Tag: Martin Scorsese

  • Swift bests Scorsese at box office, but ‘Killers of the Flower Moon’ opens strongly

    By Associated Press

    NEW YORK: In a movie match-up almost as unlikely as “Barbie” and “Oppenheimer,” Martin Scorsese took on Taylor Swift in cinemas over the weekend. And while the box office belonged for a second time to “Taylor Swift: The Eras Tour,” Scorsese’s “Killers of the Flower Moon” got off to a strong start in Apple Studios’ first major theatrical gambit.

    After a record-breaking opening weekend of $92.8 million, “Taylor Swift: The Eras Tour” took in an estimated $31 million over the weekend from 3,855 locations, according to AMC Theaters. In an unconventional deal, the theater chain is distributing Swift’s concert film, and playing it only Thursdays through Sundays.

    Most Swifties rushed to see the film on opening weekend, when a large percentage of sales were driven by advance ticketing. Sales dropped a steep 67% in its second weekend, potentially signifying that “The Eras Tour” was predominantly an opening-weekend phenomenon.

    But “The Eras Tour” has still proved to be a movie event unlike any other. Within days, it became the highest-grossing concert film ever in North America, not accounting for inflation. It’s quickly accumulated $129.8 million domestically.

    More was riding on “Killers of the Flower Moon,” a historical crime drama about a string of murders against the Osage nation in the early 1920s. The film, which cost at least $200 million to make, is the largest production yet from Apple Studios. The streamer partnered with Paramount Pictures to release Scorsese’s adaptation of David Grann’s bestseller in 3,628 theaters, with plans to later stream it on a not-yet-announced date on Apple TV+.

    “Killers of the Flower Moon” debuted with $23 million, marking the third best opening for the 80-year-old Scorsese, following “Shutter Island” ($41 million in 2010) and “The Departed” ($26.9 million in 2006). Though Scorsese’s latest opus, starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro, will have a hard road to reaching profitability, it’s a successful launch for a 206-minute-long adult-skewing drama – a type of movie that, outside “Oppenheimer,” has struggled mightily at the box office in recent years.

    And “Killers of the Flower Moon,” with rave reviews, an “A-” CinemaScore from audiences and the backing of a robust Oscar campaign, should continue to play well over the long haul. It added $21 million overseas.

    “Killer of the Flower Moon” also marks the best wide-release debut for a film from a streaming company. While Netflix (which backed Scorsese’s last narrative feature, “The Irishman,” in 2019) has charted a mostly limited approach to theatrical release, Apple and Amazon, which last year closed its purchase of MGM, have pursued more expansive theatrical strategies.

    Earlier this year, Apple said it plans to spend $1 billion a year making movies that will have theatrical releases before reaching its streaming service. Apple is also behind Ridley Scott’s upcoming “Napoleon,” with Joaquin Phoenix, which Sony Pictures will distribute Nov. 22; and has partnered with Universal for Matthew Vaughn’s “Argylle,” due out Feb. 2.

    Paramount had initially signed on to produce and distribute “Killers of the Flower Moon,” but transitioned into the deal with Apple when costs of project — shot during the pandemic — rose.

    “If ‘flexibility’ is the new mantra of the theatrical movie business, then this is a significant success — it establishes a viable option for the companies,” David A. Gross, who runs the movie consulting firm Franchise Entertainment Research, said of the “Killers of the Flower Moon” launch.

    As dissimilar as “Taylor Swift: The Eras Tour” and “Killers of the Flower Moon” are, they’re alike in their extended run times. A double feature of the weekend’s top two movies would have taken six hours and 14 minutes, not counting ads and trailers.

    “Killers of the Flower Moon” also reeled in more young moviegoers than one might have expected. Paramount said 44% of ticket buyers were under the age of 30.

    “Exorcist: The Believer,” the horror sequel directed by David Gordon Green, came in a distant third with $5.6 million in its third weekend of release. The Universal, Blumhouse film has grossed $54.2 million domestically.

    “PAW Patrol: The Mighty Movie” came in at No. 4 with $4.5 million in its fourth weekend. The fifth spot went to the rerelease of Tim Burton’s “The Nightmare Before Christmas,” which collected $4.1 million 30 years after it first landed in theaters.

    Estimated ticket sales for Friday through Sunday are for U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released on Monday.

    1. “Taylor Swift: The Eras Tour,” $31 million.

    2. “Killers of the Flower Moon,” $23 million.

    3. “The Exorcist: Believer,” $5.6 million.

    4. “Paw Patrol: The Mighty Movie,” $4.5 million.

    5. “The Nightmare Before Christmas,” $4.1 million.

    6. “Saw X,” $3.6 million.

    7. “The Creator,” $2.6 million.

    8. “Leo: Bloody Sweet,” $2.1 million.

    9. “A Haunting in Venice,” $1.1 million.

    10. “The Blind,” $1 million. Follow The New Indian Express channel on WhatsApp

    NEW YORK: In a movie match-up almost as unlikely as “Barbie” and “Oppenheimer,” Martin Scorsese took on Taylor Swift in cinemas over the weekend. And while the box office belonged for a second time to “Taylor Swift: The Eras Tour,” Scorsese’s “Killers of the Flower Moon” got off to a strong start in Apple Studios’ first major theatrical gambit.

    After a record-breaking opening weekend of $92.8 million, “Taylor Swift: The Eras Tour” took in an estimated $31 million over the weekend from 3,855 locations, according to AMC Theaters. In an unconventional deal, the theater chain is distributing Swift’s concert film, and playing it only Thursdays through Sundays.

