Brad Pitt is reuniting with Sandra Bullock for Lost City of D, Paramount’s romantic action-adventure comedy that also stars Channing Tatum.
The move is actually a friendly quid pro quo as it follows Bullock making a cameo appearance in Pitt’s action movie Bullet Train, which recently wrapped production with director David Leitch shooting for Sony. When Bullock, who is producing as well as starring in D, saw an opportunity for a fun casting, she reached out to her pal, who said yes.
Adam and Aaron Nee are directing D, which is described as an old-fashioned star vehicle as well as a screwball adventure featuring mismatched leads, witty repartee and of course, romance.
Per the studio, the story centers on a reclusive romance novelist who is sure nothing could be worse than getting stuck on a book tour with her cover model. That is, until a kidnapping attempt sweeps them both into a cutthroat jungle adventure, proving life can be so much stranger, and more romantic, than any of her paperback fictions.
Bullock is the author while Tatum is the model. Pitt’s role is being kept hidden in the temple ruins, but it is said to be a cameo.
Several A-listers are set to present at this year’s socially-distanced Oscars ceremony.
Hollywood’s A-list will be out in force at the 2021 Oscars later this month.
Brad Pitt, Halle Berry, Harrison Ford and Reese Witherspoon are just a few of the stars announced as presenters at the awards show, airing on Sunday, April 25, the Academy of Motion Picture Arts and Sciences announced on Monday.
Pitt, last year’s Best Supporting Actor winner, will also be joined by 2020 winners Renée Zellweger, Joaquin Phoenix and Laura Dern.
Also announced in the presenter line-up so far are Angela Bassett, Bong Joon Ho, Don Cheadle, Bryan Cranston, Regina King, Marlee Matlin, Rita Moreno and Zendaya.
“In keeping with our awards-show-as-a-movie approach, we’ve assembled a truly stellar cast of stars,” said show producers Jesse Collins, Stacey Sher and Steven Soderbergh in a statement. “There’s so much wattage here, sunglasses may be required.”
More presenters will be announced before the Oscars.
This year’s awards show will look markedly different from previous ceremonies with the producers planning on making the Oscars “look more like a movie, not a television show,” they said in a press release last month.
In March, producers sent a letter to nominees outlining several requirements for the upcoming show. In the letter, the three revealed those nominated will not have the option to Zoom into the live show.
“For those of you unable to attend because of scheduling or continued uneasiness about traveling, we want you to know there will not be an option to Zoom in for the show,” they said.
The letter continued, “We are going to great lengths to provide a safe and ENJOYABLE evening for all of you in person, as well as for all the millions of film fans around the world, and we feel the virtual thing will diminish those efforts.”
For those unable to attend, the Academy will accept the Oscar on behalf of the artist.
The show’s theme was also revealed as “Stories Matter,” with the producers asking talent to take part in interviews where they’ll share their own personal stories. The idea is to connect each person’s story at the award show.
The 93rd Academy Awards will air live on Sunday, April 25 starting at 8 p.m. ET/5 p.m. PT on ABC.
Last year, shortly before all social gatherings were put on hold, Brad Pitt was photographed in New York on his way to an awards ceremony at TAO Downtown. He was dressed entirely in grey, wearing a two-piece suit and matching overcoat and a polo shirt, louchely unbuttoned in lieu of a shirt and tie. Made by Brioni, the look epitomised a resolutely modern way of dressing, the perfect expression of the brand’s reinvention following a rocky few years. “We’ve made some great progress,” says Norbert Stumpfl, Brioni’s design director, from the house’s headquarters in Rome. “When I joined, I really wanted to instil a feeling in the design team that we are allowed to innovate here.”
Prior to Stumpfl’s arrival, Brioni had been through a rough patch. In 2016, the Kering Group appointed former Mytheresa fashion director Justin O’Shea as creative director, who joined the house with no formal training in tailoring and lots of flashy ideas about how to appeal to a younger generation. Out went the traditional values so closely associated with Brioni, and in came skinny-cut trousers, full-length chinchilla coats and an ad campaign fronted by Metallica.
Such a dramatic break with the label’s history alienated some Brioni customers. While Kering doesn’t release specific numbers about Brioni, which is categorised under “other brands”, a financial report remarked that the house had made a “negative contribution” to the group’s overall performance, and market analysts reported that it was not performing well. O’Shea was replaced after six months by Nina-Maria Nitsche, whose work was far more elegant, but perhaps a little safe. She, in turn, designed only two seasons with Brioni. Stumpfl’s appointment was the third roll of the dice in three years.
