Fucking Black Friday

Alfred, Quentin et Pedro sont sur un plateau...

A la manière de Où est Charlie ?, Alexandre Clérisse réalise un superbe livre-jeu spécial cinéma. A travers 56 pages, il convoque les plus grands réalisateurs. De Tim Burton à Jacques Tati, en passant par Wes Anderson, Stanley Kubrick, Michel Gondry, Alfred Hitchcock, Steven Spielberg, Pedro Almodovar, les frères Coen, David Lynch, Martin Scorsese, Quentin Tarantino et Charlie Chaplin.
Ils sont tous là, les 15 metteurs en scène de son panthéon cinématographique.

En savoir plus 

Hollywood Critics Association Awards

The Hollywood Critics Association, formerly known as The Los Angeles Online Film Critics Society, announced their nominees for the 3^rd Annual Hollywood Critic Awards being held at the Taglyan Complex in Los Angeles on January 9th, 2020.
Quentin Tarantino’s Once Upon in Hollywood tops the HCA nominations list with a total of eleven nominations, while Netflix’s The Irishman and A24’s Waves each earn nine. Lulu Wang’s The Farewell, which premiered at Sundance back in January, scored a total of seven nominations. Todd Phillips’ controversial Joker received quite a bit of love from the members of the HCA with a total of seven nominations, including Best Picture and Best Actor for Joaquin Phoenix. Noah Baumbach’s widely praised Marriage Story received six nominations, including Best Actor for Adam Driver and Best Actress for Scarlett Johansson.
Just like in the years past, the members of the Hollywood Critics Society are continuing to support some of the more underrepresented films of the year including Neon’s Wild Rose, Amazon’s Brittany Runs A Marathon, Warner Brothers’ Blinded by the Light, and Roadside Attraction’s The Peanut Butter Falcon, amongst several others.
“The creation and goal of this organization has always been about celebrating film while embracing diversity and elevating underrepresented voices. We believe that our mission is universal, and this is why we changed our name to be reflective of that. As we continue to push for change, we want to be part of the solution, which means slowly building a community of passionate critics who are reflective of the USA and the world as a whole,” states HCA’s Chairman, Scott Menzel.
In total, the Hollywood Critic Association nominated 59 different films, including several independents as well as major studio blockbusters. Netflix received the most nominations with a total of 20 with A24 not too far behind, earning 18, followed by Sony with 16.
A full list of the HCA nominations can be found below:

Best Picture
1917
Booksmart
The Farewell
The Irishman
Joker
Jojo Rabbit
Parasite
Marriage Story
Once Upon A Time in Hollywood
Waves

Best Actor
Adam Driver, Marriage Story
Eddie Murphy, Dolemite is My Name
Joaquin Phoenix, Joker
Leonardo DiCaprio, Once Upon A Time in Hollywood
Taron Egerton, Rocketman

Best Actress
Awkwafina, The Farewell
Charlize Theron, Bombshell
Lupita Nyong’o, Us
Renée Zellweger, Judy
Scarlett Johansson, Marriage Story

Best Supporting Actor
Brad Pitt, Once Upon A Time in Hollywood
Joe Pesci, The Irishman
Shia LaBeouf, Honey Boy
Sterling K. Brown, Waves
Tom Hanks, A Beautiful Day in the Neighborhood

Best Supporting Actress
Jennifer Lopez, Hustlers
Laura Dern, Marriage Story
Margot Robbie, Once Upon A Time in Hollywood
Taylor Russell, Waves
Zhao Shuzhen, The Farewell

Best Adapted Screenplay
Taika Waititi, Jojo Rabbit
Steven Zaillian, The Irishman
Anthony McCarten, The Two Popes
Scott Silver and Todd Phillips, Joker
Lorene Scafaria, Hustlers

Best Original Screenplay 
Bong Joon-ho and Han Jin-won, Parasite
Emily Halpern, Sarah Haskins, Susanna Fogel, and Katie Silberman, Booksmart
Lulu Wang, The Farewell
Noah Baumbach, Marriage Story
Rian Johnson, Knives Out

Best Male Director
Bong Joon-ho, Parasite
Martin Scorsese, The Irishman
Noah Baumbach, Marriage Story
Quentin Tarantino, Once Upon A Time in Hollywood
Taika Waititi, Jojo Rabbit

Best Female Director
Alma Har’el, Honey Boy
Greta Gerwig, Little Women
Lorene Scafaria, Hustlers
Lulu Wang, The Farewell
Olivia Wilde, Booksmart

Best Performance by an Actor or Actress 23 and Under
Kaitlyn Dever, Booksmart
Julia Butters, Once Upon A Time in Hollywood
Noah Jupe, Honey Boy
Roman Griffin Davis, Jojo Rabbit
Thomasin McKenzie, Jojo Rabbit

Breakthrough Performance
Jessie Buckley, Wild Rose
Kelvin Harrison Jr, Waves
Paul Walter Hauser, Richard Jewell
Taylor Russell, Waves
Zack Gottsagen, The Peanut Butter Falcon

Best Cast
Avengers: Endgame
The Irishman
Knives Out
Once Upon A Time in Hollywood
Waves

