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

Featured Replies

2 hours ago, akatosh said:

And another new trailer with new scenes. Love it!!

Fantastic! Canโ€™t wait!

7 hours ago, akatosh said:

And another new trailer with new scenes. Love it!!

๐Ÿ˜ ๐Ÿ˜๐Ÿ˜๐Ÿ˜

I wish this movie hit some festivals, but anyways, I'm happy and excitedwoot

Venice Boss on Paul Thomas Andersonโ€™s Absence: โ€œI Never Got a Clear Response from Warner Brosโ€

Of all the films arriving this fall, โ€œOne Battle After Anotherโ€ is the one Iโ€™m most looking forward to. Why? Because itโ€™s directed by Paul Thomas Anderson โ€” arguably the greatest American filmmaker of the past 25 years.

A few weeks back, I reported how โ€œOne Battle After Anotherโ€ opted to bypass all the major fall festivals, including Venice, Telluride, and Toronto.

Still, the move no doubt raised some eyebrows. With a reported $150M+ price tag and Andersonโ€™s name above the title, โ€œOne Battle After Anotherโ€ had all the makings of a Lido splash. Skipping the fall circuit has inevitably left a vacuum, and invited speculation.

A recent interview with Venice Film Festival chief Alberto Barbera seems to have further muddied the waters; Heโ€™s telling ScreenDaily that Anderson and Warner Bros. were not very forthcoming in their replies after he requested to screen the film.

We succeeded in getting most of the films we wanted. The only one that we are really missing you can say easily is the Paul Thomas Anderson film [โ€ฆ] I have to confess I couldnโ€™t get a clear response either from him or from Warner Bros about the fact that I was wishing to see the film. This is the only missing film that I regret not being able to show.

Meanwhile, speaking with Deadline, Barbera admits that Warner Bros ghosting him might have to do with a hybrid of reasons, but heโ€™s still puzzled by their lack of engagement:

Itโ€™s probably a combination of factors. I donโ€™t think Paul loves to travel with his movies. Perhaps the โ€˜Jokeโ€™r experience was a factor, I donโ€™t know. Youโ€™ll need to ask Warners. Itโ€™s true that bringing it here would have been very expensive.

Is the film unfinished? Possibly. Is WB still smarting from last yearโ€™s โ€œJoker: Folie ร  Deuxโ€ fiasco in Venice? Probably. Or maybe Anderson himself simply doesnโ€™t care for the festival grind anymore, and a quiet release, on his own terms, is maybe what he prefers.

Neither Warner Bros. nor Andersonโ€™s camp are commenting. But, make no mistake, skipping the fall fests means deliberately avoiding the oxygen of early buzz, critical discourse, and awards momentum. Thatโ€™s a risky move when youโ€™re launching such a pricey film, one filled with talent, including Leonardo DiCaprio, and helmed by one of the truly great filmmakers around.

It remains to be seen if this strategy will likely pay off for Warner Bros. โ€œOne Battle After Anotherโ€ opens wide on September 26.

10 hours ago, Jade Bahr said:

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Thanks for sharing.โค๏ธ

Let's hope Leo will shoot something else soon, otherweise we won't get a new Leo movie next yearโ˜น๏ธ

Martin Scorseseโ€™s Movie With Dwayne Johnson & Leonardo DiCaprio Gets Exciting Update

Whatโ€™s the latest update on Martin Scorseseโ€™s movie?

According to a new report from World of Reel, Scorsese โ€” who has several projects in the works โ€” has โ€œno plansโ€ to film a movie this year. The report mentions that Scorsese is โ€œwaiting it outโ€ in 2025, but that there are plans for Scorsese to step back behind the camera early next year, where heโ€™ll film the mysterious Hawaii-set crime film.

Alongside Johnson and DiCaprio, the movie is also reported to star Emily Blunt.

Scorsese will be directing the upcoming movie from a screenplay written by Nick Bilton. It will be produced by Scorsese, Johnson, Emily Blunt, DiCaprio, Bilton, Dany Garcia, Lisa Frechette and Rick Yorn. At the moment, the project has no official title, production start date, and release date yet.