The Austrian designer is a reassuring character. Gentle and softly spoken, with a French tinge to his accent, he lived in Paris for 15 years, working in the design teams at Lanvin, Balenciaga, Louis Vuitton and Berluti before relocating to Rome to head up Brioni in late 2018. He was joined in January 2020 by Mehdi Benabadji, the brand’s new CEO. According to Benabadji, the duo are still in the early stages of “writing a new chapter”. But central to their ambition has been a reassessment of what makes a 76-year-old Italian tailoring house relevant now.
When asked what he thinks of Brioni as a heritage institution, Benabadji’s answer reveals an acute understanding of the problems faced by many “formal” brands, negotiating a tightrope walk between serving traditional tailoring to a stalwart but ageing clientele while also trying to make adaptations for the younger customer who has a more casual attitude to clothes. “I’m not a great fan of the terminology ‘heritage brand’ – it can be misleading,” says Benabadji. “It’s very much associated with always doing the same thing and repeating the old. Sartorial excellence runs deep in our DNA, but Brioni was born in 1945 with a spirit of innovation.”
Certainly, Brioni is a pioneer. The house was the first in history to stage a men’s catwalk show in 1952. In 1955, founders Nazareno Fonticoli and Gaetano Savini popularised the idea of a trunk show, with their tailors touring right across the United States to take orders. In 1958, the house staged a fashion show mid-flight on a plane travelling from Rome to New York. The brand was innovative also in forging early relationships with Hollywood and recognising the power of celebrity, dressing Clark Gable and John Wayne in the ’50s, and later Pierce Brosnan, long before the culture of the influencer took hold. For an old-school tailor, Brioni is no stick-in-the-mud.
The challenge for both Benabadji and Stumpfl is to translate this history of innovation into the idea of modern luxury. “The most important thing we’ve learned this past year is that we need to accelerate,” says Benabadji. “We need to keep digitising, and we need to strike the right balance between reaching a wider audience and being a connoisseur’s brand.”
Product is the most obvious starting point. Stumpfl’s collections are a harmonious meeting of tailored and casual designs; old-school glamour with modern wearability. “I want the Brioni man to come into store and leave with a wardrobe that works for the 21st century – this isn’t the 1950s,” he says.
Brioni has also introduced a “virtual” trunk-show programme, whereby customers can order bespoke suits over video calls anywhere in the world. Over the course of 2021, there’s also a new store concept rolling out worldwide, with a chic, townhouse-like feel, inspired by an imagined lifestyle of a Roman man living abroad.
But to solve Benabadji’s “awareness” challenge, the house is relying on a tried-and-true tactic: celebrity endorsement. Brad Pitt was enlisted as a brand ambassador in line with Stumpfl’s first collection (at the end of 2019), and has since appeared in advertising campaigns and on red carpets in the house’s sharp tuxedos. In April, this partnership will be further cemented with a capsule developed in a collaboration between Pitt and Stumpfl.
“It’s made of easy, timeless clothes,” says Stumpfl of the pieces. “Of course, underneath, in terms of fabric research, cut and craftsmanship, there is a lot of dedication to make clothes at this level, but the overall effect is simple and effortless.”
Quite apart from his gargantuan public profile, this association with Pitt feels surprisingly authentic. “It’s great to work with a person who really knows about clothes, art, architecture,” continues Stumpfl. “To me, he is the ideal Brioni customer: creative, successful, has a family. He represents many different facets of modern masculinity. Every man looks up to him, women love him, he’s forward-looking and yet he’s ‘old Hollywood’ too. He lives in his time.”
Anna Ross, a trend forecaster and former editor at WGSN, says Brioni’s partnership with Pitt is a smart move because, while influencer marketing is showing signs of stagnating, A-list endorsements still hold sway. “There’s an enduring elegance to Brad Pitt’s profile that reflects the core values of Brioni,” she says. “Pitt resonates with their customer, yet has a household-name influence that doesn’t reek of ‘in-the-know’ exclusivity. To pair Brioni with the latest TikTok or Instagram star wouldn’t sit right, but Pitt’s profile resonates beyond social-media platforms.” And early signs suggest the new direction is paying off. Mr Porter, one of Brioni’s long-standing and largest online stockists, has seen significant interest in the brand over the past 12 months. “We’re seeing a strong requirement for timeless pieces,” says the retailer’s buying director, Sam Kershaw, “and Brioni is a great example of that, evident by the commercial success we had with an exclusive Brioni collection launched last November. Looking ahead, I predict demand for the house will remain high.”
