Once Upon a Time... in Hollywood

[GeneChing]

He knows how to stage a sensation...

'I reject your hypothesis': Tarantino lashes out at criticism over female actors
Director reacts angrily to questions about limited screen time for Margot Robbie in Once Upon a Time in … Hollywood, and violence against female characters
Gwilym Mumford
Wed 22 May 2019 07.49 EDT Last modified on Thu 23 May 2019 04.58 EDT

Quentin Tarantino responded sharply to questions about the portrayal of women in his films and disgraced director Roman Polanski at a press conference in Cannes for his new drama Once Upon a Time in … Hollywood.

The director, whose latest effort premiered to rave reviews at the Cannes film festival on Tuesday evening, was in no mood to discuss difficult topics, at one point snapping “I reject your hypothesis” at a journalist who asked why Margot Robbie had so few lines in the film.

Robbie plays Sharon Tate, the actor and wife of Polanski who was murdered by followers of Charles Manson, in the film which stars Leonardo DiCaprio and Brad Pitt as a washed-up actor and his stuntman navigating a changing late-60s Hollywood.

When asked by another journalist whether he had any hesitation over depicting tragic real-life figures such as Tate in his film, Tarantino responded with a single word: “No.” The director also refused to speak about the issue of violence against women in his film, suggesting that to do so would spoil it for viewers. “I can’t really address that,” he said.

Tarantino was slightly more forthcoming in discussing Polanski, declaring himself a fan of the Polish director’s films. “I’ve met him a couple of times. I’m a fan of Roman Polanski’s work, particularly Rosemary’s Baby. I like that a lot.” However, the director said that he had not spoken to Polanski before making his film.


Brad Pitt, Leonardo DiCaprio, Tarantino and Margot Robbie at the press conference. Photograph: JOHN PHILLIPS/POOL/EPA

When asked why there was such fascination around the Manson murders, Tarantino said that he felt it was because they were “unfathomable”. “The more you learn, the more concrete it gets; it doesn’t make it clearer, it makes it more obscure the more you know,” he said.

Unlike Tarantino, Robbie was more forthcoming in explaining why she had so few lines in the film. “I think the moments on screen show those wonderful sides of [Sharon Tate] could be adequately done without speaking,” she said.

Robbie added that she agreed to agree to the role because she “felt that I could honour the memory of Sharon Tate”. “Quentin said to me she’s the heartbeat of the story. I saw her as a ray of light,” she said.

Brad Pitt, meanwhile, described Once Upon a Time in … Hollywood as “a rage against innocence. When the tragic loss of Sharon and others happened, what scared many even so today; it was a sobering dark look at the dark side of human nature. That pivotal moment was a real loss of innocence, and that’s what the film addresses.”

Despite Tarantino’s terseness, the director was happy to discuss his recent marriage to actor Daniella Pick. “I’ve never done that before,” he said of the marriage. “Now I know why: I was waiting for the perfect girl.”

Once Upon a Time in … Hollywood has been received warmly by critics, and currently holds a score of 86 on review aggregation site Metacritic. “I just defy anyone with red blood in their veins not to be bounced around the auditorium at the moment-by-moment enjoyment that this movie delivers,” the Guardian’s Peter Bradshaw wrote in his five-star review of the film.

[EqualStage]

Quentin Tarantino ... What a pity that the film didn't win any awards. But still, I look forward to watching it.

[GeneChing]

Variety.com
Menu MAY 28, 2019 8:37AM PT
How Quentin Tarantino Saved Cannes, While Abdellatif Kechiche Set It Back a Decade
By PETER DEBRUGE
Chief Film Critic
@AskDebruge


CREDIT: SONY

Once upon a time in Cannes, a wild-eyed rebel kicked his foot through the basement window of Hollywood, stealing helter skelter from his favorite B-movies and lowbrow genres, and splicing them into the king of all cult movies. Mind you, that was a quarter-century ago, the year Quentin Tarantino’s “Pulp Fiction” won the Palme d’Or.

It’s a different world now, and Cannes is a different beast. Unspooling 25 years to the night after “Pulp Fiction,” Tarantino’s latest meta-movie remix, “Once Upon a Time … in Hollywood,” may have been the hottest ticket of the event, but the film hardly made the same impact. Ultimately something of a disappointment, the 159-minute fetish exercise — an epic homage to dirty feet, neon-lit classic L.A. dives and showbiz in-jokes, set half a century ago, on the eve of the Manson Family murders — got the customary standing ovation following its red-carpet premiere (that’s standard practice at Cannes), but elicited nary a clap at the press screening two hours earlier (unusual for such a hotly anticipated title, but a clear sign that this is far from Tarantino’s best). On closing night, the Alejandro G. Iñárritu-headed jury, which gave prizes to nine of the 20 films in competition, didn’t so much as mention the movie (instead, their prizes mostly went to worthier films).

What a curious situation: Tarantino’s film (a last-minute addition to the lineup) — together with the rhinestone-embellished Elton John biopic “Rocketman” — may have saved Cannes’ reputation for another year, but premiering at the festival may not have done it any favors. Set in 1969, Tarantino’s “Hollywood” contends with how television changed the film biz. That’s ironic, considering that worldwide, more people were tuned to the finale of HBO’s “Game of Thrones” than what was happening in Cannes. Had either of those two glitzy pics skipped the Croisette, however, it would have made the festival’s decline undeniable.

