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

moiselles
in Male Actors

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Video of the waist grabbing incident ; the YouTube identifies the guy as a known prankster

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    Thanks Oxford (Y) Leo probably recognized the guy (or if not the guy he recognized the situation)as I just googled him and he's well known for doing this.. the thing with Cooper happened only a couple weeks ago. Anyways once they got hold of him they got him out of there super fast. :p

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    Neon

    I don't know if we'll ever get to see the entire interview , but the entertainment shows should show some short clips, and with so many people having

    cellphones we're bound to get some YouTube clips from the audience :)

     

    does anyone know if this interview will be available to watch anywhere?

    Fash

    Yes, as fast as that guy was gone , does make one know never try to do that :p

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    Gosh I wished I had watched Leno's final show tonight

    In a taped salute, many previous guests, including Kevin Bacon, Steve Carell, Leonardo DiCaprio, Miley Cyrus, Dana Carvey and Bob Costas, also gave Leno advice about what he should do next. "You're going to be fine, Jay," Costas said, swigging from a huge bottle of Jack Daniel's. Charlie Sheen suggested that the notoriously thrifty Leno should "just buy NBC and fire everyone." Tyler Perry imagined Leno reinventing himself in Madea-like drag.

    http://www.stltoday.com/entertainment/television/gail-pennington/leno-exits-says-he-won-t-be-back/article_416cf06c-dac7-5542-b8df-c07c1c1cf2c3.html

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    Fash

    With its being Leno's final show ever , it's bound to show up on YouTube, I can't wait to see Leo's message :)

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    I , for one, agree with award blogger Kris Tapley's ( who is at film festival tonight ) comment below (Y)

    Kristopher Tapley ‏@kristapley · 1m

    Wolf clip package now. Leo is fucking killing it in this movie. Best of the nominees this year.

    Leo & Marty and their Vanguard awards

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    Nice summary of last night's  SB event honoring Leo & Marty ; I was glad to see Kris' words about SI

     

     

     

    Martin Scorsese and Leonardo DiCaprio look back on a fruitful collaboration

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    SANTA BARBARA, Calif. — Martin Scorsese and Leonardo DiCaprio hit the stage at the Arlington Theatre Thursday night as co-recipients of the Santa Barbara International Film Festival's Cinema Vanguard Award. A two-hour discussion, moderated by The Hollywood Reporter's Todd McCarthy, covered all bases of their 12-year pas de deux, including, of course, their introduction to each other's work.

    For DiCaprio, that moment was seeing "Taxi Driver" for the first time, as he has mentioned in the past. Having a protagonist "fool" him in that manner caught him totally off guard. Throughout Scorsese's work, "you feel a tremendous amount of passion for a character, yet feel embarrassed for them," he said, citing examples such as Travis Bickle and Rupert Pupkin. And that could certainly be extended to Jordan Belfort, but we'll get to that.

    For Scorsese, he first heard DiCaprio's name when another frequent collaborator, Robert De Niro, suggested he work with him, as the iconic actor was very impressed with what the youngster offered on the set of 1993's "This Boy's Life." Not long after, Scorsese saw "What's Eating Gilbert Grape" and that name popped up again: Leonardo DiCaprio.

    Of course, there were many years between then and "Gangs of New York," the 2002 epic that would mark their first collaboration. Though "Gangs" had been gestating for over 25 years at that point (ads for the film popped up in the trades in 1976). DiCaprio was eager to work with Scorsese and, as he garnered a bit of cache in the wake of his mid-90s hits, he researched the director's passion project and threw his hat into the ring.

    As they looked back at the experience, one of the main things that stuck out was Dante Ferretti's massive-scale production design at the Cinecittà studio in Rome.

    "You got lost in it," DiCaprio said. "It was an incredible undertaking."

    Moving to 2004's "The Aviator," here was a passion project of DiCaprio's, one he nurtured and developed with director Michael Mann. But when Mann went off to direct "Ali," he was left with this fantastic script he was eager to see through, and Scorsese seemed the perfect fit.