Best First Feature
Brittany Runs A Marathon
Booksmart
Honey Boy
The Peanut Butter Falcon
Queen & Slim

Best Independent Film
Booksmart
The Farewell
Honey Boy
Luce
Waves

Best Action/War Film
1917
Avengers: Endgame
Captain Marvel
Fast & Furious Presents: Hobbs & Shaw
John Wick: Chapter 3 – Parabellum

Best Animated Film
Abominable
Frozen II
How to Train Your Dragon: The Hidden World
Missing Link
Toy Story 4

Best Blockbuster
Avengers: Endgame
Captain Marvel
Once Upon A Time in Hollywood
Shazam!
Spider-Man: Far from Home

Best Comedy/Musical
Booksmart
Blinded by The Light
Dolemite is My Name
Long Shot
Rocketman

Best Documentary
American Factory
Apollo 11
Hail Satan?
The Kingmaker
Love, Antosha

Best Foreign Language Film
The Farewell
Monos
Pain & Glory
Parasite
Portrait of a Lady on Fire

Best Horror
Crawl
Doctor Sleep
Midsommar
Ready or Not
Us

Best Animated or VFX Performance
Josh Brolin, Avengers: Endgame
Robert De Niro, The Irishman
Rosa Salazar, Alita: Battle Angel
Ryan Reynolds, Pokemon Detective Pikachu
Tom Hanks, Toy Story 4

Best Cinematography 
Drew Daniel, Waves
Jarin Blaschke, The Lighthouse
Lawrence Sher, Joker
Robert Richardson, Once Upon A Time in Hollywood
Roger Deakins, 1917

Best Costume Design
Arianne Phillips, Once Upon A Time in Hollywood
Julian Day, Rocketman
Jacqueline Durran, Little Women
Ruth E Carter, Dolemite is My Name
Mark Bridges, Joker

Best Editing 
Fred Raskin, Once Upon A Time in Hollywood
Lee Smith, 1917
Michael McCusker, Ford V. Ferrari
Thelma Schoonmaker, The Irishman
Yang Jin-mo, Parasite

Best Hair and Makeup
Jeremy Woodhead, Judy
Kazu Hiro, Anne Morgan, and Vivian Baker, Bombshell
Nicki Ledermann and Kay Georgiou, Joker
Nicki Ledermann, Sean Flanigan, and Carla White, The Irishman
Lizzie Yianni Georgiou, Tapio Salmi, and Barrie Gower, Rocketman

Best Original Song
Catchy Song, The Lego Movie: The Second Part
Glasgow, Wild Rose
(I’m Gonna) Love Me Again, Rocketman
Into the Unknown, Frozen 2
Speechless, Aladdin

Best Score
Alexandre Desplat, Little Women
Hildur Guðnadóttir, Joker
Michael Abels, Us
Thomas Newman, 1917
Trent Reznor and Atticus Ross, Waves

Best Stunt Work
1917
Avengers: Endgame
Captain Marvel
Fast & Furious Presents: Hobbs & Shaw
John Wick: Chapter 3 – Parabellum

Best Visual Effects 
Allen Maris, Jedediah Smith, Guillaume Rocheron, and Scott R. Fisher, Ad Astra
Dan Deleeuw, Matt Aitken, Russell Earl, and Dan Sudick, Avengers: Endgame
Joe Letteri, Eric Saindon and Nick Epstein, Alita: Battle Angel
Guillaume Rocheron, Greg Butler, and Dominic Tuohy, 1917
Pablo Herman, Leandro Estebecorena, Stephane Grabli, and Nelson Sepulveda, The Irishman

OUATIH: Scène coupée (Bonus Dvd-BluRay)

Once Upon A Time In... Hollywood en lice pour un Grammy Award

Nic Cage dans Nic Cage?

Nicolas Cage sera Nicolas Cage dans The Unbearable Weight of Massive Talent.
Le pitch: un Nicolas Cage du passé parle au Nicolas Cage du présent, désespéré à l'idée de décrocher un rôle dans le prochain film de... Quentin Tarantino. On peut être sûr que ça va faire marrer QT et qu'il trouvera un truc à Nic Cage dans un avenir proche. Pari tenu?

OUATIH: la version rallongée distribuée en France

Le 25 octobre, 1000 salles américaines projetaient une version longue de OUATIH, à vrai dire une version amplifiée de quelques bonus: nouvelle pub Red Apple, pub pour Old Chattanooga Beer et scènes coupées. Pas vraiment indispensable au montage, il s'agit plutôt d'occuper le terrain et les esprits à l'approche de la saison des prix, le film étant sorti pendant l'été.

Reste que cette nouvelle version - la troisième depuis Cannes et avant, sans doute, une version longue pour Netflix - sera finalement distribuée en France à partir de demain, 20 novembre, dans un réseau confidentiel de cinémas parisiens et quelques provinciaux:

Paris :
Le Grand Action, L'épée de bois, Le Lucernaire, MK2 Parnasse, Studio Galande, L'entrepôt, Cinéma Beauregard, Studio 28

Province :
Cinéma Axel Chalon sur Saône, Cinéma Kinepolis de Lomme.