    Most Swifties rushed to see the film on opening weekend, when a large percentage of sales were driven by advance ticketing. Sales dropped a steep 67% in its second weekend, potentially signifying that “The Eras Tour” was predominantly an opening-weekend phenomenon.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    But “The Eras Tour” has still proved to be a movie event unlike any other. Within days, it became the highest-grossing concert film ever in North America, not accounting for inflation. It’s quickly accumulated $129.8 million domestically.

    More was riding on “Killers of the Flower Moon,” a historical crime drama about a string of murders against the Osage nation in the early 1920s. The film, which cost at least $200 million to make, is the largest production yet from Apple Studios. The streamer partnered with Paramount Pictures to release Scorsese’s adaptation of David Grann’s bestseller in 3,628 theaters, with plans to later stream it on a not-yet-announced date on Apple TV+.

    “Killers of the Flower Moon” debuted with $23 million, marking the third best opening for the 80-year-old Scorsese, following “Shutter Island” ($41 million in 2010) and “The Departed” ($26.9 million in 2006). Though Scorsese’s latest opus, starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro, will have a hard road to reaching profitability, it’s a successful launch for a 206-minute-long adult-skewing drama – a type of movie that, outside “Oppenheimer,” has struggled mightily at the box office in recent years.

    And “Killers of the Flower Moon,” with rave reviews, an “A-” CinemaScore from audiences and the backing of a robust Oscar campaign, should continue to play well over the long haul. It added $21 million overseas.

    “Killer of the Flower Moon” also marks the best wide-release debut for a film from a streaming company. While Netflix (which backed Scorsese’s last narrative feature, “The Irishman,” in 2019) has charted a mostly limited approach to theatrical release, Apple and Amazon, which last year closed its purchase of MGM, have pursued more expansive theatrical strategies.

    Earlier this year, Apple said it plans to spend $1 billion a year making movies that will have theatrical releases before reaching its streaming service. Apple is also behind Ridley Scott’s upcoming “Napoleon,” with Joaquin Phoenix, which Sony Pictures will distribute Nov. 22; and has partnered with Universal for Matthew Vaughn’s “Argylle,” due out Feb. 2.

    Paramount had initially signed on to produce and distribute “Killers of the Flower Moon,” but transitioned into the deal with Apple when costs of project — shot during the pandemic — rose.

    “If ‘flexibility’ is the new mantra of the theatrical movie business, then this is a significant success — it establishes a viable option for the companies,” David A. Gross, who runs the movie consulting firm Franchise Entertainment Research, said of the “Killers of the Flower Moon” launch.

    As dissimilar as “Taylor Swift: The Eras Tour” and “Killers of the Flower Moon” are, they’re alike in their extended run times. A double feature of the weekend’s top two movies would have taken six hours and 14 minutes, not counting ads and trailers.

    “Killers of the Flower Moon” also reeled in more young moviegoers than one might have expected. Paramount said 44% of ticket buyers were under the age of 30.

    “Exorcist: The Believer,” the horror sequel directed by David Gordon Green, came in a distant third with $5.6 million in its third weekend of release. The Universal, Blumhouse film has grossed $54.2 million domestically.

    “PAW Patrol: The Mighty Movie” came in at No. 4 with $4.5 million in its fourth weekend. The fifth spot went to the rerelease of Tim Burton’s “The Nightmare Before Christmas,” which collected $4.1 million 30 years after it first landed in theaters.

    Estimated ticket sales for Friday through Sunday are for U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released on Monday.

    1. “Taylor Swift: The Eras Tour,” $31 million.

    2. “Killers of the Flower Moon,” $23 million.

    3. “The Exorcist: Believer,” $5.6 million.

    4. “Paw Patrol: The Mighty Movie,” $4.5 million.

    5. “The Nightmare Before Christmas,” $4.1 million.

    6. “Saw X,” $3.6 million.

    7. “The Creator,” $2.6 million.

    8. “Leo: Bloody Sweet,” $2.1 million.

    9. “A Haunting in Venice,” $1.1 million.

    10. “The Blind,” $1 million. Follow The New Indian Express channel on WhatsApp

  • Martin Scorsese’s ‘Killers of The Flower Moon’ gets a new India release date

    By Express News Service

    The makers of the much-anticipated film Killers of The Flower Moon, directed by Martin Scorsese, have planned to push the release date of the film a week later than the earlier scheduled date. It will now premiere in theatres in India on October 27 instead of October 20.

    Although there has been no reason given by the makers for the decision, there are speculations that it has been pushed to accommodate screens for the upcoming Vijay-starrer Leo, directed by Lokesh Kanagaraj.

    Killers of the Flower Moon boasts a star ensemble including Leonardo DiCaprio, Robert De Niro and Lily Gladstone, among others.

    From a screenplay penned by Eric Roth and Scorsese, the film is based on David Grann’s bestselling book of the same name. Killers of the Flower Moon is set in 1920s Oklahoma and depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror.

    Jesse Plemons, Cara Jade Myers, JaNae Collins, Jillian Dion and Tantoo Cardinal are also part of the cast. Hailing from Apple Studios, Killers of the Flower Moon is produced alongside Imperative Entertainment, Sikelia Productions and Appian Way.

    Killers of the Flower Moon will have a runtime of 3 hours and 26 minutes. Follow The New Indian Express channel on WhatsApp

    The makers of the much-anticipated film Killers of The Flower Moon, directed by Martin Scorsese, have planned to push the release date of the film a week later than the earlier scheduled date. It will now premiere in theatres in India on October 27 instead of October 20.