The movie is said to focus on a โ€œruthless Hawaiian crime bossโ€ who is based on a real-life figure. A description from Deadlineโ€™s original report on the film notes that it will be set in โ€œa turbulent time on the island paradise when an aspiring mob boss battled rival crime factions to wrest control of the underworld of the Hawaiian islands.โ€

โ€œIn 1960s and 70s Hawaii, this formidable and charismatic mob boss rises to build the islandsโ€™ most powerful criminal empire, waging a brutal war against mainland corporations and rival syndicates while fighting to preserve his ancestral land,โ€ reads more of the description. โ€œItโ€™s based on the untold true story of a man who fought to preserve his homeland through a ruthless quest for absolute power โ€” igniting the last great American mob saga, where the war for cultural survival takes place in the unlikeliest of places: paradise.โ€

https://www.comingsoon.net/movies/news/2013246-martin-scorseses-movie-with-dwayne-johnson-leonardo-dicaprio-gets-exciting-update

Leonardo DiCaprio in Talks for Michael Mannโ€™s โ€˜Heat 2โ€™ as Budget Circles $170M, Warner Bros-Apple Co-Finance?

Iโ€™ve been tracking this one for over a year now, and itโ€™s about time someone caught up. Michael Mannโ€™s long-gestating โ€œHeat 2,โ€ a prequel to his legendary 1995 crime saga, is still very much having money issues.

Last year, I reported that Warner Bros. were getting cold feet to fund the $150M+ Mann was asking for. As recently as last month, I noted that casting had finally begun, and that WB was back in talks. Now weโ€™re getting a more details of whatโ€™s going on behind the scenes.

According to Puckโ€˜s Matt Belloni, Mannโ€™s original budget landed north of $200M, a number that gave Warners serious pause. Since then, heโ€™s reportedly shaved it down to around $170M, which, frankly, is still too steep for the studio to greenlight solo. Keep in mind, the original Heat made $187M worldwide back in โ€™95โ€”thatโ€™s nearly $400M adjusted for inflationโ€”but Mannโ€™s more recent films (โ€œBlackhat,โ€ โ€œFerrariโ€) havenโ€™t exactly lit up the box office.

Still, WB execs Mike De Luca and Pam Abdy are said to want to make the film happen. The current thinking is: bring in a co-financing partner. Enter Apple, which has received the script and is reportedly considering coming aboard.

However, hereโ€™s the kickerโ€”and itโ€™s a big one: Leonardo DiCaprio has been in talks with Mann about starring. Nothing signed, just yet. But if he commits, this becomes a different conversation entirely. A DiCaprio-led โ€œHeat 2โ€ suddenly looks a lot more like a global event film, and that might be enough to make this film happen.

Mann, now 81, has spent the last few years carefully building the foundation for โ€œHeat 2,โ€ a dual prequel-sequel hybrid based on his 2022 novel co-written with Meg Gardiner. The book charted the early days of Neil McCauley (played by Robert De Niro in the original) and Vincent Hanna (Al Pacino), while also following Hannaโ€™s hunt for a new threat in the aftermath of the original filmโ€™s climactic shootout.

The timeline for this thing? Still fluid. Mann wants to shoot in 2025, likely for a late 2026 release. Iโ€™ll have more on โ€œHeat 2โ€ as it develops.

Screenshot_2025-08-11-20-47-29-569_com.instagram.android-edit.jpg

Credits to mysunshine7474 on Instagram.

https://variety.com/2025/film/news/mr-scorsese-documentary-series-release-date-1236482923/?fbclid=PAQ0xDSwMG6ZtleHRuA2FlbQIxMAABp1MASTaeMJGsqXN4OsEQ-WPTX8UDUqbW8UzU847W7cqnoGx3daOdXNI7rBvB_aem_YpqXbLS1qIf2BtYkNaU7MQ

Finally!! It has been ages. new photoshooting and interviewโค๏ธ Love the pics.

https://www.esquire.com/entertainment/movies/a65619469/leonardo-dicaprio-paul-thomas-anderson-interview-2025/

Leonardo DiCaprio Unfiltered

How do you get the actor talking? Put him in a room with Paul Thomas Anderson. During hours of conversation, two era-defining menโ€”on the record together for the first timeโ€”went deep. They cracked some jokes, too.