Benabadji concedes that 2020 was a challenging year for the brand financially, but he’s optimistic about its direction. “Of course, the pandemic hit all brands hard… but Covid-19 has realigned consumer expectations and we’re seeing a growing appreciation for genuine craftsmanship and the skills of people who make garments. Consumers are putting people at the centre of everything.” With its 1,100-strong staff in ateliers in Abruzzo and Lombardia, plus a face like Pitt on board, the brand is set up to cater to this new desire for authenticity.
“That’s why Norbert is the perfect designer for us,” Benabadji says. “He puts the man first in all his creations – there are no ornaments in our clothes and no logo-mania. Everything is about enhancing the personality of our customers.” Adds Stumpfl: “I think that’s what sets us apart from heritage brands, which continue to look backwards. To make Brioni work and keep this brand alive, we can’t do that. The only way forward to us is to keep with the times and create a wardrobe for the modern man.”
Bullet Train is one of the hot action properties in Hollywood right now. The new film from David Leitch (Atomic Blonde) stars Brad Pitt and revolves around a bullet train full of assassins all connected to a nefarious conspiracy. The packed cast also includes Sandra Bullock, Lady Gaga, Aaron Taylor-Johnson, Brian Tyree Henry, Zazie Beetz, Joey King, Michael Shannon, Logan Lerman, Masi Oka, and Andrew Koji.
Collider’s Steven Weintraub recently spoke to the film’s producer, Kelly McCormick, for her new movie, Nobody, and she revealed that they’ve got about two weeks left of shooting on the film and then many months of post-production. When asked why everyone wants to jump on board, McCormick cited that the premise of the project is a lot of fun for actors who also want to work with Leitch and Pitt.
“I think the combo in what this movie is, which is kind of a crazy crime caper, is a really exciting combo for fans as well as actors,” said McCormick. “I can’t speak more highly of the picture and the experience. Every day is an absolute riot.”
One of the things that was fun about the action on this is the confined space, in that we’re basically on a bullet train for the whole picture. So, how do you… What is creative? What is original? What is fresh, with regards to that? And, that’s been a really fun challenge for David, as well as the action team headed by 2nd unit director Greg Rementer.
Also, some folks may not know that before Leitch was a massively in-demand director, he was Brad Pitt’s stunt double (hence Pitt’s surprise cameo in Deadpool 2). McCormick talked about how the dynamic has shifted now that Leitch is directing Pitt in an action movie and how the actor trained for the role:
To see them together now, you can kind of get hints of what that was, but it’s obviously completely different, because the dynamic is a little bit different. They are extraordinary partners in my opinion and are having a blast. Brad is a generous actor and a good human being. In my opinion, this is a Brad performance that we’ve never seen him do before. It’s light, it’s fun, it’s crazy, and he’s having a ball, I think. And, we are too…He trained a lot. And, part of it, I think is because he’s working for the guy who used to take the punches for him, so he has something to prove. But, even in COVID, early on, before we were shooting, we were going to his house, masking up, getting our tests, and getting him in a fighting shape. It was… He’s been very dedicated to the project.
I wouldn’t be surprised if Bullet Train is the kind of big, blockbuster action spectacle that drives people to the theater, not only with the cast they’ve assembled, but with the set pieces we know Leitch can construct.
Welcome to the new look! I have to admit, I think it looks stunning on the computer! Please feel free to leave a comment on what you think!
This project was a little bit like that in that you are telling the story of a “marvel” of engineering, or art or history but I was happy to take on an independent project wherein I would wear all the creative hats as well as manage the “nuts and bolts” of producing. I realized making this documentary had inherent challenges including the complexities of a historic restoration, the two year period of construction and the task of weaving in the story of America’s best known architect. I needed to balance my methodical producing mind set with my artistic side. The story began to take shape as I spent time on the site and observed and interviewed the talented and devoted restoration team. I really wanted to find a way to infuse a sense of Wright himself into the story so I was especially thrilled when Brad Pitt agreed to narrate specific quotes reflecting Wright’s creative approach. I think his readings give the film an authenticity that wouldn’t otherwise exist
Read more here and preregister to watch the film.