Where Cannes once stood undisputed as the most coveted place to premiere serious works of film art — and by extension, a kind of cinema mecca for filmmakers and critics — it’s been losing ground in recent years to a trio of end-of-summer showcases: Venice, Telluride and Toronto. Cannes has felt less crowded these past couple years, and in terms of sheer auteur wattage (on paper, at least, not to be confused with overall breadth and quality), not a single edition this century can rival last year’s Venice lineup, which boasted not just “Roma,” “A Star Is Born” and “First Man,” but new films from Yorgos Lanthimos, Mike Leigh, Jacques Audiard, Carlos Reygadas, László Nemes and Olivier Assayas — all directors traditionally associated with Cannes. Quality matters, of course, and Cannes is to be applauded for passing over some of these established directors in favor of newer voices, but in terms of perception, Venice’s strategy of inviting the big names (at the expense of women and emerging voices) is having the desired effect: To the American press and industry, Venice now feels more vital. And while it’s still far from rivaling Cannes in terms of either glamour or press coverage, Venice is clearly on the ascent.

You could blame the shift of power from Cannes to the fall festivals on changes in Hollywood’s awards-season strategy, as well as the rise of a single disruptor — namely, Netflix. A desperate strategy of banning the streaming service’s offerings from competition in Cannes has sent the new-media studio looking elsewhere to launch its choice titles: independent, auteur-driven works that have every right to be shown alongside those destined for theatrical distribution. Don’t be surprised to see Martin Scorsese’s “The Irishman” premiere at a fall festival, the way “Roma” did at Venice, or “The Outlaw King” kicked off Toronto last year.

To make up for those films getting away, festival director Thierry Frémaux needs to convince Hollywood distributors that it makes sense for them to premiere their prestige films in Cannes. In his favor, there’s Spike Lee’s “BlacKkKlansman,” which became a major contender in the Oscar race after playing Cannes. But that strategy backfired on David Robert Mitchell’s “Under the Silver Lake” for A24, all but destroyed by bad reviews from critics who come with knives sharpened (for whatever reason, the press is kinder in Venice, seldom booing the way they do in Cannes). When films skip Cannes, the standard explanation is that they “weren’t ready,” but it’s still telling that James Gray’s “Ad Astra” (previously dated for a May release), Benh Zeitlin’s “Wendy” and Miranda July’s upcoming feature appear to be eyeing fall festivals instead.

Frémaux has no control over when films will be ready, and is ultimately limited to the titles available to him in late spring — which presumably explains why films such as Claire Denis’ “High Life” and Mike Leigh’s “Peterloo” skipped Cannes last year. But it’s telling that certain producers are no longer rushing to get their films done in time for the festival’s cutoff: In the past, the prospect of premiering in Cannes has been so important to some that they’d scramble to be considered (in 2004, a work-in-progress print of Wong Kar-Wai’s “2046” arrived still wet from the labs) or turn down invitations from Berlin and other festivals in hopes of debuting in Cannes (with “The Tree of Life,” Terrence Malick held off an entire year for the honor). Now that DCPs have taken the place of 35mm prints, filmmakers can cut it closer than ever, working right up to the last minute, which leads to a different set of problems.

Afraid of losing an important film (or several) to Venice, Frémaux is often forced to accept movies that aren’t yet done when he screens them. This is normal practice for film festivals, by the way, although I can’t think of a more exasperating example than Abdellatif Kechiche’s “Mektoub, My Love: Intermezzo,” a continuation of the “Blue Is the Warmest Color” director’s sprawling, body-ogling 2017 “Canto Uno” (which Frémaux may have regretted letting go to Venice instead) that runs an monotonous 206 minutes, centered around a three-hour nightclub sequence in which his actresses twerk the night away — interrupted for 13 minutes to accommodate a marathon oral-sex scene, in which Kechiche explicitly demonstrates how gluteophiles express their appreciation. Practically any shot from the film might be considered gratuitous, but the sum total is downright punishing. It’s enough to make “Cheeky” director Tinto Brass blush, and in no universe does it deserve the kind of platform Cannes gave it.

Rumors suggest that Frémaux screened 25 minutes of the unfinished sequel in late April, and on the strength of what he saw — the film is so repetitive that a random core sample taken from any point should have been fairly representative — invited the Palme d’Or winner to screen in competition. It’s hard to imagine a worse decision on the part of Frémaux, who’s been obstinate about his reasons for not including more female directors. As he told Variety in 2018, “Many of these films directed by women are first or second films. They are still young filmmakers, and I wouldn’t be doing them a favor by putting their films in competition.” (Whereas men, he seems to imply, can take the scrutiny of that spotlight.)

Granted, the press reactions at Cannes can be harsh, and though I’ve never heard boos at a red-carpet premiere, they’re not uncommon in press screenings — which is no doubt one of the reasons why Frémaux canceled the practice of showing competition films in advance to critics, as no director wants to walk the red carpet knowing that his film had been rudely received earlier that day. But putting “Mektoub” in competition is nothing short of scandalous, revealing just how deep the festival’s chauvinist double-standard goes. Publicly, Frémaux says loud and clear that Cannes won’t lower the bar to include works by women, when it’s abundantly clear that they’ll take whatever garbage a more established man tosses their way. (Personally, I loved Malick’s “A Hidden Life” — a woozy, wide-angle meditation on heaven and earth from an artist who’d lost his way — but its detractors found it to be another case where the festival accepts familiar works from male artists, but doesn’t stretch to accommodate innovative forms from avant-garde women.)

continued next post

[GeneChing]

Meanwhile, it says something that of the four female-made movies in competition this year, three earned prizes: French-Senegalese director Mati Diop’s “Atlantics” (acquired by Netflix), Jessica Hausner’s “Little Joe” and Céline Sciamma’s “Portrait of a Lady on Fire.” There’s no question that juries are now more motivated to celebrate the cinematic achievements of women. So are critics and audiences, who’ve been forced to rely on more inclusive showcases — such as Sundance, SXSW and Toronto — to find the female talents whose work festivals like Cannes and Venice refuse to accept.