A Leonardo DiCaprio performance is always an intense experience: Howard Hughes losing his mind, Jordan Belfort debasing himself, Hugh Glass surviving against all odds. We are watching one of Hollywoodโ€™s greatest of all time at work.

His latest film, One Battle After Another, is no exception. DiCaprio plays Bob Ferguson, a washed-up revolutionary and dad to a teenage daughter, Willa, played by Chase Infiniti in her first film role. Opposite him are Teyana Taylor as the absent mom, Benicio Del Toro as the ally, and Sean Penn as the villain. One Battle After Another is a big movieโ€”an action film with car chases, a spy-craft yarn with a clandestine agent whoโ€™s drunk and stoned, and a political thriller with reverberations for our interesting times. But at its core, the movie is a story about a father and daughter and what it means to show up for the people you love. Itโ€™s also very funny.

The writer and director is Paul Thomas Anderson, whose filmsโ€”like Boogie Nights, Magnolia, and There Will Be Bloodโ€”are operatic renderings of human frailty. The movies are visceral and often haunting. They can also be hilarious, and theyโ€™re always wildly entertaining.

One Battle After Another is his first film with DiCaprio. Both men rarely give interviews, and their life and work are the subject of bottomless curiosity and speculation. This summer, they had two conversations: one in Leoโ€™s kitchen, another over the phone. They recorded their talks and gave the transcripts to Esquire, which we edited and condensed. (Anderson also photographed DiCaprio for us in Los Angeles.) We gave them some prompts, some of which they indulged, others not so much. But the result is a rare glimpse into the minds of two of Hollywoodโ€™s most daring and original men.


Paul Thomas Anderson: Any regrets?

Leonardo DiCaprio: Iโ€™ll say it even though youโ€™re here: My biggest regret is not doing Boogie Nights. It was a profound movie of my generation. I canโ€™t imagine anyone but Mark [Wahlberg] in it. When I finally got to see that movie, I just thought it was a masterpiece. Itโ€™s ironic that youโ€™re the person asking that question, but itโ€™s true.

Anderson: Why did it take us so long?

DiCaprio: I know One Battle After Another has been on your desk for a long time. It was a personal story for you in a lot of ways and certainly pertinent to the world that weโ€™re living in right now. But ultimately, wanting to do this movie was pretty simple: Iโ€™ve been wanting to work with youโ€”Paulโ€”for something like twenty years now, and I loved this idea of the washed-up revolutionary trying to erase his past and disappear and try and live some sort of normal life raising his daughter.

Anderson: Itโ€™s a nice character, someone who starts out wanting to change the world on the far left but gets increasingly cranky and closed off as he gets older.

DiCaprio: And lives in constant paranoia. It was fun creating a character thatโ€™s weirdly a hybrid of both political parties and beliefsโ€”and certainly not Father of the Year.

Anderson: No one can outrun whatโ€™s inevitable, which for him is to be a father and to have another generation come up from behind. So whatโ€™s inevitable is middle age. Whatโ€™s inevitable is complacency. Whatโ€™s inevitable is looking at the next generation with disdain simply because theyโ€™re not doing it how you think they should, which is just a code for โ€œTheyโ€™re not doing it like we did it.โ€ And so what comes next is being cranky, no matter how liberal and rah-rah you were in your youth. When you get down to the mundane, daily battles of life, they just wear on you.

DiCaprio: Especially if youโ€™re living in secrecy. What are your options? Youโ€™re going to sit there and microdose and smoke pot and watch old revolutionary movies and not have a cell phone, right? Which became another huge theme in the movie too.

Anderson: Iโ€™m going to ask you a question, and youโ€™re going to answer as quickly as you can. If you didnโ€™t know how old you are, how old are you right now?

DiCaprio: Thirty-two.

Anderson: Good answer. What youโ€™ll have to do is investigate what happened when you were thirty-two, and then youโ€™re going to discover and uncover why that was your answer. Hereโ€™s how that relates to your character in the film: He fell in love with a woman named Perfidia. She broke his heart into a million pieces, put it back together, smashed it again, put it back together, and smashed it once more for good measure. She left him stuck in time, unable to move forward. Whatโ€™s inevitable with that broken heart is to sit around with it for a long time and stew in it. All you do is stay in one place. By the way, my answer was twenty-seven.


