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Brad Pitt has been one of Hollywood's biggest stars for what feels like forever now, constantly delivering incredible performances across a variety of genres. One thing that has always eluded him though is one of those little golden statues called Oscar, but last night he finally bagged one for his supporting performance in Quentin Tarantino's Once Upon a Time in Hollywood. During what turned out to be a rather touching acceptance speech, Brad Pitt reflected on his career, thanking the people that helped him get to where he is, but not before he took the opportunity to have a dig at President Donald Trump.'They told me I only have 45 seconds up here, which is 45 seconds more than what the Senate gave John Bolton this week.'
This, of course, is a reference to the lack of evidence that was allowed to be given at Trump's impeachment hearing by John Bolton, the ex-Trump adviser. Apparently Pitt did not get the memo from Ricky Gervais' Golden Globes opening monologue of just thanking your god, collecting your little statue, and getting off the stage.
After getting things started with a political quip, Pitt paid tribute to his Once Upon a Time in Hollywood director Quentin Tarantino, calling 'original' and 'one of a kind', before telling him that 'the film industry would be a much drier place without you.' He then sent his love towards his co-star, and fellow Hollywood A-lister, Leonardo DiCaprio.'Leo: I'll ride on your coattails any day, man. The view is fantastic.'
Having won the award playing a stuntman, Pitt quite rightly thanked the hard work of Hollywood's stunt performers.'I also wanna say, ya know, while we're doing all this, I think its time we give a little love to our stunt coordinators and our stunt crews.'
Finally, Pitt looked back at his glittering career, becoming quite emotional as he did so, and reflected on the people that got him to where he is, as well as the fairytale that has been his life in Hollywood.'Listen, I'm a bit gobsmacked. I'm not one to look back but this has made me do so, and I think of my folks taking me to the drive-in to see Butch and Sundance, and loading up my car and moving out here, and Geena and Ridley giving me my first shot. To all the wonderful people I've met along the way...to stand here now...once upon a time in Hollywood... ain't that the truth.'
The award clearly meant a lot to the actor, and it was a well-deserved victory for his charming, funny, stand-out performance as Cliff Booth in Quentin Tarantino's Once Upon a Time in Hollywood. As they kicked off the 92nd annual Academy Awards, Pitt's win was the first of the Oscar Winners announced. South Korean thriller Parasite won 4 Oscars while Joaquin Phoenix won his first Oscar for Joker.
'I'll ride on your coattails any day, man. The view is fantastic.' Brad Pitt thanks Leonardo DiCaprio during his #Oscars speech...
Ahead of the Golden Globes kicking the final full month of awards season into overdrive, The New York Times has published a lengthy profile of Martin Scorsese, a Globe nominee for Best Director and a near-lock to earn a nomination in the same category at the Academy Awards. Scorsese is a contender this year for “The Irishman,” his $160 million crime epic that was produced and distributed by Netflix. The director chose the streaming platform because no Hollywood studio would give him the budget required to make “The Irishman,” but it’s not as if Scorsese was eager to make his latest film under the watchful eye of studio heads.
New York Times reporter Dave Itzkoff writes that in the decade that followed “Casino,” Scorsese became “drained” by working for Hollywood studios because the director “inevitably found himself butting heads with studio executives who wanted the running times shortened.” It appears tensions between Scorsese and the studio world reached a peak during the making of “The Aviator,” the director’s 2004 Howard Hughes drama that was co-produced and distributed in the U.S. by Warner Bros.
“The last two weeks of editing and mixing 'The Aviator,' I said if this is the way you have to make films then I'm not going to do it anymore,” Scorsese said, revealing a moment in time he got close to leaving the filmmaking world behind. “It's like being in a bunker and you're firing out in all directions. You begin to realize you're not speaking the same language anymore, so you can't make pictures anymore.”
Scorsese started turning to independent financiers in order to maintain control over his movies in the future, and with “The Irishman,” he was given full control by Netflix. The director clearly has aversions to working with Hollywood studios but he is returning to that world nonetheless with his next feature, the Paramount-backed “Killers of the Flower Moon.”
The New York Times also asked Scorsese about rival Oscar contenders he loved this year. The director singled out Bong Joon Ho’s “Parasite” as a favorite. As for “Joker,” the revisionist comic book drama Scorsese passed on directing and producing because of his “Irishman” duties, Scorsese has yet to see it and doesn’t appear to be in a rush to do so. Scorsese is aware “Joker” uses his films “Taxi Driver” and “Means Streets” for creative and storytelling inspiration. The director said, “I saw clips of it. I know it. So it's like, why do I need to [see it]? I get it. It's fine.”