    "I had always shied away from the Howard Hughes story," Scorsese said. "Spielberg wanted to make it, Warren Beatty. But this was the story of Howard Hughes I hadn't seen." It was a portrait of a dreamer who had "wings of wax," the filmmaker said, citing the Icarus myth. It was also an opportunity for Scorsese to indulge in his classic Hollywood and filmmaking interests. "That was the hook," he said. "I was seduced by the possibility of creating that time. I was born in the 40s and grew up with swing music. I have nostalgia for it."

    He delighted in playing with two-strip Technicolor and tinkering with a bunch of filmic tricks to bring the film to life in exciting ways. DiCaprio mentioned at one point that it was a "next level of collaboration" for the two, because of how his research into Hughes' neuroses informed how Scorsese shot them, from an x-ray blast of Hughes' skull cut into a film premiere sequence (signifying the mogul's sense of feeling invaded) to quick insert shots built around how he eats at a dinner table, it was a synthesis of creativity and clearly the moment where the two artists began to fire on all cylinders.

    After the weight of those two epics, though, Scorsese was spent. He and DiCaprio knew they wanted to do something else together, but they weren't sure what. "I wanted to do a down and dirty B film," Scorsese said. "I had had it with 'The Aviator,' in a good way, because I made a spectacle. I just wanted to do a street war."

    Eventually "The Departed" crossed both their desks and seemed to be the one. "It was a film that didn't give a damn about anything," Scorsese said, which is significant given the overall sense that when he finally seemed to stop "caring" about winning awards, the awards came. ("The Departed" won Oscars for Best Picture, Best Director, Best Adapted Screenplay and Best Film Editing.)

    An aside here on "Shutter Island," which was only touched upon briefly. That film was firmly in my top 10 in 2010 and I feel perfectly fine about that four years later. It's an amazing, masterful piece of genre filmmaking, a forest lost through the trees by many who seemed hung up on its plot devices. When you look at the craft, it's STAGGERING work. It should have been a Best Picture nominee (which would have made it five in a row for Scorsese as of late), but anyway…

    Then, of course, there's this year's cause célèbre: "The Wolf of Wall Street." We covered DiCaprio's vision of it as part and parcel of an examination of wealth with "The Great Gatsby" and "Django Unchained" in a December interview, but to reiterate, "it's about the American dream and the corruption of that dream," DiCaprio said Thursday. "Putting this culture up on screen is something I've wanted to do for a long time." He drew a distinction between Jay Gatsby and Jordan Belfort, however, noting that the former did it all for love, while the latter was responding to the "reptilian part of his brain."

    Jonah Hill was on hand to present the award to the duo. Citing Joe Pesci's "what do you mean I'm funny" scene, he recalled, "I had never seen something so funny and dangerous and scary and real all within moments of each other, in the same scene," he said. "From the moment I saw that scene, I decided to dedicate my life to film."

    A few years later he saw "Gilbert Grape" and, being a young boy who wasn't aware of DiCaprio's work otherwise, he thought the character was played by a real mentally challenged actor. "I had never thought of the idea that an actor can become that different from who they were as a person," he said. "From that moment on I wanted to dedicate my life, not only to film, but to being an actor. It was a moving experience for me."

    For "The Wolf of Wall Street," DiCaprio landed his fourth nomination for acting to date, while Scorsese, too, was nominated for his direction. Both, meanwhile, shared in its Best Picture nomination as producers, so the culmination of something certainly seems to be in the air. No better time, then, for them to receive this sort of recognition from the golden coast.

    Read more at http://www.hitfix.com/in-contention/martin-scorsese-and-leonardo-dicaprio-look-back-on-a-fruitful-collaboration#9hoCRIfIPSghyGbp.99

    Another SB recap from Hollywood Reporter

    The Arlington Theatre has rarely been as buzzing with excitement, both inside and outside, as it was on Thursday night as director Martin Scorsese and actor Leonardo DiCaprio -- five-time collaborators whose latest work, The Wolf of Wall Street, has earned them each individual Oscar noms and an Oscar nom for best picture -- arrived to accept the Cinema Vanguard Award at the 29th Santa Barbara International Film Festival. The presentation of statuettes by Jonah Hill, another Wolf star and Oscar nominee, was preceded by a conversation with the honorees about how they met and work together. It was moderated very well by The Hollywood Reporter's chief film critic, Todd McCarthy.