Anderson: By the time I came to you, four or five years ago, the script was probably 80 percent there. I had never quite figured out the storyโ€™s policies on phones.

DiCaprio: You were always into this idea of a no-phones world.

Paul Thomas Anderson

Coat, sweater, and trousers by Brioni; Oyster Perpetual 41 watch by Rolex.

Anderson: I knew it had to be addressed. You brought me to the idea that Willa having a phone is a choice to rebel against her fatherโ€™s wishes. Now that was a good idea. Itโ€™s always fun when that happens with a new idea, that immediate shift where you lean into something that you were entirely opposed to. The movie benefited from it.

DiCaprio: Itโ€™s about the disconnection between generations. Itโ€™s about how this daughter and father relate to one another, and that we are living in a completely different world than the next generation. We think we understand it, but we donโ€™t. This is how they communicate.

Anderson: If youโ€™re from a generation that either enjoyed or was driven mad by the mystery of wondering where somebody is or when they might call next, or thinking, I have to rush home to my answering machine to find out if somebodyโ€™s called, imagine if someone had said you could walk around with an answering machine in your pocket. To her generationโ€™s point, why would I not let somebody know where I am every second of the day? I donโ€™t understand what your problem is. Why wouldnโ€™t you film yourself dancing? How could you dance and not film yourself?

DiCaprio: I remember with my little sister and her friends, they asked, โ€œWhat was it like?โ€ I lived in the days where there was an answering machine, and when you had plans, you either needed to be there on time, or youโ€™d call on a pay phone to check your answering machine to see if they left a message, to see if they were going to be late. And then youโ€™d have to call their answering machine so they could check their answering machine. They were like, โ€œYou guys must have never had plansโ€”how did you ever communicate?โ€ There was a lot of waiting around; you had to stick to your word.

Anderson: Do you remember when we were both starting, if you met anybody from the generation before us, and they were successful Hollywood players, they had answering services. That was like, Holy shit, they donโ€™t have an answering machine; they have an answering service.

DiCaprio: I tried to explain beepers. If it was stressful, youโ€™d say your number and then 911911911. That means stop whatever youโ€™re doing and call.

Anderson: Well, beepers were generally for drug dealers.

DiCaprio: Thatโ€™s not true. We all had beepers.

Anderson: I never had a beeper. My drug dealer had a beeper.

DiCaprio: All my friends had beepers. They would click it on their jeans and youโ€™d run aroundโ€”beep beep beepโ€”just look and like, Oh my homeyโ€™s calling, โ€œWhere are you?โ€

Anderson: Hereโ€™s a question Esquire wants me to ask. โ€œYou turned fifty last year. Does it feel like a natural time for reflection?โ€

DiCaprio: โ€œYou turned emotionally thirty-five last year.โ€

Anderson: โ€œYour age is fifty, but your emotional maturity is thirty-two.โ€ How does that feel?

DiCaprio: So theyโ€™re asking about age?

Anderson: Theyโ€™re asking if itโ€™s a natural time for reflection.

DiCaprio: Well, it creates a feeling like you have a desire to just be more honest and not waste your time. I can only imagine how the next few decades are going to progress. I look at my mother, for example, and she just says exactly what she thinks and wastes no time. She spends no time trying to fake it.

Anderson: Yeah.

DiCaprio: Being more upfront and risking having things fall apart or risk the disagreements or risk going your separate ways from any type of relationship in lifeโ€”the personal, professionalโ€”itโ€™s that you just donโ€™t want to waste your time anymore. You have to just be much more upfront. Itโ€™s almost a responsibility because much more of your life is behind you than it is ahead of you.

Anderson: Thatโ€™s a good answer.


DiCaprio: What was it about this movie that made you want to dedicate twenty years to it?

Anderson: Political films can be like eating your vegetables. There are many exceptions of great films that are political; however, right now the only thing I want to see is a story that I can relate to. And the only thing that matters is the emotional. The emotional comes from the story of a family. It comes from the way we love and hate. When films preach, I stop listening. Itโ€™s impossible to keep pace with the state of the worldโ€”this is why itโ€™s best to focus on the things that never go out of style. You can figure out what never goes out of style by realizing what in a story is going to be the thing an audience really cares about. Our question is: Can a father find his daughter? Or: What does it mean to be a family?