    Although there has been no reason given by the makers for the decision, there are speculations that it has been pushed to accommodate screens for the upcoming Vijay-starrer Leo, directed by Lokesh Kanagaraj.

    Killers of the Flower Moon boasts a star ensemble including Leonardo DiCaprio, Robert De Niro and Lily Gladstone, among others.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    From a screenplay penned by Eric Roth and Scorsese, the film is based on David Grann’s bestselling book of the same name. Killers of the Flower Moon is set in 1920s Oklahoma and depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror.

    Jesse Plemons, Cara Jade Myers, JaNae Collins, Jillian Dion and Tantoo Cardinal are also part of the cast. Hailing from Apple Studios, Killers of the Flower Moon is produced alongside Imperative Entertainment, Sikelia Productions and Appian Way.

    Killers of the Flower Moon will have a runtime of 3 hours and 26 minutes. Follow The New Indian Express channel on WhatsApp

  • Ray’s Pather Panchali opened many different worlds to me: Martin Scorsese

    By PTI

    NEW DELHI: He was just a boy when he first saw Satyajit Ray’s “Pather Panchali” and it was from that point on that cinema opened to him “many different worlds”, says Martin Scorsese who decades later draws on that experience in his new film Killers of the Flower Moon.

    Scorsese, viewed by many as one of the greatest filmmakers in the world, said he knew about Indian culture after seeing Jean Renoir’s 1951 Kolkata-set “The River”. But “Pather Panchali” was a turning point.

    “I happened to love ‘The River’ but it is seen through the prism of another culture,” Scorsese told PTI.

    And then came “Pather Panchali”, the 1955 classic set in rural Bengal.

    “So from that point on, cinema opened to me many different worlds. I wonder what it would be like to be a colonised person and a wide part of a colonised world that you live in,” he said in response to PTI’s question in a group interview on whether his new film will resonate in countries like India with a colonial past.

    The 80-year-old said he saw a dubbed English version of “Pather Panchali” on television in New York.

    “…And I said, ‘Wait a minute, those are the people I usually see in the background of other films. What’s the difference here?’ “The difference is that this film is being made by them, the real people, and I’m being introduced to another culture and another way of thinking, a whole life and the universality of it all. How we all are, basically the same as human beings,” Scorsese said in the virtual interaction from New York.

    The maker of classics such as Taxi Driver and The Departed said he has always been interested in other cultures and the way people think in different parts of the world, a philosophy that inspired him to alter the script of Killers of the Flower Moon.

    The original story, an adaptation of the book of the same name by American journalist David Grann, revolves around the birth of the Federal Bureau of Investigation (FBI) and its investigation into a series of murders of the Osage people, a Midwestern Native American tribe of the Great Plains, after oil is discovered in Oklahoma, US, in the 1920s. It’s a true story.

    Old favourite Leonardo DiCaprio was set to play an FBI investigator probing the killings but Scorsese decided to flip the narrative late into the production and tell the story from the point of view of the Osage people.

    The character is now played by Jessie Plemons, who comes late in the story.

    DiCaprio, who has appeared in a series of Scorsese films, including Gangs of New York and The Aviator, is Ernest Burkhart, one of those complicit in the murders masterminded by William King Hale, played by Robert De Niro, another long-term Scorsese collaborator.

    The director said he used the story of the Osage people to represent almost all the indigenous people in the world who were “taken advantage of”.

    “(I said) so let’s stay with the heart of the people in the story, the indigenous ones. The people who can be considered colonised to a certain extent, or worse, (people who) have been taken over, eliminated or pushed away completely,” he said.

    Scorsese, an Italian-American, said the first wave of the people who came to America were the English, Dutch and German in descent and the Protestant work ethic “was to eliminate what was there and make it fresh and make it new, make it another West”.

    “…Make it Europe without religious wars, without all the problems that they were running away from.”

    The filmmaker said he wonders what America would have been if Asians had come to the country.

    “What if it was Eurasia? I don’t know. Obviously, America would be very, very different. The problem would be still dealing with the people who were there, their culture and their survival. I found telling the story through the eyes of the Osage made it something really special. I think it broke down a lot of barriers for us,” he said.

    Fifty-six years after he made his first film, Who’s That Knocking at my Door in 1967, the still-going strong director said every exercise in filmmaking is a “humbling experience” as it teaches him that he knows nothing.

    His filmography includes Mean Streets, The King of Comedy and Age of Innocence.

    “What I learned after making Raging Bull was that ultimately I had to start all over again and that became The King of Comedy. And, in a way a humbling experience, because I learned, in a good way, ignorance again. I learned I didn’t really know. I thought I knew, but you never know exactly what the nature of this organism, this film is going to be,” he said.

    A lot, according to him, depends on the kind of people one collaborates with.

    He said he has worked with Thelma Schoonmaker, his editor of many films, for the longest time.

    “She’s an old friend and we trust each other implicitly. So she’s a strong collaborator who’s dedicated to me and the film, not the studio, not the producers,” he said.

    With every film, Scorsese said, the goal is to find a new way of dealing with the narrative.

    “Sometimes (it’s) a story without a plot. There’s a difference between story and plot. I like plots, but I find them rather tiresome to create. I’ve tried many different things, you don’t necessarily say ‘I’m gonna go and try something’.”

    “It just needs to find the visual and aural way of how the story should be told through your heart. And that also means editing or not editing. When not to cut, camera moves or no camera moves…” The filmmaker said he is constantly grappling with “the very essence of stories”, something which appears simple but is not.