Of these films, Sciamma’s “Portrait of a Lady on Fire” distinguishes itself as the most political, dramatizing via an 18th-century encounter between two women — one a female artist, the other the noblewoman whom she’s been commissioned to paint — the way that so much of the female experience went undocumented. When art, literature and cinema are forbidden from depicting certain forbidden practices — such as an abortion, or erotic love between women — then everyone who dares to engage in such behavior feels as if she is inventing it for the first time. “Portrait” captures the thrill and challenge of that discovery, and beautifully makes the case that every artist perceives things differently, and that female artists in particular have much to add to our understanding of the world, if only because their outlook has been suppressed for so long.

Contrast the way Sciamma portrays sex and the female form from “Mektoub,” and it’s instantly apparent that Kechiche — with his leering, hot-and-bothered gaze — is literally taking the place from someone more deserving in competition. He’s entitled to his point of view as well, but it repeats and exaggerates the worst tendencies in hyper-sexualized objectification, and carving out a space for such a stunt (for there’s no doubt that Kechiche is baiting and antagonizing his critics, without adding anything meaningful to the conversation) denies other original voices a spot in competition.

We should be grateful for those others who, offered entrée by their reputations, are doing something new in their latest films. Ken Loach’s “Sorry We Missed You” and the Dardenne brothers’ “Young Ahmed” both feel like the work of young directors, despite the fact the filmmakers each have two Palmes already to their names. I’ve often resisted the work of Bong Joon-ho, but have no complaints about him winning this year’s festival with his latest, “Parasite,” which puts his slick, genre-melding skills in service of a venomous class portrait. And just when I thought queer Spanish auteur Pedro Almodóvar had gotten comfortable in his late career, he caught me completely by surprise with his latest — and best — film, the intimate autofiction “Pain and Glory,” in which Antonio Banderas delivers the performance of his career as a director partly inspired by Almodóvar himself.

Which brings us back to Tarantino — the 800-pound gorilla in this year’s competition. Where nearly every one of the director’s previous works has rocked the film world, leaving audiences bristling with excitement for every minute of their deranged running times, this one feels unforgivably self-indulgent. It’s bogged down by long, dull stretches (into which the director crams excerpts, real and imagined, from duly forgotten film and TV episodes of the time) during which we experience none of Tarantino’s usual gift for tension. The auteur’s signature strategy is to manipulate anticipation and suspense on a scene-to-scene level, creating situations of imminent and unpredictable violence — a diabolically polite Nazi officer searching for hidden Jews, two gun-toting hitmen tasked with recovering a stolen briefcase — and stretching them to all-but-unbearable lengths via directorial showmanship and colorfully written dialogue, before letting these risky situations snap back on themselves like the elastic band of a slingshot.

Here, instead of masterfully playing our nerves at such a micro level, Tarantino attempts — and stumbles — with a different high-wire act. Early on, he indicates that events are pointing to Aug. 8, 1969, the night the Manson family murdered Roman Polanski’s pregnant wife, Sharon Tate: The film’s co-dependent protagonists, faded star Rick Dalton (Leonardo DiCaprio) and his trusty stunt double Cliff Booth (Brad Pitt), live on Cielo Drive, where the bloody home invasion took place; Hollywood history buffs may recall that a stuntman was murdered around that time at Spahn’s movie ranch; and Tate, radiantly oblivious to her fate, even appears as a character (played by Margot Robbie). Confident those elements all point to who-knows-what kind of confrontation to come, Tarantino no longer focuses on generating electricity within individual scenes, trying instead to make it span the entire picture.

Between Tarantino’s indulgence, Malick’s resurgence and Kechiche’s concupiscence, the festival was heavy with men who felt they’d earned the right to fill hours of screen time with their most personal preoccupations. Such is the luxury of the established filmmaker. But where Cannes really ought to be using its power — and the fact that, for what could be a limited time, it has first dibs on new work — is in finding the emerging voices who don’t yet presume to have audiences’ attention, but have the freshest things to say. It’s the paradox of being first: The world expects big names, but relevance depends on bold, outside-the-box choices.

THREADS
Cannes
Once Upon a Time in Hollywood

Quentin Tarantino ... What a pity that the film didn't win any awards. But still, I look forward to watching it.

I dunno, man. QT got more publicity out of Cannes than anyone. Who needs awards?

[GeneChing]

How Bruce is represented in this film is the most interesting aspect of it to me.

Jin Hyun·May 23, 2019·4 min read
People Aren’t Happy That Brad Pitt Thinks He Can Take On Bruce Lee in Tarantino’s New Film Trailer



Quentin Tarantino’s new film “Once Upon a Time In Hollywood” is already facing backlash after its debut at the 2019 Cannes Film Festival for its portrayal of Bruce Lee.

In what some Twitter users have dubbed a “white male power fantasy,” Brad Pitt’s character can be seen taking on martial arts legend Bruce Lee in a short clip from the movie’s trailer.

Bruce Lee, portrayed by actor and martial arts instructor Mike Moh, tells Pitt’s character, “My hands are registered as lethal weapons. We get into a fight, I accidentally kill you, I go to jail.”

To which Pitt’s character arrogantly replies, “Anybody accidentally kills anybody in a fight they go to jail, it’s called manslaughter.”