DiCaprio: You are considered a very art-house director. Would you call it that? What do you call it?

Anderson: Well, thereโ€™s no need to be insulting.

DiCaprio: No, whatโ€™s the term? You donโ€™t do incredibly commercial movies, letโ€™s put it that way. You are a writer, director. You have your own vision. Whatโ€™s the term?

Anderson: Box-office challenged?

DiCaprio: No, you do appreciate big-budget movies, like a Marvel film. Iโ€™ve heard you talk about Terminator 2โ€”about going to film school and somebody saying, โ€œIf youโ€™re here to make Terminator 2, youโ€™re in the wrong place.โ€ And you said, โ€œWell, fuck that. Terminator 2is a fucking great movie.โ€ This, to me, is a Paul Thomas Anderson version of an action film. I was like, car chases? Howโ€™s Paul going to do French Connection? What is he going to do that we havenโ€™t seen Michael Bay do and make it a Paul thing?

Anderson: Twenty years ago, I started writing this story, and the kernels of it were basically just to write an action car-chase movie. I would go to this story every couple years. Sometimes I thought I would like to adapt Thomas Pynchonโ€™s Vineland, a book written in the eighties about the sixties. But I was looking at it in the early 2000s, thinking of what the story means at that time. Cut to a whole other story that I had floating around that was about a female revolutionary. In other words, for twenty years Iโ€™ve had all these various strands, and in a way, none of them ever went out of style, because whatever seems to be happening politically seems to always be the same. Same shit, different year.

DiCaprio: A lot of people say One Battle After Another was based on Vineland. I never read Vineland. You never spoke to me about it. Thereโ€™s a lot of references to the book, but I since have read it, and I see some of the roots of where this story came from, and the whole idea of what happens to these revolutionaries in their post-sixties life.

Anderson: Vineland was always going to be too hard to adapt, so I stole the parts that spoke to me and just started running like a thief. I guess thatโ€™s what all us writers doโ€”weโ€™re fucking thieves. I always liked the structure of Les Misรฉrables. You have a wild and crazy first act, and then you settle into the story, and you must pick up the pieces of the wreckage or you must reckon with the choices you made in the first act. This is a very good dramatic structure.

DiCaprio: There are themes of Star Wars and Terminator 2 in this. Itโ€™s interesting to see how you merged your vision of the zeitgeistโ€”of what everyoneโ€™s talking about today politicallyโ€”but with these very relatable themes for a larger audience.

Anderson: Those mythical characters, at least the ones those Star Wars characters are based on, have been around forever, and they never go out of style. It is the classic โ€œnothing changes.โ€ The story of a chosen child and opposing forces in pursuit of her magicโ€”this is an oldie but a goodie and certainly one that fits these times. Once you settle into a story that works, the next question is the tone, and our tone ended up reflecting everyoneโ€™s character. Our tone reflects the absolute absurdity of human nature.

DiCaprio: My character is not your typical heroic Terminator-type character that has any superpower, any special ability, but heโ€™s just relentless, you know?

Anderson: Well, that goes back toโ€”

DiCaprio: The Bad News Bears. Heโ€™s in The Bad News Bears of modern-day dad heroes.

Anderson: Thatโ€™s rightโ€”heโ€™s got a lot of Walter Matthau from Bad News Bears. When I watched the Mission: Impossible films, they usually start out with a code that Tom Cruise has to give back and forth. I would daydream, What would happen if Ethan Hunt forgot that code word just once? Would the other end of the line say, โ€œItโ€™s okay. I know youโ€™re Ethan Hunt. Letโ€™s just get on with it.โ€ Or would they say, โ€œSorry, I know youโ€™re Ethan Hunt, but I still need the password.โ€

DiCaprio: We had a lot of talks about how to create a heroic character and bring a sense of reality and not have it be the typical choices that weโ€™ve always seen. You said to me, Itโ€™s in the relentless pursuit of wanting to protect his daughter, not giving up, being there for her. Itโ€™s a story about a father and daughter and what you do in those positions, even if youโ€™re up against all odds. There was some point in which we were talking about him going to John Wick extremes. I was like, No, give me a shittier gun, or what if there is no gun? Eliminating the violence from his character was the key to unlocking him.