    “I am always finding that there’s always something to learn. In fact, there is everything to learn.But you can’t go out to say I am gonna learn. It happens while you’re doing it,” he said.

    Killers of the Flower Moon, a Paramount Pictures and Apple TV+ production, which in May earned rave reviews following its world premiere at the Cannes Film Festival, is scheduled to be released in India on October 27.

    It also stars Lily Gladstone, Jesse Plemons, Tantoo Cardinal and John Lithgow.

    NEW DELHI: He was just a boy when he first saw Satyajit Ray’s “Pather Panchali” and it was from that point on that cinema opened to him “many different worlds”, says Martin Scorsese who decades later draws on that experience in his new film Killers of the Flower Moon.

    Scorsese, viewed by many as one of the greatest filmmakers in the world, said he knew about Indian culture after seeing Jean Renoir’s 1951 Kolkata-set “The River”. But “Pather Panchali” was a turning point.

    “I happened to love ‘The River’ but it is seen through the prism of another culture,” Scorsese told PTI.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    And then came “Pather Panchali”, the 1955 classic set in rural Bengal.

    “So from that point on, cinema opened to me many different worlds. I wonder what it would be like to be a colonised person and a wide part of a colonised world that you live in,” he said in response to PTI’s question in a group interview on whether his new film will resonate in countries like India with a colonial past.

    The 80-year-old said he saw a dubbed English version of “Pather Panchali” on television in New York.

    “…And I said, ‘Wait a minute, those are the people I usually see in the background of other films. What’s the difference here?’ “The difference is that this film is being made by them, the real people, and I’m being introduced to another culture and another way of thinking, a whole life and the universality of it all. How we all are, basically the same as human beings,” Scorsese said in the virtual interaction from New York.

    The maker of classics such as Taxi Driver and The Departed said he has always been interested in other cultures and the way people think in different parts of the world, a philosophy that inspired him to alter the script of Killers of the Flower Moon.

    The original story, an adaptation of the book of the same name by American journalist David Grann, revolves around the birth of the Federal Bureau of Investigation (FBI) and its investigation into a series of murders of the Osage people, a Midwestern Native American tribe of the Great Plains, after oil is discovered in Oklahoma, US, in the 1920s. It’s a true story.

    Old favourite Leonardo DiCaprio was set to play an FBI investigator probing the killings but Scorsese decided to flip the narrative late into the production and tell the story from the point of view of the Osage people.

    The character is now played by Jessie Plemons, who comes late in the story.

    DiCaprio, who has appeared in a series of Scorsese films, including Gangs of New York and The Aviator, is Ernest Burkhart, one of those complicit in the murders masterminded by William King Hale, played by Robert De Niro, another long-term Scorsese collaborator.

    The director said he used the story of the Osage people to represent almost all the indigenous people in the world who were “taken advantage of”.

    “(I said) so let’s stay with the heart of the people in the story, the indigenous ones. The people who can be considered colonised to a certain extent, or worse, (people who) have been taken over, eliminated or pushed away completely,” he said.

    Scorsese, an Italian-American, said the first wave of the people who came to America were the English, Dutch and German in descent and the Protestant work ethic “was to eliminate what was there and make it fresh and make it new, make it another West”.

    “…Make it Europe without religious wars, without all the problems that they were running away from.”

    The filmmaker said he wonders what America would have been if Asians had come to the country.

    “What if it was Eurasia? I don’t know. Obviously, America would be very, very different. The problem would be still dealing with the people who were there, their culture and their survival. I found telling the story through the eyes of the Osage made it something really special. I think it broke down a lot of barriers for us,” he said.

    Fifty-six years after he made his first film, Who’s That Knocking at my Door in 1967, the still-going strong director said every exercise in filmmaking is a “humbling experience” as it teaches him that he knows nothing.

    His filmography includes Mean Streets, The King of Comedy and Age of Innocence.

    “What I learned after making Raging Bull was that ultimately I had to start all over again and that became The King of Comedy. And, in a way a humbling experience, because I learned, in a good way, ignorance again. I learned I didn’t really know. I thought I knew, but you never know exactly what the nature of this organism, this film is going to be,” he said.

    A lot, according to him, depends on the kind of people one collaborates with.

    He said he has worked with Thelma Schoonmaker, his editor of many films, for the longest time.

    “She’s an old friend and we trust each other implicitly. So she’s a strong collaborator who’s dedicated to me and the film, not the studio, not the producers,” he said.

    With every film, Scorsese said, the goal is to find a new way of dealing with the narrative.

    “Sometimes (it’s) a story without a plot. There’s a difference between story and plot. I like plots, but I find them rather tiresome to create. I’ve tried many different things, you don’t necessarily say ‘I’m gonna go and try something’.”

    “It just needs to find the visual and aural way of how the story should be told through your heart. And that also means editing or not editing. When not to cut, camera moves or no camera moves…” The filmmaker said he is constantly grappling with “the very essence of stories”, something which appears simple but is not.

    “I am always finding that there’s always something to learn. In fact, there is everything to learn.But you can’t go out to say I am gonna learn. It happens while you’re doing it,” he said.

    Killers of the Flower Moon, a Paramount Pictures and Apple TV+ production, which in May earned rave reviews following its world premiere at the Cannes Film Festival, is scheduled to be released in India on October 27.

    It also stars Lily Gladstone, Jesse Plemons, Tantoo Cardinal and John Lithgow.