The two begin to face off as Pitt effortlessly manages to keep up with the martial arts legend — a scene many Asian American audiences found to be cringe-worthy and somewhat disrespectful to the real Bruce Lee.

View image on Twitter
View image on Twitter

Olivia Truffaut-Wong
@iWatchiAm
So, we're supposed to believe that Brad Pitt would stand a chance against Bruce Lee in a fight now? #OnceUponATimeInHollywood

498
6:14 AM - Mar 20, 2019
245 people are talking about this
Twitter Ads info and privacy

Laura
@lsirikul
· Mar 20, 2019
Replying to @lsirikul
It's obviously a fight scene, guys. The movie is set on a movie set. It's only annoying to see Brad Pitt's cockiness first & ultimately knowing that the white guy has to win in the fight against this fantasy version of Bruce Lee bc Hollywood back then, and still, was super white.


Laura
@lsirikul
Please note, Bruce Lee walked away from roles that would tarnish his image because he knew he could kick ALL OF THEIR ASSES. #OnceUponATimeInHollywood pic.twitter.com/jutIFXZPpA

128
8:43 AM - Mar 20, 2019
Twitter Ads info and privacy
Embedded video
28 people are talking about this

Mallory Yu
@mallory_yu
A white male power fantasy, thinking it’s anything other than pure nonsense that Brad could “take on” a master like Bruce Lee

Fandango
✔
@Fandango
Brad Pitt takes on Bruce Lee in...#OnceUponATimeInHollywood

Embedded video
155
6:41 AM - Mar 20, 2019
Twitter Ads info and privacy
132 people are talking about this

Brandon David Wilson
@Genius*******
Replying to @wtm5012
My point is Quentin Tarantino has a ****ed up track record with POC and I, a POC, am highly suspicious of his use of Bruce Lee. That is my point.

8
2:29 PM - May 21, 2019
Twitter Ads info and privacy
See Brandon David Wilson's other Tweets

John Wong
@JohnIsASound
What? Really Quentin Tarantino? You gonna do Bruce Lee like that? #OnceUponATimeInHollywood

2
10:22 PM - May 21, 2019 · Chicago, IL
Twitter Ads info and privacy
See John Wong's other Tweets

Angry Asian Man
✔
@angryasianman
**** Quentin Tarantino.

336
5:20 PM - May 21, 2019
Twitter Ads info and privacy
74 people are talking about this

Although Tarantino’s new film has yet to be revealed to the public, it has also drawn criticism over its treatment of female characters and scenes featuring “rage against women.”

With strong disapproval already coming from both female and Asian audiences long before the film’s premiere date, it appears Tarantino’s new film could be the subject of controversy once it is unveiled to the public in the coming months.

“Once Upon a Time In Hollywood” is set to be released on July 26, 2019.

[GeneChing]

JANUARY 13, 2020 DOCUMENT: Crime Moviegoer Beat Fellow Patron Over Phone Use
Cops: Yoga instructor claimed victim ruined Tarantino film



JANUARY 13--An Iowa yoga instructor allegedly pummeled a fellow moviegoer whose use of a phone during a showing of “Once Upon a Time in Hollywood” was purportedly responsible for “ruining the film” for the accused assailant.



Police yesterday arrested Nicholas Glasgow, 34, on assault and criminal mischief charges in connection with an incident last year at an Iowa City multiplex. Seen at right, Glasgow was released this morning from the Johnson County jail, where he had been booked on the misdemeanor charges.

According to a criminal complaint, the Oscar-nominated film starring Brad Pitt and Leonardo DiCaprio had not even begun when Glasgow “contacted theater staff and demanded they speak to the victim about his phone usage.” Workers recalled Glasgow “telling them to take care of it or he would,” an investigator noted.

At the conclusion of the Quentin Tarantino-directed film, Glasgow allegedly approached the victim and his friend and “demanded they apologize for ruining the film for him.” While the victim was seated and “before he could react,” Glasgow began punching him in the face, cops allege.

During the ensuing fight, the victim ended up on the ground, and Glasgow began kicking him. The victim, cops say, suffered “a cut to his head, swelling, soreness, and redness to his face, and had his eyeglasses broken from the assault.”



The 6’, 230-pound Glasgow was identified by theater personnel as “a regular who attends most Tuesday nights.” While the attack occurred in September, an arrest warrant for Glasgow was only issued Friday.

In an online Q&A posted to the web site of an Iowa pilates studio, Glasgow described himself as “fiercely loyal, flexible, freedom lover” and said he loved yoga due to “the healin power.” In response to a question about his guilty pleasure, Glasgow answered, “Movie theater gluttony.” (1 page).

THREADS
Once Upon a Time in Hollywood
Yoga

[GeneChing]

Never mind the post above.

Cannes Adds Quentin Tarantino's 'Once Upon a Time in Hollywood' to Competition Lineup
3:01 AM PDT 5/2/2019 by Rhonda Richford


Andrew Cooper
'Once Upon a Time in Hollywood'

The addition will bring Brad Pitt, Leonardo DiCaprio and Margot Robbie to the red carpet, while Abdellatif Kechiche and Gael Garcia Bernal also join the lineup.
Quentin Tarantino's highly anticipated Once Upon a Time in Hollywood will have its world premiere at the Cannes Film Festival, the film festival unveiled Thursday.

The addition means that Brad Pitt, Leonardo DiCaprio and Margot Robbie will be adding a burst of star power to this year's festival.

The film had been expected in the original lineup, unveiled on April 18, but artistic director Thierry Fremaux told reporters that day that the film wasn't ready.