Anderson: I also thought it was interesting that we never quite knew exactly how it was going to end. But I like where we landed. The dramatic center of it was for Willa to say, โ€œWho are you?โ€ Saving the day was you saying, โ€œIโ€™m your dad.โ€

DiCaprio: And thatโ€™s what the storyโ€™s really about.

Anderson: Thatโ€™s heroic. Thatโ€™s more heroic than shooting somebody. Saving her is saying: โ€œIโ€™m the guy whoโ€™s been here the whole time. Iโ€™m your dad.โ€


Anderson: If itโ€™s a Saturday and Iโ€™m flipping around thinking, What do I want to watch? chances are Iโ€™m going to land on something that has some kind of action-adventure element to it. The first thing that pops to my mind is Midnight Run. Iโ€™ve been dreaming of trying to make a film as fun as Midnight Run since I first saw it.

DiCaprio: A masterpiece.

Anderson: I saw it three or four times the week it came out. Itโ€™s the high-water mark of a great film for a broad audience. Usually we shove an action movie into a section of the room that disallows us from taking it too seriously. There are exceptions, like Mad Max, but for the most part we donโ€™t let our action films cross with our more dramatic stories, as if you canโ€™t have good acting and someone driving a car or shooting a gun. But Midnight Run is the total package.

DiCaprio: I was recently talking about that movie, and a very famous comedian was like, โ€œThat may be the greatest fucking two-man comedy ever done. Itโ€™s brilliant.โ€ When my dad was telling me about what acting is, he took me to the theater in Burbank to watch Midnight Run. He said: โ€œYou want to be an actor, son? Thatโ€™s the guy right thereโ€”thatโ€™s acting.โ€

Anderson: Do you ever watch any of your old movies?

DiCaprio: I rarely watch any of my films, but if Iโ€™m being honest, thereโ€™s one that I have watched more than others. Itโ€™s The Aviator. Thatโ€™s simply because it was such a special moment to me. I had worked with Marty [Scorsese] on Gangs of New York, and Iโ€™d been toting around a book on Howard Hughes for ten years. I almost did it with Michael Mann, but there was a conflict and I ended up bringing it to Marty. I was thirty. It was the first time as an actor I got to feel implicitly part of the production, rather than just an actor hired to play a role. I felt responsible in a whole new way. Iโ€™ve always felt proud and connected to that film as such a key part of my growing up in this industry and taking on a role of a real collaborator for the first time.

Anderson: I can stop and watch it anytime.


DiCaprio: We should talk about Adam.

[Adam Somner was a British-born first assistant director who worked with Martin Scorsese, Steven Spielberg, Ridley Scott, and Anderson before his death from cancer last year. He is credited as a producer on One Battle After Another.]

Anderson: Sure.

DiCaprio: There was nobody like him. The fact that this man would just go to the utmost extremes to somehow bring everything into order was one of the most magical things I would see in my whole career. And he worked with the greatest directors in the world, and they trusted him. It allowed me to watch you or somebody like a Marty juggle so many different departments with so many different questions, which is why I donโ€™t have a powerful urge to direct. Because Iโ€™m just trying to figure out what is this line going to be. I would go into a spiraling vortex for hours about how to say that line. I know we get emotional talking about him, but there was just absolutely no one better.

Anderson: Without question. As it relates to you and me, we had wanted to work together for twenty-five years or something like that. It was always going to be the right time when it was the right time. But Adam, since heโ€™s been working with you, has been saying, โ€œGet going. You guys are gonna fucking love it. Iโ€™m telling you because Iโ€™ve been with you both independently. Nowโ€™s the time!โ€

DiCaprio: I didnโ€™t know that.