  • Martin Scorsese calls for filmmakers to fight against comic book culture

    By Express News Service

    Legendary filmmaker Martin Scorsese, who is awaiting his upcoming film Killers of The Flower Moon, starring Leonardo DiCaprio, Robert De Niro and Lily Gladstone, among others, called on filmmakers to “save cinema” in the age of franchise and comic book entertainment.

    In a new interview with GQ, the Academy Award-winning director lamented over the influence of comic book and franchise films in the present and urged filmmakers to ‘fight back’ against this trend by championing originality.

    “Well, the industry is over. In other words, the industry that I was a part of, we’re talking almost, what, 50 years ago? It’s like saying to somebody in 1970 who made silent films, what do you think’s happened?” he asked. “(Studios are not) interested any longer in supporting individual voices that express their personal feelings or their personal thoughts and personal ideas and feelings on a big budget. And what’s happened now is that they’ve pigeonholed it to what they call indies,” Scorsese added.

    Reacting strongly to the content available on OTT, and said, “I do think that the manufactured content isn’t really cinema. It’s almost like AI making a film. And that doesn’t mean that you don’t have incredible directors and special effects people doing beautiful artwork. But what does it mean? What do these films, what will it give you? Aside from a kind of consummation of something and then eliminating it from your mind, your whole body, you know? So what is it giving you?”

    In an earlier interview a few years ago, the director had gained significant media attention for comparing Marvel movies to theme parks and saying that they are not cinema. Meanwhile, on the work front, Scorsese’s Killers of The Flower Moon is all set to hit the theatres on October 20. 

    Legendary filmmaker Martin Scorsese, who is awaiting his upcoming film Killers of The Flower Moon, starring Leonardo DiCaprio, Robert De Niro and Lily Gladstone, among others, called on filmmakers to “save cinema” in the age of franchise and comic book entertainment.

    In a new interview with GQ, the Academy Award-winning director lamented over the influence of comic book and franchise films in the present and urged filmmakers to ‘fight back’ against this trend by championing originality.

    “Well, the industry is over. In other words, the industry that I was a part of, we’re talking almost, what, 50 years ago? It’s like saying to somebody in 1970 who made silent films, what do you think’s happened?” he asked. “(Studios are not) interested any longer in supporting individual voices that express their personal feelings or their personal thoughts and personal ideas and feelings on a big budget. And what’s happened now is that they’ve pigeonholed it to what they call indies,” Scorsese added.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    Reacting strongly to the content available on OTT, and said, “I do think that the manufactured content isn’t really cinema. It’s almost like AI making a film. And that doesn’t mean that you don’t have incredible directors and special effects people doing beautiful artwork. But what does it mean? What do these films, what will it give you? Aside from a kind of consummation of something and then eliminating it from your mind, your whole body, you know? So what is it giving you?”

    In an earlier interview a few years ago, the director had gained significant media attention for comparing Marvel movies to theme parks and saying that they are not cinema. Meanwhile, on the work front, Scorsese’s Killers of The Flower Moon is all set to hit the theatres on October 20. 

  • Martin Scorsese debuts ‘Killers of the Flower Moon’ in Cannes to thunderous applause

    By Associated Press

    CANNES: Martin Scorsese unveiled “Killers of the Flower Moon” at Cannes on Saturday, debuting a sweeping American epic about greed and exploitation on the bloody plains of an Osage Nation reservation in 1920s Oklahoma.

    Scorsese’s latest — starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro — is one of his most ambitious. Adapting David Grann’s nonfiction bestseller, it stretches nearly three and a half hours and cost Apple $200 million to make.

    Nothing has been more anticipated at this year’s Cannes Film Festival than “Killers of the Flower Moon” — a historical epic, a bitter crime film and a Great Plains Western — which appeared to meet those expectations. It drew a lengthy standing ovation and repeated cheers for Scorsese, 80, who premiered his first film at Cannes since 1985’s “After Hours.”

    “We shot this a couple of years ago in Oklahoma. It’s taken its time to come around but Apple did so great by us,” Scorsese said, addressing the crowd after the screening. “There was lots of grass. I’m a New Yorker.”

    The red carpet drew a wide spectrum of stars. Along with the film’s expansive cast, attendees included Apple CEO Tim Cook, as well as actors Cate Blanchett, Salma Hayek, Paul Dano and Isabelle Huppert.

    William Belleau, from left, Leonardo DiCaprio, Tantoo Cardinal, director Martin Scorsese, Robert De Niro, Cara Jade Myers, Lily Gladstone, and Jillian Dion at the premiere of the film ‘Killers of the Flower Moon’ at Cannes. (Photo | AP)

    Though Grann’s book affords many possible inroads to the story, Scorsese and co-writer Eric Roth center their story on Ernest Burkhart (DiCaprio, in his seventh collaboration with Scorsese), a WWI veteran who falls for Mollie Brown (Gladstone), the member of a wealthy Osage family.

    Since finding oil reserves on their land, the Osage were then the richest people per capita in the country. But that wealth is closely controlled by appointed white guardians. A series of murders prompts increased panic among the Osage, who are preyed on by a host of greedy killers.

    Though Grann’s book devoted many pages to the connections between the cases and the birth of the FBI, less time is spent in Scorsese’s film on the murder investigations. (Jesse Plemons plays an agent from the just-formed Bureau.) Instead, “Killers of the Flower Moon” captures the manipulation and murders of Native American people through the dynamics in Ernest and Mollie’s relationship.

