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Actor at work

More than a decade after 'Titanic,' DiCaprio reflects on the cost of stardom and the craft that drives him

NEW YORK - Twelve years ago, when Leonardo DiCaprio was the most famous man on earth, there were few camera phones and no YouTube or TMZ to scrutinize his titanic unhappiness with instant superstardom.

He suffered his way through a "Today" interview with Katie Couric. Ostensibly, it was about his dual role in "The Man in the Iron Mask," but ultimately it became a cross-examination: Did he like being famous or not?

For almost two years, DiCaprio was pinned up, screamed at, and madly adored. And at the risk of seeming ungrateful, he said it freaked him out.

"If I had done 'Titanic' in this day and age it would have been a much different dynamic," said DiCaprio, in an interview at a New York hotel last month. "You talk about the Internet. It's like the difference between train robbers and organized crime now. In that era, I did have four and five SUVs chasing me around, but the images and the hysteria didn't spread as quickly. It was limited to a few magazines or gossip rags here or there. But now there's this infusion, and it's permeated our culture in a much different way. I do see a lot of young people obsessed with these gossip sites. It's amazing."

In "Revolutionary Road," which opens around Boston today, DiCaprio rejoins his "Titanic" costars Kate Winslet and Kathy Bates for a drama set in the early 1960s. The film is based on Richard Yates's 1960s novel and directed by Sam Mendes, who also made "American Beauty" and is Winslet's husband.

This time DiCaprio and Winslet are Frank and April Wheeler, an unhappy couple in the Connecticut suburbs, and, instead of an ocean liner, it's a marriage that hits an iceberg.

The mere fact of these two acting together for the first time since "Titanic" is a natural head-turner. Some of that interest testifies not to stardom per se but talent. In the decade or so since "Titanic" became the highest-grossing movie of all time, they've carved separate paths - she through small, acclaimed films; he through movies with Hollywood auteurs - to actorly renown. They have what they call in the business "chops."

Earlier in the afternoon, DiCaprio had popped out of a different hotel suite looking for Visine. TV lights had dried out his eyes. Sitting a foot away from him, later, they were still red. But the life that remained in them was apparent whenever he considered his good fortune at still having a career. He won't entirely admit that it's talent that's kept him aloft in the decade since "Titanic." But you can tell he knows it. Not in an off-putting or arrogant way, but the way LeBron James knows he's LeBron James and not some dude at the

"Whether one can say I am talented or Kate is talented, that's in the eye of the beholder, obviously. But the truth of the matter is that people do look at talent as a frivolous thing. Just because somebody's on the cover of a magazine doesn't mean you know why they're there."

Fame is easy, he said, sticking around is not. "People are always asking me what advice I would give to young actors -- which makes me feel incredibly old. The only thing I'd say is we all know there will be a new piece of meat. The one thing you can count on is that the spotlight of attention will fade away," he said. "The only thing that's gonna make you survive and have a career and not make you go do something else is concentrating on doing the best work you possibly can when you're given the opportunity, because that opportunity will go away."

Those sound like the words of an actor skittish of fame and terrified, professionally speaking, of not having enough to eat. DiCaprio's allergic reaction to world-conquering stardom is fascinating insofar as it doesn't appear to ever have been what he wanted. He has dated his share of supermodels, and he's been caught carousing a few times. But his acting demonstrates a scary commitment to a kind of emotional rawness.

He was an intense actor before "Titanic" -- in "This Boy's Life," "What's Eating Gilbert Grape," "The Basketball Diaries," "Total Eclipse," "Romeo + Juliet," and "Marvin's Room." And after "Titanic," he resumed playing volatile young men in "Gangs of New York," "The Aviator," and "The Departed," all films he's made with Martin Scorsese.

Most DiCaprio performances culminate in a fit of rage. In "Romeo + Juliet," if he could have ripped his heart out and chucked it at the screen, he would have. When he loses it in a movie, it's not ostentatious or superfluous. It's a matter of necessity. He chews the scenery because he needs the sustenance. It's how he knows he's working, how he knows he's alive.

DiCaprio calls these flights into mania "high-stress" -- more for the characters than for him. Even miscast, as he was in "Gangs of New York," DiCaprio seems to thrive on that stress. Excusing the highly seductive work he did as a delusional con man in Steven Spielberg's "Catch Me If You Can," DiCaprio is at his very best in explosion. The heat he generates is singeing. Screaming at Winslet in "Revolutionary Road," he looks as if he might be hurting himself.

DiCaprio said he enjoys those ferocious moments.

"I guess I like to release whatever subtext is embedded within the character in a giant collage of throw up." He laughed. "I love to have those moments of release." And yet it's the quiet moments he admires in other actors' work. Take Robert De Niro in Scorsese's "Raging Bull" (DiCaprio: "One of the greatest performances - or arguably the greatest performance of all time"). The big moments are great, DiCaprio said, but "what I love is watching him sit around at the bar with Joe Pesci wondering if this guy is trying to [expletive] his wife. It's all in the eyes.'

At 34, DiCaprio still has the face of a younger man, and it's that desperation that so convincingly keeps him from seeming like a guy playing make-believe in adult roles. Off-screen, the face seems hopelessly 26. In conversation, he, like Mark Wahlberg, strikes you as a man who is probably friends with a 260-pound, sweat-suited black guy named Tiny. When he says "dude," the stress falls on the "d" not "uuuuude." He says it the way a guy familiar with certain street corners might.

It's actually not his face or his stature that alerts you to his fame. It's whatever's in his hair. On DiCaprio's way out of the hotel room to a press conference, the first place my eyes went was to the top his head. His dirty-brown hair had been sculpted into a body of water frozen in mid-disturbance -- high-tide but calm. It was 1950s hair. Brylcreem, or something like that -- the hair of Dean and Elvis and the boy starlets who would never be as famous as either of those two. DiCaprio wore a zip-up pullover sweater, jeans, and a pair of Nikes. His hair was easily the fanciest thing he had on.

He looked exactly like what he was: a working actor

http://www.boston.com/ae/movies/articles/2.../actor_at_work/

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