Anderson: It was nice that his match of us together got to come true. There was a pretty large waiting room of customers to get the services of our man Adam. Iโ€™d like to think I was at the front of the line, but we all know Steven was, as Steven is the king. But the joy of giving him the script and waiting for his feedback and approval, which was always supportive, but he was never a yes-man. He is not going to tell you itโ€™s great if itโ€™s not great. That is worth everything. Youโ€™re surrounded by your own insecurities and your own confidence. When one rises, when the other one falls, to have somebody whoโ€™s so steady and secure and has good taste on top of talent, well, itโ€™s all you can ask for, and thatโ€™s what he was. But he was also somebody who knows how to set a table for an actor, keep it quiet, keep it cool, let them do their work. Itโ€™s why Daniel Day-Lewis would fucking not be on a set without Adam Somner keeping it cool, you know? Itโ€™s why you feel safe.

DiCaprio: I remember listening to Martyโ€™s story about Adam when we were doing the orgy sequence in Wolf of Wall Street. We had an intimacy coordinator there for the first time in cinema history, I believe, because it was a full-on Caligula orgy on a 747. Adam worked with the intimacy coordinator, and it was like a dance. Adam would say, nasty bit, nasty bit, hover over here, nasty bit, nasty bit. For Marty, it was one of those Chia Pet things, everything was already grown for him.

Anderson: I donโ€™t know what itโ€™s going to be like when we have to go to work again without him. Itโ€™s going to be a big gaping hole.


DiCaprio: Chase [Infiniti] was incredible.

Anderson: Yes, she was.

DiCaprio: We did an extensive audition process, and there was some point at which you said, โ€œThis is the one.โ€ And I said, โ€œYes, this is the one.โ€ And this was her first movie.

Anderson: We started with filming your scenes with her. I remember thinking, Iโ€™m really going to keep an eye on her today; she must be very nervous. And she wasnโ€™t nervousโ€”maybe she was, we all probably were. But the point is, she was so instantly a professional. We shot the final scene at the beginning. I think we all collectively said, โ€œThis will never be in the movie. Weโ€™re going to go make the movie, and weโ€™ll come back to this; weโ€™re never going to get anything good here.โ€ And lo and behold, I think we got something quite magical.

DiCaprio: That final sceneโ€”itโ€™s very, very moving. And then Teyana [Taylor] was just absolutely fantastic. What an ability to improv and embody that character.

Anderson: Teyana was best when you just give her the green light to cut loose. Just let her cook and make sure youโ€™re filming it right. Thatโ€™s the best way to do that.

DiCaprio: And Sean, of course.

Anderson: Sean Penn, I mean, heโ€™s just old enough that, for us starting out, he was this hero. Youโ€™re like, Wow, thatโ€™s an actor, thatโ€™s a man.

DiCaprio: After knowing him so long, Iโ€™m just so happy he got to have a character like this, because it wasnโ€™t going to be the traditional way to play him. You knew Sean was going to bring some element that was askew. I only got to do one scene with him.

Anderson: Itโ€™s just one in the supermarket, right? I will always remember that as a great day, when you kept looking around, asking, โ€œAre we going to close this supermarket down?โ€ Me saying, โ€œNo, weโ€™re just going to shoot.โ€ And then the cashier at the checkout, in the middle of your scene, takes out her phone and starts taking pictures of you. That made me laugh. I guess she got bored taking pictures after a while.

DiCaprio: Do you like the idea of controlled chaos in what you do?

Anderson: Yes. I donโ€™t think itโ€™s good all the time. You have to pick and choose when you think itโ€™ll be appropriate. There are certain moments when youโ€™re like, I want to feel the unknown entering. We shot a scene in Punch-Drunk Love of Adam Sandler on a telephone calling Emily Watson in a hotel room. Heโ€™s standing in a street in Honolulu, and he calls her, and itโ€™s fantastic. But when we were standing there, I said, โ€œWell, itโ€™s good, but itโ€™s a little low energy, and I donโ€™t really know what else I would do to fix it.โ€ As we were wrapping up for the day, someone said, โ€œYou canโ€™t leave your truck hereโ€”tomorrow is this huge Japanese American Parade day.โ€ And of course we say, โ€œWait a minute, thereโ€™s a parade going on? We could put the phone booth right there and shoot in the middle of a parade? Letโ€™s come back.โ€ That was the kind of thing where thereโ€™s something larger happening than your film. Sometimes youโ€™re going to fail. But there are other times where you can catch lightning in a bottle. Adam was supposed to get quite angry at his sister on one of these phone calls, and he was kind of getting there, but not really. These drummers are coming down the road making this tribal banging at the same time heโ€™s supposed to reach this peak. The music had to affect him. He fucking launches into this fantastic take of anger; heโ€™s lost his mind.