    “Killers of the Flower Moon,” which is playing out of competition in Cannes, opens in U.S. theaters on Oct. 6.

    CANNES: Martin Scorsese unveiled “Killers of the Flower Moon” at Cannes on Saturday, debuting a sweeping American epic about greed and exploitation on the bloody plains of an Osage Nation reservation in 1920s Oklahoma.

    Scorsese’s latest — starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro — is one of his most ambitious. Adapting David Grann’s nonfiction bestseller, it stretches nearly three and a half hours and cost Apple $200 million to make.

    Nothing has been more anticipated at this year’s Cannes Film Festival than “Killers of the Flower Moon” — a historical epic, a bitter crime film and a Great Plains Western — which appeared to meet those expectations. It drew a lengthy standing ovation and repeated cheers for Scorsese, 80, who premiered his first film at Cannes since 1985’s “After Hours.”googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    “We shot this a couple of years ago in Oklahoma. It’s taken its time to come around but Apple did so great by us,” Scorsese said, addressing the crowd after the screening. “There was lots of grass. I’m a New Yorker.”

    The red carpet drew a wide spectrum of stars. Along with the film’s expansive cast, attendees included Apple CEO Tim Cook, as well as actors Cate Blanchett, Salma Hayek, Paul Dano and Isabelle Huppert.

    William Belleau, from left, Leonardo DiCaprio, Tantoo Cardinal, director Martin Scorsese, Robert De Niro, Cara Jade Myers, Lily Gladstone, and Jillian Dion at the premiere of the film ‘Killers of the Flower Moon’ at Cannes. (Photo | AP)

    Though Grann’s book affords many possible inroads to the story, Scorsese and co-writer Eric Roth center their story on Ernest Burkhart (DiCaprio, in his seventh collaboration with Scorsese), a WWI veteran who falls for Mollie Brown (Gladstone), the member of a wealthy Osage family.

    Since finding oil reserves on their land, the Osage were then the richest people per capita in the country. But that wealth is closely controlled by appointed white guardians. A series of murders prompts increased panic among the Osage, who are preyed on by a host of greedy killers.

    Though Grann’s book devoted many pages to the connections between the cases and the birth of the FBI, less time is spent in Scorsese’s film on the murder investigations. (Jesse Plemons plays an agent from the just-formed Bureau.) Instead, “Killers of the Flower Moon” captures the manipulation and murders of Native American people through the dynamics in Ernest and Mollie’s relationship.

    “Killers of the Flower Moon,” which is playing out of competition in Cannes, opens in U.S. theaters on Oct. 6.

  • Scorsese, DiCaprio to premiere new film at Cannes

    By AFP

    PARIS: Martin Scorsese’s new film starring Leonardo DiCaprio, “Killers of the Flower Moon,” will get its world premiere at the Cannes Film Festival on May 20, organisers confirmed on Friday.

    It will be the first time the veteran filmmaker presents a new film at the festival since he won best director there in 1986 for “After Hours.”

    Scorsese won the top Palme d’Or prize in 1976 for “Taxi Driver” and also presided over the jury in 1998.

    “The Cannes Festival is overjoyed to welcome Martin Scorsese this May on the Croisette, to climb the steps of the Palais des Festivals,” the organisers said in a statement.

    The film, also starring Robert De Niro, was produced by Apple, which has agreed to release it in cinemas in October before streaming on its platform.

    Cannes only allows films to compete for the Palme d’Or if they get a theatrical release, which has notably prevented Netflix from entering its films.

    “Killers of the Flower Moon” tracks the true story of serial murders of a Native American tribe in an oil-rich part of the United States in the 1920s.

    PARIS: Martin Scorsese’s new film starring Leonardo DiCaprio, “Killers of the Flower Moon,” will get its world premiere at the Cannes Film Festival on May 20, organisers confirmed on Friday.

    It will be the first time the veteran filmmaker presents a new film at the festival since he won best director there in 1986 for “After Hours.”

    Scorsese won the top Palme d’Or prize in 1976 for “Taxi Driver” and also presided over the jury in 1998.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    “The Cannes Festival is overjoyed to welcome Martin Scorsese this May on the Croisette, to climb the steps of the Palais des Festivals,” the organisers said in a statement.

    The film, also starring Robert De Niro, was produced by Apple, which has agreed to release it in cinemas in October before streaming on its platform.

    Cannes only allows films to compete for the Palme d’Or if they get a theatrical release, which has notably prevented Netflix from entering its films.

    “Killers of the Flower Moon” tracks the true story of serial murders of a Native American tribe in an oil-rich part of the United States in the 1920s.

  • Jennifer Lawrence to star in Martin Scorsese’s production ‘Die, My Love’

    By Express News Service

    Actor Jennifer Lawrence is set to star in the upcoming film Die, My Love, which will be borrowing the story from Ariana Harwicz’s book by the same name. The upcoming film will have Martin Scorsese as the producer.

    “It reads like Sylvia Plath, especially because it’s about a woman suffering from postpartum and cycling into madness,” Jennifer was quoted as saying in a Collider report.

    If the film is to adapt the book without any detours, then Die, My Love will be set against the backdrop of the French countryside and will follow a woman who has her own share of darkness within her but is still supported by her family.

    It is yet to be made known who all will be part of the cast apart from Jennifer. The release date and others part of the film, is yet to be announced by the makers.

    Meanwhile, after Don’t Look Up, Jennifer starred in the American psychological thriller Causeway. The film was released in the US in October and is set to stream on Apple TV+ from Friday.

