I know I am rather late with the latest updates, but eh real life happens. Anyways, as you can see I have been catching up with all the Brad goodies. Stay tuned! Here is a lovely video of Brad arriving at the Venice Film Festival last week, promoting Ad Astra! Be sure to read the amazing reviews posted at the SB Forum!
In James Gray’s Ad Astra, Brad Pitt plays an astronaut traveling to the farthest reaches of our solar system to find his lost father and grapple with existential questions. And at the heart of the film, Pitt said at its Venice press conference earlier today, was the exploration of what constructs of masculinity mean and whether they need to be broken down.
“Having grown up in an era where we’re taught to be strong, not show weakness, don’t be disrespected,” Pitt said, “There’s a certain value in that, but there’s also a barrier that’s created with this kind of embracing of the self, because you’re denying, in a sense, those pains or the things you feel shame, whether real or imagined.
“We were asking the question, is there a better definition for us? Does being more open provide you with a better relation with your loved ones and with yourself? At the end of the day, that’s certainly what we were after.”
Of the film’s more technical aspects—particularly the zero gravity sequences—Pitt said he consulted with friend George Clooney, who had starred in Gravity. “Doing a space film is a little bit like a Peter Pan stage production, hanging from wires,” he explained. “George and I exchanged some discomfort stories.”
Gray said Pitt’s vulnerability as an actor leant itself to exploring those themes. In creating the character, he explained, “The key is you cannot worry about being liked or hated or sympathetic or unsympathetic. You can only worry about being honest to who you are, and about being willing to be vulnerable or open. Sometimes that will lead you to dark places and people will love it or hate it, but you can’t worry about that. I tried to establish that dialogue with Brad, Brad certainly did with me, and you let the chips fall where they may.”
“The Ellen DeGeneres Show” will celebrate the beginning of its seventeenth season during the week of September 9.
Day-by-day listings are beginning to materialize for premiere week.
September 9: Kylie Jenner (plus Kris Jenner joins Kylie and Ellen to surprise fans as part of the $1 million giveaway)
September 10: Melissa McCarhty
September 11: Chrissy Teigen, Chance The Rapper
September 12: Reese Witherspoon
September 13: Sean Hayes
An official press release says Brad Pitt will also be appearing during premiere week; the airdate for his visit is not yet available.
Robert Richardson is not only one of the best cinematographers working today, he’s also one of the closest collaborators of one of the best writer-directors in history. Richardson has worked with Quentin Tarantino on five films now, dating back to Kill Bill, but their latest collaboration is one of their most satisfying yet. Once Upon a Time in Hollywood takes place over the course of three days in 1969 and follows the lives of a fading TV actor named Rick Dalton (Leonardo DiCaprio), his laid-back stunt double Cliff Booth (Brad Pitt), and shining star Sharon Tate (Margot Robbie)—Rick’s next-door neighbor.
Once Upon a Time in Hollywood brings 1969 Los Angeles to life in a way that feels vibrant and vivacious, but it’s also a deeply intimate story of these three characters. Richardson’s cinematography at once evokes the epic promise of Hollywood, but also the personal triumphs—and failures—of those trying to make it. Along the way, Richardson and Tarantino delightfully capture life on a Western TV series set, evoke the spookiness of the Manson Family-filled Spahn Ranch, and go dark for a truly shocking (and ultimately touching) grand finale. The striking nature of images onscreen is a testament to both Richardson’s and Tarantino’s talents, but despite the varying locations and landscapes, all feel like pieces of a whole.
Read more. Interesting interview from his perspective as a cinematographer. He also mentions Brad a few times. Nice read!
The indie stalwart chats about his new space epic, navigating the Fox-Disney merger and why he’s not afraid to take on Trump in his next movie.
Back in 2011, director James Gray happened upon two science articles that provided the seedling for his latest film, Ad Astra. The first chronicled an experiment to split the atom that posed a small, but real, risk that all known matter in the universe would be destroyed. The second dealt with NASA’s quest to enlist astronauts with schizoid personality disorder, who would be ideal for deep-space missions because they wouldn’t have to interact socially. Enter Brad Pitt as the space thriller’s protagonist, and suddenly Gray, who is best known for indies like The Immigrant and Two Lovers, was working with a budget much bigger — $87.5 million — than any of his previous outings. Ahead of Ad Astra’s world premiere in Venice, Gray, 50, talked with The Hollywood Reporter about whether he’s gone mainstream, how the film landed in the crosshairs of Disney’s acquisition of Fox, and why he’s bringing Donald Trump’s father to the big screen.
What was the mind-set behind casting Pitt as your lead?
I thought about a very retro, almost 1960s idea of the all-American astronaut. The idea was to break down the myth of what it means to be traditionally masculine, macho. And the only way you can really break down the myth is to start with the myth. There’s this whole mythology that comes along with [Pitt], and that’s what you can play with.
POSSIBLE SPOILER ALERT
Among the many enigmas, controversies and unexplained mysteries within Quentin Tarantino’s “Once Upon a Time … in Hollywood” is a bit of backstory about Brad Pitt’s character, Cliff Booth. What happened to his late wife?
A stuntman and war veteran resigned that his best days are behind him, Booth works as a handyman, driver and general aide-de-camp for actor Rick Dalton, played by Leonardo DiCaprio. But Pitt’s character also can’t escape the rumor that he killed his wife.
The exact circumstances of her death and its aftermath are never fully discussed — was Cliff charged or tried for any crime? — but a flashback reveals that Cliff and his wife, Billie, played by Rebecca Gayheart, were both drinking heavily and arguing while alone on a boat out at sea. Cliff, in a wetsuit and scuba mask, absently points a harpoon gun toward his wife. There’s the crash of a wave and the scene ends.
If the rumor that swirls around Cliff colors the response of others to him — “I don’t dig the vibe he brings on a set,” says a stunt coordinator played by Kurt Russell — it also partly explains the air of sad resignation that surrounds him, as Cliff lives somewhat in exile in a trailer behind a drive-in movie theater in the Valley.
In a recent interview with The Times, Pitt was asked the question directly: Did Cliff kill his wife?
“That, I will never tell,” Pitt said with a laugh.
Pitt confirmed that he had to answer that central question of Cliff’s guilt in constructing his performance, but he’s not interested in sharing.
The movie does offer a few possible clues: At one point, Cliff says he spent time on a chain gang in Texas for hitting a police officer. He declines the advances of a young hitchhiker played by Margaret Qualley, noting that he has long avoided jail and that he isn’t going to be finally sent away over a potentially underage girl (using tangier language than that).