    Scorsese said he first became aware of DiCaprio through his prior frequent collaborator, Robert De Niro, after De Niro worked with a young DiCaprio on This Boy's Life (1993): "He said, 'I'm working with this young kid. He's really good. You should work with him sometime. For him to recommend someone for me out of the blue in that way was really, really, really special." Scorsese also mentioned that he and his wife were watching TV around the same time and happened upon What's Eating Gilbert Grape (1993), a film in which DiCaprio plays a mentally challenged youngster, and thought it was a documentary until they saw DiCaprio's name in the credits. Between De Niro's recommendation and that experience, Scorsese said was certainly impressed. "And then he made Titanic, which I had nothing to do with -- I get seasick!"

    DiCaprio, for his part, said he became a student of great cinema around the time he was getting ready to work with De Niro on This Boy's Life, and began watching two or three classic movies a day. He said the films he loved the most came from the 1970s, "the director's era of filmmaking," and the director whose work he admired the most was Scorsese -- "Taxi Driver, specifically."

    The two men met for the first time when Scorsese invited DiCaprio to visit him on the set of Bringing Out the Dead (1999), which Scorsese remembers as a particularly low-point in his career. Between that film and Kundun (1997), another one of his that was not well received, he was on a cold streak and people were beginning to write him off. But he decided to revisit a project that he had first pursued in the mid-seventies that dealt with New York, a key character in nearly all of his great movies up to that time: Gangs of New York (2002). And he wanted DiCaprio for one of the two leading parts. For DiCaprio, it was a dream come true, and by saying yes he helped to attract the financing to get it made that had long eluded Scorsese. "It's great to have an actor who wants to work with you," Scorsese remarked.

    Asked by McCarthy if the way in which they work together has changed since that first collaboration 12 years ago, Scorsese replied, "Every film has been different." What the projects do share in common, though, is that every one of them has been "shaped to Leo." One of the things that DiCaprio likes about Scorsese is that he does a lot of takes; not an exorbitant amount, a la David Fincher, but not one or two either, like Clint Eastwood. DiCaprio feels it takes a few takes to modulate a performance, and Scorsese agrees.

    DiCaprio noted that the two projects in which he was most completely invested and "felt a real responsibility for the movie" were The Aviator (2004) and The Wolf of Wall Street, both of which he not only starred in but also guided to Scorsese as a producer. The actor said he first read about Howard Hughes when he was very young and "literally became obsessed with playing him." He added, "I get very nostalgic for history -- certainly with Howard Hughes." DiCaprio recalled that when he mentioned that he wanted to bring the project to Scorsese someone told him, "Marty doesn't know anything about aviation!" DiCaprio responded, "Well, he didn't know anything about boxing, either!" (The famously nervous Scorsese, upon hearing this story, said, "All I know is I'm afraid of both!")

    In the end, Scorsese signed on to direct, DiCaprio totally committed to the part (visiting Hughes' ex-lovers Jane Russell and Terry Moore, living for a time with someone with OCD and then spending most of the shoot inside his hotel room by himself) and they both wound up with Oscar nominations, plus a best picture nom for the film. DiCaprio said he enjoys that sort of complete immersion in a part, in spite or perhaps because of the fact, "You shut down the rest of your life. Everything goes on hold."

    After The Aviator, Scorsese and DiCaprio reteamed for The Departed (2006), largely because Scorsese "wanted to do a down and dirty B-film" about a "street war," he said. Inspired by the Hong Kong drama Infernal Affairs, Departed, for which DiCaprio was surrounded my a magnificent ensemble, including Jack Nicholson, went on to win the best picture Oscar and Scorsese his first best director Oscar. DiCaprio mentioned that a scene in which Nicholson's character tries to scare his required a second day of shooting, for which Nicholson returned with a gun, vodka (replaced with diet soda) and matches. Scorsese said, "That's my favorite scene in the picture."

    Their next collaboration was also a genre film, of sorts. Shutter Island (2010) posed massive and unique challenges for both director and actor. Scorsese anticipated a much simpler and shorter shoot, but this was, he admitted to McCarthy, "a big miscalculation," because they needed to wait for rainstorms and required many different takes of the same scenes to present the film in a way that would be convincing once its big twist -- spoiler alert: DiCaprio's character suffers from multiple-personality disorder -- is revealed at the end. For DiCaprio, as much as anyone, "It was walking this sort of tightrope."