    The actor also has No Hard Feelings, an upcoming coming of an age comedy-drama, directed by Gene Stupnitsky. Besides starring in the film, Jennifer will also back the project under the banner Excellent Cadaver.

    (This story originally appeared on Cinema Express)

    Actor Jennifer Lawrence is set to star in the upcoming film Die, My Love, which will be borrowing the story from Ariana Harwicz’s book by the same name. The upcoming film will have Martin Scorsese as the producer.

    “It reads like Sylvia Plath, especially because it’s about a woman suffering from postpartum and cycling into madness,” Jennifer was quoted as saying in a Collider report.

    If the film is to adapt the book without any detours, then Die, My Love will be set against the backdrop of the French countryside and will follow a woman who has her own share of darkness within her but is still supported by her family.

    It is yet to be made known who all will be part of the cast apart from Jennifer. The release date and others part of the film, is yet to be announced by the makers.

    Meanwhile, after Don’t Look Up, Jennifer starred in the American psychological thriller Causeway. The film was released in the US in October and is set to stream on Apple TV+ from Friday.

    The actor also has No Hard Feelings, an upcoming coming of an age comedy-drama, directed by Gene Stupnitsky. Besides starring in the film, Jennifer will also back the project under the banner Excellent Cadaver.

    (This story originally appeared on Cinema Express)

  • Hulu confirms Keanu Reeves’ casting in ‘The Devil in the White City’ series 

    By PTI

    LOS ANGELES: Hollywood star Keanu Reeves will be headlining the series adaptation of “The Devil in the White City”, streaming service Hulu has announced.

    The streamer made the announcement during its presentation at the Television Critics Association’s summer tour, as per the media reports.

    Hollywood star Leonardo DiCaprio and his frequent collaborator, filmmaker Martin Scorsese, will executive produce the project.

    The series, which marks Reeves’ first major role on American television, is based on Erik Larson’s 2003 book and tells the true story of two men, an architect and a serial killer, whose fates were forever linked by The Chicago World’s Fair of 1893.

    “It follows Daniel H Burnham, a brilliant and fastidious architect racing to make his mark on the world and Henry H Holmes, a handsome and cunning doctor who fashioned his own pharmaceutical, Murder Castle’ on fair grouradhikands a palace built to seduce, torture and mutilate young women. The story takes the viewer on a tour of murder, romance and mystery in the gilded age,” reads the official synopsis.

    The big-budget project has been in development since DiCaprio bought the film rights to the book in 2010 and previously set it up as a feature at Paramount with Scorsese to direct.

    In 2019, Hulu announced that it was working on the series adaptation of the book.

    Todd Field is on board to direct the series, which is now a co-production between Paramount Television Studios and Disney’s ABC Signature.

    Rick Yorn, Stacey Sher, Field and Mark Lafferty will also executive produce alongside Scorsese, DiCaprio and his Appian Way partner, Jennifer Davisson.

    LOS ANGELES: Hollywood star Keanu Reeves will be headlining the series adaptation of “The Devil in the White City”, streaming service Hulu has announced.

    The streamer made the announcement during its presentation at the Television Critics Association’s summer tour, as per the media reports.

    Hollywood star Leonardo DiCaprio and his frequent collaborator, filmmaker Martin Scorsese, will executive produce the project.

    The series, which marks Reeves’ first major role on American television, is based on Erik Larson’s 2003 book and tells the true story of two men, an architect and a serial killer, whose fates were forever linked by The Chicago World’s Fair of 1893.

    “It follows Daniel H Burnham, a brilliant and fastidious architect racing to make his mark on the world and Henry H Holmes, a handsome and cunning doctor who fashioned his own pharmaceutical, Murder Castle’ on fair grouradhikands a palace built to seduce, torture and mutilate young women. The story takes the viewer on a tour of murder, romance and mystery in the gilded age,” reads the official synopsis.

    The big-budget project has been in development since DiCaprio bought the film rights to the book in 2010 and previously set it up as a feature at Paramount with Scorsese to direct.

    In 2019, Hulu announced that it was working on the series adaptation of the book.

    Todd Field is on board to direct the series, which is now a co-production between Paramount Television Studios and Disney’s ABC Signature.

    Rick Yorn, Stacey Sher, Field and Mark Lafferty will also executive produce alongside Scorsese, DiCaprio and his Appian Way partner, Jennifer Davisson.

  • Martin Scorsese and Leonardo to reunite for ‘The Wager’

    By Express News Service

    After wrapping up Apple TV+’s Killers of the Flower Moon, Martin Scorsese and Leonardo DiCaprio are set to team up once again. The actor-director duo is reuniting for The Wager, another Apple digital film. It is the adaptation of the upcoming David Grann non-fiction book, The Wager: A Tale of Shipwreck, Mutiny, and Murder. Set in the 1740s, Wager’s story is set in motion when a patched-together boat with 30 emaciated men lands on the coast of Brazil.

    The men were the surviving crew of the British naval ship, HMS Wager, which was chasing a Spanish vessel and had crashed onto a desolate island in South America’s Patagonia region. Six months later, however, another vessel, even more, beat up than the first, ended up off the coast of Chile, this one with three men. These new sailors accused the other men of being mutineers.

    As accusations and counter-charges flew, the British Admiralty set a special trial in motion to uncover the truth of what exactly happened on the island, exposing a story of not just a captain and crew struggling to survive while battling some of the most extreme elements on the planet, but also fighting against their own human natures.