In an interview with The Hollywood Reporter, he said he was “really, really, really focused” on Tarantino finishing the film in time to make the festival. He compared the director to Orson Welles and Martin Scorsese and said Tarantino was part of the Cannes family.

While Fremaux had hinted there would be one or two titles named to the lineup, he added a slew of films in the announcement Thursday.

Alongside Tarantino, Palme d'Or winner Abdellatif Kechiche will also be in competition with the second part of his Mektoub, My Love epic series. The Intermezzo installment of the young love story will unspool at four hours.

Out of competition, Gaspar Noe's mid-length Lux Aeterna starring Charlotte Gainsbourg and Beatrice Dalle will take a midnight screening berth, apropos for his story about witches.

Gael Garcia Bernal's Chicuarotes will join the lineup as a special screening, alongside Patricio Guzman's La Cordillera de los Suenos, Leila Conners's Ice on Fire and Dan Krauss's Ward 5B.

Lorenzo Mattotti's La Famosa Invasione Degli Orsi in Sicilia and Larissa Sadilova's Odnazhdy v Trubchevske will join the Un Certain Regard lineup.

Festival regular Tarantino, who won the Palme d'Or for Pulp Fiction, screened Death Proof and Inglorious Basterds in competition in Cannes and served as president of the jury last year, will join Pedro Almodovar, Terrence Malick and Ken Loach among the famed directors in this year's lineup.

RHONDA RICHFORD
THRnews@thr.com
@thr

THREADS
Cannes
Once Upon a Time in Hollywood

[GeneChing]

‘Once Upon A Time In Hollywood’ Gets 7-Minute Standing Ovation After Cannes Premiere
By Nancy Tartaglione
International Editor
@DeadlineNancy


Quentin Tarantino Once Upon A Time In Hollywood
Vianney Le Caer/Invision/AP/Shutterstock

The crowd that was able to get into the Cannes Film Festival’s world premiere of Quentin Tarantino’s Once Upon a Time in Hollywood gave the film a seven-minute standing ovation at the end of one of the most anticipated screenings at the prestigious festival in recent years.

“Thank you for being such a fantastic audience for the first time we’ve ever showed it to an audience,” Tarantino told the crowd after the screening in very brief remarks, thanking the studio, producers, cast and crew.

It was an enthusiastic response to the film, Tarantino’s ninth and most recent film in Cannes since Inglourious Basterds in 2009. He won the Palme d’Or 25 years ago for Pulp Fiction.

The plot revolves around TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt), who make their way around an industry in 1969 Los Angeles they hardly recognize anymore. It is Tarantino’s tribute to the final moments of Hollywood’s golden age. Margot Robbie as Sharon Tate, Al Pacino, Kurt Russell, Timothy Olyphant, Dakota Fanning, Luke Perry and Margaret Qualley lead the loaded ensemble cast.

Sony dropped the trailer for the pic just before the screening began. The film from Columbia Pictures hits theaters in the U.S. on July 26.


Leonardo DiCaprio, left, Quentin Tarantino, Daniela Pick, David Heyman, Shannon McIntosh, Margot Robbie and Brad Pitt on Tuesday
David Fisher/Shutterstock

It had been foul weather in Cannes for the fest so far, but the sun came out for the Hollywood red carpet Tuesday. Just before 6 PM local time, Tarantino and the cast including DiCaprio, Pitt, Robbie and Dakota Fanning elicited hoots and applause from the crowd inside the Palais who watched as they appeared on the giant screen and, as is custom, signed autographs for the throngs of fans lining the Croisette.

(At the same time, some ticket holders were held back between security and the red carpet, wondering if they would make it into the cinema — many didn’t get in.)

On the red carpet, the crew posed for photographers in a scene that felt more subdued than when Inglourious Basterds was here — Tarantino danced his way up the Palais steps with Melanie Laurent on his way to the screening.

Also mounting the steps on the 25th anniversary of Tarantino’s Pulp Fiction world premiere were Sony’s Tom Rothman and producers David Heyman and Shannon McIntosh.

Inside ahead of the screening of the 2 hour, 39 minute film, Cannes boss Thierry Fremaux told the audience not to reveal spoilers — an unusual onstage opening here. “It’s a bit exceptional because the production and Quentin Tarantino asked me to ask you not to discuss the film,” Fremaux said. “They would greatly appreciate that you not reveal anything that would prevent audiences worldwide from experiencing what you do today.”

He then introduced the cast and Tarantino, who had the crowd on its feet as he flashed his trademark peace sign.

Without giving anything away, Deadline’s Pete Hammond who was in the crowd Tuesday, already was formulating his take:

Pete Hammond
@DeadlinePete
Tarantino’s onceUpon A time In Hollywood Is justendind. A terrific and entertaining and highly satisfying film. Unexpected in one way but absolutely right on. Pitt and DiCaprio are great!

10
11:56 AM - May 21, 2019
Twitter Ads info and privacy
See Pete Hammond's other Tweets

Pete Hammond
@DeadlinePete
Once upon a time In Hollywood is a true love letter to LOS angeles of the 60’s. QT just thanked the audience and studio. “See you on the Crroisette” he said .

5
12:01 PM - May 21, 2019
Twitter Ads info and privacy
See Pete Hammond's other Tweets

THREADS
Cannes
Once Upon a Time in Hollywood

[GeneChing]

'Parasite' Voted Best Picture by New York Film Critics Online
3:08 PM PST 12/7/2019 by Trilby Beresford


Telluride Film Festival
'Parasite'

In addition, Bong Joon Ho was tapped as best director for his work on the film.

