thirty days. The public will be allowed to review the book from an area where staff can see them, and will also be allowed to take photographs of the book as long as images are not used for distribution.

“I hope people will enjoy the publicly available copies,” said Renfro, who was very proud to donate the book to the library of his own Osage community, where he grew up. “I’m trying to find the best place in Fairfax to have one but don’t have that firmed up yet,” he said. “And also,” he said, “people can see it with their friends who have a copy.” Those lucky enough to know someone in possession of a copy of Making of ‘Killers of the Flower Moon’ are likely soon to be making the rounds. Until then, those pictured in and connected to the film will be awaiting their late Christmas gifts, which will keep arriving well into winter 2024.

 

 

https://osagenews.org/making-of-killers-of-the-flower-moon-book-created-at-request-of-scorsese/

 

I'm disappointed the book won't be for sale. So we will probably never read the behind the scenes stories and see the images unless someone takes pictures and posts them online. I would love for the sweet Leo and Lily pic to show up somewhere...

 

[Sugarwater]

45 minutes ago, akatosh said:

disappointed the book won't be for sale. So we will probably never read the behind the scenes stories and see the images unless someone takes pictures and posts them online

 
When I’m in Pawhuska again, I’ll take pics of it if they allow it. 

[akatosh]

35 minutes ago, Sugarwater said:

 
When I’m in Pawhuska again, I’ll take pics of it if they allow it. 

That would be wonderful!

[Jade Bahr]

Now it's only 3 hours - I'm nervous

 

 

[Sliva]

21 minutes ago, Jade Bahr said:

Now it's only 3 hours - I'm nervous

 

 

I don't think he will be nominated this year. Sorry, but no SAG, no BAFTA, no promo in award season, only one solo interview (without Lily), just one photoshoot (not solo, with Lily, AGAIN). HE PROMOTED HER, not himself. Well, he's goal is achieved, she's nominated everywhere except BAFTA, and everyone talking just about her, not him or his performance. This ignore from awards is just his own fault (and Apple who cares only about Lily and her nominations).