    Martin Scorsese and Leonardo DiCaprio’s Killers of the Flower Moon is also an adaptation of David Grann’s work. The best-selling novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI is set in 1920s Oklahoma and chronicles the serial murder of members of the oil wealthy Osage Nation. Robert De Niro, Jesse Plemons, Lily Gladstone, and Brendan Fraser also star in the film, which will premiere sometime in 2023.

    After wrapping up Apple TV+’s Killers of the Flower Moon, Martin Scorsese and Leonardo DiCaprio are set to team up once again. The actor-director duo is reuniting for The Wager, another Apple digital film. It is the adaptation of the upcoming David Grann non-fiction book, The Wager: A Tale of Shipwreck, Mutiny, and Murder. Set in the 1740s, Wager’s story is set in motion when a patched-together boat with 30 emaciated men lands on the coast of Brazil.

    The men were the surviving crew of the British naval ship, HMS Wager, which was chasing a Spanish vessel and had crashed onto a desolate island in South America’s Patagonia region. Six months later, however, another vessel, even more, beat up than the first, ended up off the coast of Chile, this one with three men. These new sailors accused the other men of being mutineers.

    As accusations and counter-charges flew, the British Admiralty set a special trial in motion to uncover the truth of what exactly happened on the island, exposing a story of not just a captain and crew struggling to survive while battling some of the most extreme elements on the planet, but also fighting against their own human natures.

    Martin Scorsese and Leonardo DiCaprio’s Killers of the Flower Moon is also an adaptation of David Grann’s work. The best-selling novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI is set in 1920s Oklahoma and chronicles the serial murder of members of the oil wealthy Osage Nation. Robert De Niro, Jesse Plemons, Lily Gladstone, and Brendan Fraser also star in the film, which will premiere sometime in 2023.

  • Martin Scorsese to collaborate again with Leonardo DiCaprio for a thriller project

    By ANI

    WASHINGTON: Ace Hollywood director Martin Scorsese is all set to collaborate once again with actor Leonardo DiCaprio for another Apple digital film ‘The Wager’.

    According to Variety, Scorsese is attached to direct an adaptation of New Yorker journalist David Grann’s upcoming nonfiction book “The Wager: A Tale of Shipwreck, Mutiny, and Murder” for Apple. Grann also wrote the book “Killers of the Flower Moon,” which investigates a series of murders of Osage people that took place in the 1920s, which is already being made into a film by Scorsese and is scheduled to release in 2023.

    The upcoming thriller ‘The Wager’ marks the director and the Oscar-winning actor’s sixth collaboration after ‘Gangs of New York’, ‘Aviation’, ‘The Audition’ and ‘The Wolf of Wall Street’ and their forthcoming ‘Killers of the Flower Moon’.

    ‘The Wager,’ which will be published next April, tells the story of the 1700’s British naval ship of the same name. During a secret mission to obtain a Spanish treasure-filled galleon, the crew ended up shipwrecked on a desolate island off the coast of Patagonia. Stranded and forced to survive against the elements, the crew descends into anarchy, and when they return to civilization end up on opposite sides of an intense court-martial, with accusations of murder and treachery against several parties, Variety reported.

    The remaining star cast of the film will be announced soon.

    Meanwhile, makers are currently eyeing to premiere their upcoming period thriller film ‘Killers of the Flower Moon’ at the Cannes or Venice Film Festival 2023.

    Apart from that, Leonardo was last seen in the satirical ‘Don’t Look Up’ which streamed on Netflix. The film gathered positive feedback from the netizens and also starred Jennifer Lawrence, Rob Morgan and Jonah Hill in prominent roles.

    Scorsese, on the other hand, last directed a crime thriller film ‘The Irishman’ which starred Robert De Niro in the lead role. 

    WASHINGTON: Ace Hollywood director Martin Scorsese is all set to collaborate once again with actor Leonardo DiCaprio for another Apple digital film ‘The Wager’.

    According to Variety, Scorsese is attached to direct an adaptation of New Yorker journalist David Grann’s upcoming nonfiction book “The Wager: A Tale of Shipwreck, Mutiny, and Murder” for Apple. Grann also wrote the book “Killers of the Flower Moon,” which investigates a series of murders of Osage people that took place in the 1920s, which is already being made into a film by Scorsese and is scheduled to release in 2023.

    The upcoming thriller ‘The Wager’ marks the director and the Oscar-winning actor’s sixth collaboration after ‘Gangs of New York’, ‘Aviation’, ‘The Audition’ and ‘The Wolf of Wall Street’ and their forthcoming ‘Killers of the Flower Moon’.

    ‘The Wager,’ which will be published next April, tells the story of the 1700’s British naval ship of the same name. During a secret mission to obtain a Spanish treasure-filled galleon, the crew ended up shipwrecked on a desolate island off the coast of Patagonia. Stranded and forced to survive against the elements, the crew descends into anarchy, and when they return to civilization end up on opposite sides of an intense court-martial, with accusations of murder and treachery against several parties, Variety reported.

    The remaining star cast of the film will be announced soon.

    Meanwhile, makers are currently eyeing to premiere their upcoming period thriller film ‘Killers of the Flower Moon’ at the Cannes or Venice Film Festival 2023.

    Apart from that, Leonardo was last seen in the satirical ‘Don’t Look Up’ which streamed on Netflix. The film gathered positive feedback from the netizens and also starred Jennifer Lawrence, Rob Morgan and Jonah Hill in prominent roles.

    Scorsese, on the other hand, last directed a crime thriller film ‘The Irishman’ which starred Robert De Niro in the lead role.