Fresh off his Golden Globes win for his role in Quenin Tarantino’s film. Once Upon a time in Hollywood, iconic America actor Brad Pitt sat down with New Europe’s Federico Grandesso while the latter was in Venice to promote the science fiction film Ad Astra, his most, and a collaboration with director James Gray.
NEW EUROPE (NE): What’s your feeling about the major success of Tarantino’s Once Upon a Time in Hollywood?
BRAD PITT (BP): Well, that the movie was well-received by the critics and audiences alike, and has made a huge earning at the US box office, was expected. I think it’s great. It’s big for a Quentin film that it could still land like that. I think it was the only original content released over last summer that is neither a sequel nor based on a comic book or something like that. So, it’s no small feat. It says a lot that the studios can still gamble on films like his. I’m really pleased for it because the film was well-suited to my taste, of course.
Category: BP Press
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.
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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).
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.”
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Brad interviews Anthony Hopkins!
After well over a hundred starring roles, in a career stretching back to the 1960s, it’s a wonder Hollywood hasn’t run out of meaty, memorable archetypes for Sir Anthony Hopkins to portray. In the past, the 81-year-old Welsh Oscar winner has played more than his share of deviously brilliant psychotic murderers (The Silence of the Lambs and its sequels, Fracture); restrained, restricted Englishmen on the brink of emotional crises (Howards End, The Remains of the Day, Shadowlands, You Will Meet a Tall Dark Stranger); iconic artistic geniuses who defined the 20th century (Surviving Picasso, Hitchcock); and more Shakespeare characters than should be expected of anyone (Hamlet, King Lear, Titus). Not to mention the other gods of celluloid he has traded dialogue with over the years (his third movie role had him starring opposite Katharine Hepburn and Peter O’Toole in 1968’s The Lion in Winter).
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.”
WASHINGTON – Brad Pitt leans back and relaxes in a Georgetown hotel chair a mile and a half from the White House, though he’s light-years away from worrying about presidential tweets.
It’s been three days since the 55-year-old actor told a French newspaper that President Donald Trump represented a “much bigger threat” on “more serious issues” than tariffs on the French vineyard Pitt owns with ex-wife Angelina Jolie.
No angry social-media missives have been thrown his way yet, though, and “truthfully, I don’t even think about it. It probably says I’m doing something wrong,” says Pitt, brandishing his signature grin.
This mind-set is in line with the overall Tao of Brad: The star of the space adventure “Ad Astra” (in theaters Friday) is self-effacing and thoughtful, kind and cool, philosophical yet also guarded.
In recent years in the public eye, Pitt has navigated a two-year divorce and got sober. He’s also found two of his most memorable characters onscreen: The enigmatic and easygoing 1960s stuntman Cliff Booth in Quentin Tarantino’s “Once Upon A Time in Hollywood” – which has Pitt in line for his fourth Oscar acting nomination – and stoic, introspective “Ad Astra” astronaut Roy McBride, who blasts off into the cosmos seeking his missing father (Tommy Lee Jones).