Parasite has been named best picture of the year by New York Film Critics Online (NYFCO). The vote took place Saturday.

In addition, Bong Joon Ho was tapped as best director for his work on the film, which also garnered best screenplay honors.

Us' Lupita Nyong'o was named best actress and Joker star Joaquin Phoenix was chosen as best actor, while Laura Dern was hailed as best supporting actress for Marriage Story and Joe Pesci was recognized for his supporting role in The Irishman.

The NYFCO, founded by reviewer Harvey Karten in 2000, met in Lincoln Center's Furman Gallery inside the Walter Reade Theatre for its 20th annual convocation. Last year, the group selected Roma as best picture.

A full list of 2019 winners follows.

Picture: Parasite
Director: Bong Joon Ho (Parasite)
Actor: Joaquin Phoenix (Joker)
Actress: Lupita Nyong'o (Us)
Supporting Actor: Joe Pesci (The Irishman)
Supporting Actress: Laura Dern (Marriage Story)
Screenplay: Parasite (Bong Joon Ho, Han Jin-Won)
Cinematography: 1917 (Roger Deakins)
Documentary: Apollo 11 (Neon)
Foreign Language: Portrait of a Lady on Fire (Neon)
Ensemble Cast: Knives Out (Casting director: Mary Vernieu)
Breakthrough Performer: Kelvin Harrison Jr. (Waves, Luce)
Debut as Director: Lila Aviles (The Chambermaid)
Use of Music: Rocketman (Elton John, Bernie Taupin, Giles Martin, Matthew Margeson)
Animated Feature: I Lost My Body (Netflix)

Top 10 Films:

1917 (Universal)
The Farewell (A24)
Hustlers (STXfilms)
The Irishman (Netflix)
Jojo Rabbit (Fox Searchlight)
Joker (Warner Bros.)
Marriage Story (Netflix)
Once Upon a Time in Hollywood (Sony)
Parasite (Neon)
The Two Popes (Netflix)


TRILBY BERESFORD
Trilby.Beresford@THR.COM
trilbyberesford

THREADS
The Farewell
Joker
Once Upon a Time in Hollywood
Parasite

[GeneChing]

I only copied the films we've discussed here.

Winners & Nominees 2020

Best Motion Picture - Drama

NOMINEE
Joker

Best Motion Picture - Musical or Comedy

NOMINEE
Dolemite Is My Name

NOMINEE
Once Upon a Time...in Hollywood

Best Performance by an Actor in a Motion Picture - Drama

NOMINEE
Joaquin Phoenix
Joker

Best Performance by an Actress in a Motion Picture - Musical or Comedy

NOMINEE
Awkwafina
Farewell, The

Best Performance by an Actor in a Motion Picture - Musical or Comedy

NOMINEE
Leonardo DiCaprio
Once Upon a Time...in Hollywood

NOMINEE
Eddie Murphy
Dolemite Is My Name

Best Performance by an Actor in a Supporting Role in any Motion Picture

NOMINEE
Brad Pitt
Once Upon a Time...in Hollywood

Best Director - Motion Picture

NOMINEE
Bong Joon Ho
Parasite

NOMINEE
Todd Phillips
Joker

NOMINEE
Quentin Tarantino
Once Upon a Time...in Hollywood

Best Screenplay - Motion Picture

NOMINEE
Quentin Tarantino
Once Upon a Time ... in Hollywood

NOMINEE
Bong Joon Ho, Han Jin Won
Parasite

Best Motion Picture - Foreign Language

NOMINEE
Farewell, The
USA, Lulu Wang

NOMINEE
Parasite
South Korea, Bong Joon Ho

THREADS
The Golden Globes
Parasite
Dolemite is My Name
Once Upon a Time...in Hollywood
Joker
The Farewell

[GeneChing]

Donnie Yen 'very disappointed' with Quentin Tarantino's treatment of Bruce Lee
MOVIES
Wednesday, 11 Dec 2019
6:02 PM MYT
By MICHAEL CHEANG


Donnie Yen at the media interview promoting Ip Man 4: The Finale in Kuala Lumpur. Photo: The Star/Michael Cheang

Hong Kong action star Donnie Yen said he was “disappointed” with director Quentin Tarantino’s treatment of Bruce Lee in the recent Once Upon A Time In Hollywood.

Tarantino came under fire earlier this year from Lee’s daughter Shannon Lee for portraying the late star as an arrogant braggart who is beaten up by Brad Pitt’s character, and also for saying Lee was "kind of an arrogant guy".

When the subject came up during a media interview to promote his new film Ip Man 4: The Finale in Kuala Lumpur, Yen said: “I know Tarantino personally, but I’m very disappointed with how he portrayed Bruce Lee in the movie. I watched most of the movie, but after that scene, I couldn’t continue on.”

Yen explained that Lee was not just a great martial artist and action star, he was also a great influence and inspiration to filmmakers all over the world.

“As filmmakers, I feel we should be more respectful towards someone like Lee, who has contributed so much to our industry, ” added the 56-year-old actor.


Danny Chan portrays Bruce Lee in the upcoming 'Ip Man 4'.Danny Chan portrays Bruce Lee in the upcoming 'Ip Man 4'.

Being a former student of Wing Chun grandmaster Ip Man, Lee also features heavily in Ip Man 4, played by Hong Kong actor and Lee-lookalike Danny Chan.

Yen was full of praise for Chan’s portrayal of Lee. “Danny doesn’t just look like Bruce Lee, he has also researched and practiced Lee’s moves and fighting style intensively," he said.

