Category: BP Gallery
Brad Pitt, Chris Evans, Laura Dern and Six Other Stars Grace the Covers of W’s Best Performances 2020 Issue
For the Best Performances 2020 issue, the stars of the biggest films of the past year posed for photographer Juergen Teller in the most quintessential of Los Angeles locales: strip malls, parking lots and hotel rooms. This time around, the annual portfolio features nine different covers, with Brad Pitt (Once Upon a Time…in Hollywood and Ad Astra), Joaquin Phoenix (Joker), Jennifer Lopez (Hustlers), Eddie Murphy (Dolemite Is My Name), Chris Evans (Knives Out and Avengers: Endgame), Laura Dern (Marriage Story and Little Women), Adam Driver (Marriage Story, The Report, and Star Wars: The Rise of Skywalker), Adam Sandler (Uncut Gems) and Scarlett Johansson (Marriage Story and Jojo Rabbit) at their bold, unvarnished, effervescent best. For the portfolio inside the issue, the actors sat down with W’s Editor at Large Lynn Hirschberg to discuss their lives and work: Dern reflects on her public perception (she’s never felt like an icon), Lopez recalls her early days as a dancer, and Murphy opens up about the films and comedy albums that influenced him as a kid. Here, all of Teller’s iconic covers for W’s first issue of the new decade, and its tenth edition of Best Performances.
Be sure to read Brad’s hilarious (in my opinion) short interview right here.
• x005 W Photoshoot
Jack Davison’s photographs capture this year’s best actors with a minimalist and inventive approach.
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Released in December, just before awards season, the Great Performers Issue is one of The New York Times Magazine’s most anticipated of the year. After watching many hours of movies released in 2019, The Times’s co-chief film critic A.O. Scott and critic-at-large Wesley Morris narrowed down their choices for most striking performances in film this year to 10 actors: Adam Driver, Scarlett Johansson, Jennifer Lopez, Elisabeth Moss, Brad Pitt, Leonardo DiCaprio, Lupita Nyong’o, Julianne Moore, Antonio Banderas and Robert De Niro. All 10 appear in this weekend’s issue of the magazine.
“You have to kind of read the room,” Mr. Davison said. Some actors asked questions and wanted to collaborate; others wanted him to do his thing. Mr. Pitt, for one, “was quite interested in what the materials did when I was shooting through them,” Mr. Davison recalled. Mr. Banderas even got playful. All told, Mr. Davison spent two days shooting in Los Angeles, two more in New York and one in Spain (to shoot Mr. Banderas).
• x016 Photoshoots
• x012 November 02 – Springfield, MO
• x003 November 04 – Paris, France
• x006 November 16 – ‘LA on Fire’ Art Exhibition – Los Angeles, CA
• x014 November 24 – Kanye West’s ‘Nebuchadnezzar’ Opera Show – Los Angeles, CA
• x012 December 03 – U2 Concert – Tokyo, Japan
• x002 Breitling
• x002 Ad Astra – Promo
• x023 September 13 – Ad Astra – Tokyo, Japan
• x013 September 16 – Ad Astra – Washington DC, WA
• x027 September 18 – Ad Astra – Hollywood, CA
• x007 October 22 – The King – West Hollywood, CA
• x006 November 02 – Once Upon a Time in Hollywood (special screening) – Los Angeles, CA
As the stuntman Cliff Booth in Quentin Tarantino’s “Once Upon a Time … in Hollywood,” Brad Pitt laid down a performance of vintage Hollywood dudeness. His character is equally at ease being a human security blanket for his B-list-actor boss, played by Leonardo DiCaprio, as he is subduing murderous Manson family members while tripping on acid. In James Gray’s “Ad Astra,” Pitt used the same tools he wielded so deftly in Tarantino’s film — laconic cool; understated emotion — to build an entirely different version of masculinity. In it, he’s Roy McBride, an astronaut on an interplanetary mission to find his absentee (in multiple senses of the word) father. But McBride’s imperturbability is rooted in repression and hurt, nothing like Booth’s so-it-goes acceptance. “The two characters could be connected,” Pitt says, “in the sense that you have to go through an evolution to get to a place of comfort. You have to go through profound internal hardships.”
• x004 New York Times
Brad Pitt (“Once Upon a Time in Hollywood,” “Ad Astra”) and Adam Sandler (“Uncut Gems”) sat down for a chat for “Variety Studio: Actors on Actors.”
As has become a tradition for Variety’s Actors on Actors conversations, two superstars realize they have even more in common than celebrity. The careers of Brad Pitt and Adam Sandler ran on parallel tracks after they arrived in Hollywood in the late 1980s, emerging among the last generation of A-list superstars in the ’90s through wildly different genres of film. Sandler made hits of raucous comedies like “Happy Gilmore” and “The Waterboy,” while Pitt burnished a character-actor reputation with turns in “12 Monkeys” and “Fight Club.” This past year, Pitt was as melancholic as he’s ever been in “Once Upon a Time in Hollywood,” while Sandler was characteristically outsized in the New York freakout “Uncut Gems.” And yet, during a lengthy exchange, they keep stumbling over what unites them as artists.
“What I love when we started were cables everywhere, and massive lights,” Pitt tells Sandler, reminiscing about their early days in movies. “You’d be sweating all the time, and big-ass cameras that were super loud. Now it’s getting down to, we’re almost sitting in our own room in the dark. It’s a whole ’nother thing.”
Once Upon an Epic Panel at the New Beverly: Tarantino, DiCaprio, Pitt and Robbie Reunite to Talk ‘Hollywood’
“Once Upon a Time in Hollywood” is such a rabbit hole of references, themes and moods that 40 minutes is hardly sufficient to scramble down it. But a small audience in a Hollywood theater was happy to have that much time Saturday with the rare reassembling of Quentin Tarantino, Leonardo DiCaprio, Brad Pitt and Margot Robbie for a post-screening discussion about the year’s most rewardingly episodic epic. (The chat was also live-streamed to 18 other screens around North America.)
The Q&A had Tarantino holding the home-field advantage as a conversationalist, taking place at his own beloved repertory house, the New Beverly. Invited guild members were on hand along with 50 members of Tarantino’s public, who were recognizable as the ones asleep under coats and blankets before the screening started, some having waited outside much of the night for the early a.m. dispersal of free tickets. They were rewarded with a discussion that packed a lot into those 40 minutes, like the legacy of Luke Perry; the influences on the movie of “Billy Jack,” Travis Bickle, Edd “Kookie” Byrnes and cumulus clouds; and what horrors might have transpired if a smartphone had dared interrupt the director’s 1969 fever dream.