    And then, most recently, they partnered on Wolf, a film that they had considered making before Shutter Island but that posed a lot of problems that Scorsese was not sure were worth facing and therefore "went on ice for a little while," as DiCaprio put it. Scorsese had faced all sorts of studio interference with The Departed, he said, and did not have the stomach to go through that again with Wolf, a film that he knew would only be worth making if its story could be told truthfully, which meant with a lot of sex and bad language. DiCaprio, however, took over the reigns and really went to bat for the project, and once he had secured financing from people who would allow it to be made in the way Scorsese wished, he reapproached Scorsese, who enthusiastically signed on to make it.

    After 87 days of shooting (at the end of which DiCaprio, recovering from New Year's partying in Australia, performed Belfort's big speeches to his employees that he likened to "Braveheart speeches," only promoting debauchery, with set visitor Steven Spielberg looking on), plus 11 months of post-production (during which Scorsese said he told his longtime editor Thelma Schoonmaker to make the film "Ferocious, goddamit, ferocious," even if certain scenes don't match, etc.), Wolf was done.

    When the fiim's ultimate triumph of directing, acting and editing was merely mentioned -- DiCaprio's quaaludes-induced crawl to his car -- the audience spontaneously broke into applause. (DiCaprio told McCarthy that his inspiration for the scene was not Charlie Chaplin or Jerry Lewis, but rather the star of "Drunkest Guy in the World," a hilarious clip he encountered on YouTube.)

    McCarthy pointed out that DiCaprio has portrayed a several extremely wealthy Americans from different eras in a number of different films, including The Aviator (2004), Django Unchained (2012) and this year's The Great Gatsby and Wolf. "I've always been fascinated by wealth in America," the actor said. Of the latter two films, he said, "Jordan [belfort, the protagonist in Wolf] is the antithesis of [Jay] Gatsby... Gatsby's doing it all for love," whereas Belfort was driven far more by materialism and greed.

    Hill then came out to present the two men -- who were wearing the same suit and vest that he was -- with their statuettes. He eloquently paid tribute to his "two heroes," noting that Scorsese's GoodFellas, which he saw at the age of nine, had made him want to "dedicate my life to film," and that DiCaprio's performance in What's Eating Gilbert Grape made him want to "dedicate my life not only to being in film, but to being an actor." He then had the audience in stitches as he said, "You know when you're single... and you go out with two friends of yours, and they're this amazing couple, and you leave the dinner and you go, 'Man, I hope I end up in something like that one day'? I thought about that concept, and as an actor I hope to be lucky enough to find that partner in someone else like you two have found in each other."

    At a reception after the ceremony, DiCaprio told me that he is enjoying a bit of a break from working at the moment and pretty much just making the rounds on behalf of Wolf. I told him how great I found the "Because It's Awesome" billboard that Paramount put up in Hollywood this week on behalf of the film, and he laughed and said he thought it was fantastic, as well. He wanted to tell Scorsese about it, so I pulled it up on my phone, which he took over to show Scorsese, who howled with laughter when he saw it.

    The fact of the matter, though, is that all five of the Scorsese-DiCaprio collaborations have been awesome, and one can only hope that there will be many more to come.

    http://www.hollywoodreporter.com/race/santa-barbara-film-fest-wolf-678167

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    Videos of Leo & Marty's conversations at SB

    Leo & Marty discussing how they first met and Gangs of New York

    Discussing the Aviator ; love Leo's comments at end of clip

    Discussing The Departed

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    Discussing Wolf of Wall Street ; Leo will always be Leo ; nibbling on his fingernails :p

    Discussing Wolf of Wall ST : Part Two

    Leo talks about wealth if America / Gatsby vs Belfort

    Joyezz

    Tks for SB clips Flower%20for%20you.gif

    Fash

    Tks for all the great pix from the SB event Flower%20for%20you.gif

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    Jonah's funny intro to presenting Leo & Marty

    Leo's interview on red carpet

    Santa Barbara Film Festival's official clip from last night's event

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