Set for release in Malaysia on Dec 20, Ip Man 4 will be Yen's final portrayal of the Wing Chun grandmaster. In it, Ip Man travels to San Francisco under Lee's invitation, but gets involved in a conflict between the Chinese community and the American authorities.

Directed by Wilson Yip, who also directed the first three Ip Man movies, the movies co-stars Vanness Wu, Wu Yue, and Scott Adkins.

Yen is in town with Chan, producer Raymond Wong and scriptwriter Edmond Wong to promote the film. The four of them will be meeting fans at the Centre Court, Suria KLCC, Kuala Lumpur, at 8pm today (Dec 11); and two locations on Dec 12: Oval Concourse, LG, 1 Utama Shopping Centre, Petaling Jaya (7pm) and Foyer, MBO The Starling Level 5, Petaling Jaya (8.30pm).

THREADS
Ip Man 4
Once Upon a Time in Hollywood

[Jimbo]

I got to see this, and IMO the movie itself is good. Overall, QT did a good job capturing the spirit and feel of 1969 L.A. but IMO, you probably had to have been alive at that time to some degree, and also have some familiarity with some of the names of celebrities from that era bandied about in the movie, to appreciate it. After watching it, I read the comments section on Amazon, and from the likes/dislikes and grammar, it seems that most of the dislikes were from millennials who couldn’t stand the slow pace and wanted constant action/violence throughout. Many also said there is too much talking. Anybody who watches a QT film and doesn’t expect long stretches of self-indulgent dialogue throughout the film are clearly unfamiliar with his style of filmmaking.

As for the Bruce Lee scenes, he is portrayed as a c0cky a-hole, and Mike Moh has his mannerisms spot-on. What Moh does NOT have, at least in the context of this movie, is BL’s speed or explosiveness, in terms of his movement (what little we see of it). Tarantino’s vision of BL is strictly cinematic, because there is no way BL would have used a running flying side kick in a sparring match or fight. I said BL scenes, because later in the movie there are brief glimpses of BL training Sharon Tate for her fight scene in The Wrecking Crew, and also training Roman Polanski in the yard of the Cielo Drive house (both of which were factual). QT’s timeline is off when he has BL refer to boxing champ Joe Louis, then says, “The boxer Joe Louis, not that white kickboxer a-hole Joe Lewis.” I doubt that BL would have referred to Joe Lewis in that manner, even after they’d had a falling-out in real life. And in 1969 Joe Lewis was still a karate fighter; kickboxing came along in 1970 or 71. But overall, the BL character was a very minor part of the movie.

This movie is a huge departure for QT. With the exception of Kerry Washington’s character in Django Unchained, virtually every character in QT’s films is a scumbag, a criminal, or corrupted in some way. Sharon Tate is portrayed as almost angelic, and Jay Sebring as a really nice guy. Which nobody in show business was ever that innocent in Hollywood, including back in 1969.

The acting is first-rate; even though I’m usually mixed about Brad Pitt’s acting, this role suited him perfectly. DiCaprio’s acting is good to great as usual, but some of his scenes where he appears CGI’d into actual 1960s movie scenes, or shown alongside images of actual past Hollywood stars, don’t really fit. It LOOKS as if he was retro-added in.

The Manson Family parts were mostly excellent, especially the scene at Spahn Ranch. A person should have some degree of understanding of the Manson Family story (read The Family by Ed Sanders, NOT Vincent Bugliosi’s book) to appreciate their portrayals. I do feel that the guy who played Tex Watson should have been a bit more imposing than the actor who played him. The actress who played Susan Atkins was mostly spot-on. I won’t go any further with any spoilers but to say that this is another big QT alternate dimension/revisionist history.

I’m still not happy with QT about how BL was portrayed in his scene with Pitt’s Cliff Booth character, to be used as fodder to display how bad@ss Booth is, nor with QT’s lame explanation as to why he did it that way. But I must be truthful and say that overall, this is a good movie, and I wasn’t bored at any point. Of course, YMMV. In the reviews I read after watching the movie, it seemed that viewers either really loved it or absolutely hated it. There was very little, if any, in-between. And again, I strongly suspect that’s mostly a generational thing, with the ones hating it mostly being much younger, with far shorter attention spans, as well as a lack of understanding of that era. I draw that conclusion from the type of grammar used in many/most of the negative posts, such as “This movie sucked!” “Boooring!” “I’m only 12 minutes into it and I can’t finish this movie, and this is my third try!”

I was only 6 at the time, but I have clear memories of the music (which is laced throughout the film), the cars, the ads, many of the shows, etc. I suspect that most who were alive at that time and at least old enough to remember SOMEthing about that time period, will find at least something to appreciate about the film. Is it QT’s best? Not IMO, but it is still a good movie.

[GeneChing]

92ND OSCARS SHORTLISTS
The Academy of Motion Picture Arts and Sciences has announced shortlists in consideration for the 92nd Academy Awards in nine categories: Documentary Feature, Documentary Short Subject, International Feature Film, Makeup and Hairstyling, Music (Original Score), Music (Original Song), Animated Short Film, Live Action Short Film and Visual Effects.

INTERNATIONAL FEATURE FILM
Ten films will advance to the next round of voting in the International Feature Film category (formerly known as Foreign Language Film) for the 92nd Academy Awards. Ninety-one films were eligible in the category.

Academy members from all branches were invited to participate in the preliminary round. They must have viewed the submitted films theatrically and met a minimum viewing requirement to be eligible to vote in the category. Their seven choices, augmented by three additional selections voted by the Academy’s International Feature Film Award Executive Committee, constitute the shortlist.