“The Irishman” is now streaming on Netflix. Head over to The New York Times’ website to read...
Snowpiercer. A History of Violence. Oldboy. Road to Perdition. There are any number of top-notch comic book movies that don’t revolve around costumed superheroes. One of the best of these is Frank Miller and Robert Rodriguez’s Sin City, a film that pushed the genre forward fifteen years ago with trailblazing black-and-white visuals ripped straight from the comics.
On April 1, 2005, Sin City ushered theatergoers into a world unlike anything they had ever seen before on the big screen. Lurid yet literate, with voiceovers like thought bubbles, the film was something new and remarkable: neo-noir with a heap of violence and the look of a live-action motion comic. With cinemas now closed and most people’s travel plans on pause due to the global coronavirus pandemic, it’s as good a time as any for pulp-lovers who are stuck at home to take a trip back to Sin City.The Illustrator Is Always Right
The vast majority of comic book movies have followed a model of loose adaptation, transplanting characters and stories from the print medium without a slavish devotion to the source material. Most of the ones you saw coming out of Hollywood in the first half of the 2000s were so loosely adapted as to be unrecognizable. Heroes like Daredevil, who Miller helped define in “Born Again,” The Man Without Fear, and other tales, were marooned in wishy-washy flicks where they and their classic villains only bore a passing resemblance to their comic book counterparts.
Into this climate, came Robert Rodriguez, who had already built his reputation as a maverick “one-man film crew:” writing, producing, directing, as well as serving as cinematographer, production designer, camera operator, editor, composer, and VFX supervisor on many of his own films. With all these titles registered to his name, you might think Rodriguez would want to plant more me-flags all over the credits of Sin City. However, he is also a filmmaker who has shown himself to be rather atypical when it comes to sharing credit.
Some of his most entertaining movies, in fact, have come when the one-man film crew was paired with other innovative storytellers, who could supplement his technical prowess with a dash of their own creative energy. After bursting onto the ‘90s film scene with El Mariachi and Desperado, Rodriguez soon linked up with such in-demand screenwriters as Quentin Tarantino and Kevin Williamson to collaborate on guilty pleasures like From Dusk Till Dawn and The Faculty. More recently, Rodriguez teamed with uber-producer and screenwriter James Cameron for the cyberpunk manga adaptation, Alita: Battle Angel.
For Sin City, Rodriguez quit the Director’s Guild of America so that Frank Miller could receive a co-director credit with him. He also let his old pal...
Martin Scorsese’s frequent cinematographer Rodrigo Prieto said last December the tone of their next collaboration together, “Killers of the Flower Moon,” was still being worked out. Now comes word from Scorsese himself that the tone has been set and the project, based on David Grann's historical novel of the same name, will be the director’s first Western. “Killers of the Flower Moon” is Scorsese’s follow-up to “The Irishman,” which nabbed 10 Academy Award nominations this year. The project is set to star longtime Scorsese muses Leonardo DiCaprio and Robert De Niro.
“We think it's a Western,” Scorsese tells Premiere of the film. “It happened in 1921-1922 in Oklahoma. There are certainly cowboys, but they have cars and also horses. The film is mainly about the Osage, an Indian tribe that was given horrible territory, which they loved because they said to themselves that Whites would never be interested in it. Then we discovered oil there and, for about ten years, the Osage became the richest people in the world, per capita. Then, as with the Yukon and the Colorado mining regions, the vultures disembark, the White man, the European arrives, and all was lost. There, the underworld had such control over everything that you were more likely to go to jail for killing a dog than for killing an Indian.”
Scorsese continues, “It's so interesting to think about the mentality that leads us to this. The history of civilization goes back to Mesopotamia. The Hittites are invaded by another people, they disappear, and later it is said that they have been assimilated or, rather, absorbed. It is fascinating to see this mentality which is reproduced in other cultures, through two world wars. And which is therefore timeless, I think. This is the film that we are going to try to make.”
David Grann's book centers around the Osage Nation murders, in which members of the Native American tribe were killed after discovering oil on their reservation. The murders attracted the attention of the newly-created FBI. Paramount Pictures boarded the project last June, bringing Scorsese back to a major Hollywood studio following his work on “The Irishman” with Netflix. Production on “Killers of the Flower Moon” is expected to begin this spring, making a 2021 release date most likely.