DiCaprio: Itโ€™s the โ€œIโ€™m walking here!โ€ moment, right?

Anderson: Thatโ€™s right. We got quite lucky with some of that stuff on this film. We shot underneath a freeway underpass, forty feet from the border of Tijuana, while we were raiding the immigration camp. I couldnโ€™t tell the real immigrants who were sneaking across the border from the background artists that weโ€™d hired. No one could. Iโ€™d watch them walk in the back of a scene and think, Is that a background cross or is that somebody really crossing? And it would be people that were really crossing the border.

DiCaprio: Tell me about the line from Benicioโ€™s character. About freedom.

Anderson: Itโ€™s a Nina Simone line. An interviewer asks, โ€œWhat is freedom to you?โ€ And she says, โ€œIโ€™ll tell you what freedom is. No fear. Thatโ€™s what it is.โ€ That wasnโ€™t in the script, but the deeper we got into shooting, that kept reverberating in my mind. Donโ€™t be afraid. Keep going. It became perfect to throw it into Benicioโ€™s mouth. And as a philosophy, it certainly holds true for me. Freedom is no fear. Letโ€™s hope we can all get there.


DiCaprio: What do you make of the state of the movie business today?

Anderson: Iโ€™m just trying to rapidly live in reverse to hold on to any shred of the Olden Times thatโ€™s left. This is called denial and nostalgiaโ€”wish me luck. Iโ€™m only half kidding. The irony is that the best part of life is the constant forward momentum. It only moves in one direction, so hop on and hold tight. Every โ€œsky is fallingโ€ panic has been screamed and screamed again. Best to remain calm, keep your head down, and dedicate yourself to the work at hand. The rest is just noise. I love our business, and Iโ€™ve seen it flourish and eat itself and then turn around and grow strong and then make the same mistakes it made years earlier. Through it all, itโ€™s still standing. Or in other words, โ€œYou never got me down, Ray.โ€

DiCaprio: Raging Bull.

Anderson: This is not me talking; this is Esquire. โ€œYou give so much to every role you play, once filming wraps, what do you do to come down from it?โ€

DiCaprio: Sheesh.

Anderson: How do you recover? What is what? What does a jet-setter like yourself do?

DiCaprio: Ironic, because Iโ€™m on a yacht off Croatia right now.

Anderson: Iโ€™d expect nothing less. Iโ€™ll rephrase the question: Do you get the blues after filming? Because I sure do. How do you avoid it?

DiCaprio: I think Iโ€™m good at it because I take a lot of time off between films. I do things more sparingly, which means youโ€™re anxious to get back to your real life once youโ€™ve finished filming. Life goes on hold when youโ€™re filming. Everything stops and gets put on the back burner in your real life. I might be more concerned if I worked too much. To go from film to film, I would be scared about what do I have to come back to? Iโ€™m very fortunate for that.

Anderson: That makes sense. Sometimes when a film starts, itโ€™s very hard to get used to how little structure there is. How far from normal it is. The lack of sleep, the circus lifestyle of it all. And then, when itโ€™s over, a hundred days later, itโ€™s very challenging to return to the structure of everyday life.

DiCaprio: Itโ€™s much more difficult for directors, in my mind. We get to go home and bounce back into our normal rhythm and in a much different way until promotion time.

Anderson: Which leads me into the next question, which Esquire wants me to ask: โ€œWhat do you worry about? What keeps you up at night?โ€ Besides saying dumb shit while youโ€™re promoting your movie. You know what, donโ€™t answer that.

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He looks HOT! ๐Ÿฅต Love love love this photoshoot! ๐Ÿ˜๐Ÿ˜๐Ÿ˜๐Ÿ˜

Thanks to post.

Leonardo DiCaprio Says He Feels 'Emotionally' in His 30s as He Reflects on Turning 50

https://people.com/leonardo-dicaprio-says-he-feels-emotionally-30-after-50th-birthday-11790059

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