In the nominations round, Academy members from all branches are invited to opt-in to participate and must view all 10 shortlisted films in order to cast a ballot.

The films, listed in alphabetical order by country, are:

Czech Republic, “The Painted Bird”
Estonia, “Truth and Justice”
France, “Les Misérables”
Hungary, “Those Who Remained”
North Macedonia, “Honeyland”
Poland, “Corpus Christi”
Russia, “Beanpole”
Senegal, “Atlantics”
South Korea, “Parasite”
Spain, “Pain and Glory”


MAKEUP AND HAIRSTYLING
Ten films will advance in the Makeup and Hairstyling category for the 92nd Academy Awards. All members of the Academy’s Makeup Artists and Hairstylists Branch will be invited to view seven-minute excerpts from each of the 10 shortlisted films on Saturday, January 4, 2020. Members will vote to nominate five films for final Oscar consideration.

The films, listed in alphabetical order by title, are:

“Bombshell”
“Dolemite Is My Name”
“Downton Abbey”
“Joker”
“Judy”
“Little Women”
“Maleficent: Mistress of Evil”
“1917”
“Once upon a Time…in Hollywood”
“Rocketman”


MUSIC (ORIGINAL SCORE)
Fifteen scores will advance in the Original Score category for the 92nd Academy Awards. One hundred seventy scores were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees.

The scores, listed in alphabetical order by film title, are:

“Avengers: Endgame”
“Bombshell”
“The Farewell”
“Ford v Ferrari”
“Frozen II”
“Jojo Rabbit”
“Joker”
“The King”
“Little Women”
“Marriage Story”
“Motherless Brooklyn”
“1917”
“Pain and Glory”
“Star Wars: The Rise of Skywalker”
“Us”

DOWNLOAD

MUSIC (ORIGINAL SONG)
Fifteen songs will advance in the Original Song category for the 92nd Academy Awards. Seventy-five songs were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees.

The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title and song title:

“Speechless” from “Aladdin”
“Letter To My Godfather” from “The Black Godfather”
“I’m Standing With You” from “Breakthrough”
“Da Bronx” from “The Bronx USA”
“Into The Unknown” from “Frozen II”
“Stand Up” from “Harriet”
“Catchy Song” from “The Lego Movie 2: The Second Part”
“Never Too Late” from “The Lion King”
“Spirit” from “The Lion King”
“Daily Battles” from “Motherless Brooklyn”
“A Glass of Soju” from “Parasite”
“(I’m Gonna) Love Me Again” from “Rocketman”
“High Above The Water” from “Toni Morrison: The Pieces I Am”
“I Can’t Let You Throw Yourself Away” from “Toy Story 4”
“Glasgow” from “Wild Rose”


VISUAL EFFECTS
Ten films remain in the running in the Visual Effects category for the 92nd Academy Awards. The Visual Effects Branch Executive Committee determined the shortlist. All members of the Visual Effects Branch will be invited to view 10-minute excerpts from each of the shortlisted films online or attend satellite bake-off screenings in January 2020. Following the screenings, members will vote to nominate five films for final Oscar consideration.

The films, listed in alphabetical order by title, are:

“Alita: Battle Angel”
“Avengers: Endgame”
“Captain Marvel”
“Cats”
“Gemini Man”
“The Irishman”
“The Lion King”
“1917”
“Star Wars: The Rise of Skywalker”
“Terminator: Dark Fate”

Nominations voting begins on Thursday, January 2, 2020 and concludes on Tuesday, January 7, 2020.

Nominations for the 92nd Academy Awards will be announced on Monday, January 13, 2020.

The 92nd Oscars® will be held on Sunday, February 9, 2020, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network. The Oscars also will be televised live in more than 225 countries and territories worldwide.

THREADS
Academy Awards
Parasite
Dolemite is My Name
Once Upon a Time...in Hollywood
The Farewell
Alita

[GeneChing]

Winners & Nominees 2020

Best Motion Picture - Musical or Comedy
WINNER
Once Upon a Time...in Hollywood

Best Performance by an Actor in a Motion Picture - Drama
WINNER
Joaquin Phoenix
Joker

Best Performance by an Actress in a Motion Picture - Musical or Comedy
WINNER
Awkwafina
Farewell, The

Best Performance by an Actor in a Supporting Role in any Motion Picture
WINNER
Brad Pitt
Once Upon a Time...in Hollywood

Best Screenplay - Motion Picture
WINNER
Quentin Tarantino
Once Upon a Time ... in Hollywood

Best Motion Picture - Foreign Language
WINNER
Parasite
South Korea, Bong Joon Ho

THREADS
The Golden Globes
Parasite
Once Upon a Time...in Hollywood
Joker
The Farewell

[GeneChing]

Winners & Nominees 2020

Best Motion Picture - Musical or Comedy
WINNER
Once Upon a Time...in Hollywood

Best Performance by an Actor in a Motion Picture - Drama
WINNER
Joaquin Phoenix
Joker

Best Performance by an Actress in a Motion Picture - Musical or Comedy
WINNER
Awkwafina
Farewell, The

Best Performance by an Actor in a Supporting Role in any Motion Picture
WINNER
Brad Pitt
Once Upon a Time...in Hollywood

Best Screenplay - Motion Picture
WINNER
Quentin Tarantino
Once Upon a Time ... in Hollywood

Best Motion Picture - Foreign Language
WINNER
Parasite
South Korea, Bong Joon Ho

THREADS
The Golden Globes
Parasite
Once Upon a Time...in Hollywood
Joker
The Farewell