Creating the Quentin Tarantino 1969 dress code for OUATIH

Quentin Tarantino’s “Once Upon a Time in Hollywood” is his personal love letter to Tinseltown, set during the seismic clash in 1969 of old and new cultures. And that posed a unique creative challenge for his go-to costume designer Arianne Phillips, who was unaccustomed to interweaving so much history and fiction in a Tarantino movie.

“It required its own unique process because here we have real life events, real people that are part of the culture — the Manson murders and Hollywood at that time [including Margot Robbie as slain actress Sharon Tate],” Phillips said. “And then at the center of that, we have these two fictional characters, Rick Dalton [Leonardo DiCaprio] and Cliff Booth [Brad Pitt], the cowboy actor and his stunt double. Also, this required a certain reportage feel, in that we really wanted to transport the audience and revisit Hollywood as it was in 1969.”


Naturally, like every other member of Team Tarantino, Phillips did her homework by revisiting the movies and TV shows of 1969 (“Butch Cassidy and the Sundance Kid,” “Easy Rider,” and “Bob & Carol & Ted & Alice” chief among them). And she discussed with Tarantino the amalgamation of Dalton and Booth, as those who made the transition from TV to movies and those who didn’t, from Steve McQueen to Edd “Kookie” Byrnes (“77 Sunset Strip”). But the most important discussions centered around the psychological makeups for the two characters: Dalton was past his prime and still trapped in the ’50s while Booth was more casual, open, and forward-thinking.

“Quentin and I created a backstory of Rick taking clothes from his [successful] ‘Bounty Law’ western TV series,” said Phillips, who put DiCaprio through 22 costume changes. “His badass cowboy boots were part of the veneer.” Although Tarantino’s script didn’t specify a leather jacket, Phillips thought it was an important part of the director’s vernacular to include in the movie. “Leo and I both loved the leather jacket idea as a way of toughening Rick up,” she added. “In that meeting with Al Pacino’s agent in Musso & Frank, Rick didn’t want to wear an establishment suit. We also gave him a mock turtleneck. Quentin and I had these conversations of it being like a tie. There’s something very clean and dressed up about that. Putting a tie or scarf on Rick just seemed too comical.”

Dalton definitely gets put off stride when forced to look like a hippie cowboy for his guest spot on the “Lancer” TV series. But the rigorous shoot enables him at last to find his mojo. “Both Quentin and I agreed that tie-dyed and fringe were not going to be in this movie, with the exception of this fringe jacket,” Phillips said. “Making Rick a hippie becomes his worst nightmare. But it was great, like a stylized version of a cowboy, the Dennis Hopper way.”


It turned Dalton’s corny “Bounty Law” cowboy on its head. It was all part of exploring a character arc through Dalton’s wardrobe, especially when he confidently returns home after starring in a string of spaghetti westerns in Italy. “He’s got some money in his pocket and he bought clothes in Italy, bolstered by his success,” Phillips added. “He wears that Smothers Brothers neckerchief and leisure suit as we head into the ’70s.”

By contrast, Pitt’s Booth carries himself off with confidence, charm, and a Zen-like grace. And yet he possesses a menacing violent streak as well. Phillips appropriately dressed him in moccasins, a yellow Hawaiian shirt, and denim. “I loved the idea of him wearing moccasins, which would harken to the fact that he’s not out of touch, and I was also inspired by ‘Billy Jack,'” she said. “He dresses for comfort and has no one to impress.”

The Hawaiian shirt, though, was scripted as part of Tarantino’s vernacular, but the motif was up for interpretation, and so Phillips layered it with an Asian motif. But the denim had a dual purpose. “He wore denim, which was only worn as work wear during that time, except for the Manson family, which wore denim as part of their youth rebellion. But Cliff is an outsider and he went against the dress code at Musso’s by wearing his denim jeans and jacket at the bar.”

Meanwhile, dressing Robbie as Tate (who lives near Dalton in Benedict Canyon) offered a completely different process for Phillips. The costume designer was able to strike a balance between historical accuracy and creative license. “I did a lot of research on who she was and what she wore and learned about her life,” Phillips said. “Lucky for us, Deborah Tate, her sister, was a consultant.  We got to see her wardrobe, and Quentin and I wanted to recreate a couple of costumes based on reference pictures. Other costumes were created to fit the movie. Deborah very generously allowed us to use some of Sharon’s jewelry, which Margot wore. They were simple costume pieces. As a Talisman, it was welcomed.

Tate personifies a sense of freedom and innocence and Phillips dressed Robbie frequently in yellow, including an ensemble at the Playboy Mansion inspired by something similar she wore to the “Rosemary’s Baby” premiere from Ossie Clark, a Swinging Sixties London fashion designer. On top of that she wore another Clark specialty: a long python printed coat.

However, Phillips dressed the actress in black turtleneck, white miniskirt, and white go-go boots for the bravura sequence in Westwood, where Tate drops off a hitchhiker, buys a copy of “Tess of the d’Urbervilles” for husband Roman Polanski (Rafał Zawierucha), and then watches herself on screen in “The Wrecking Crew.” “This was based on research but also part of Quentin’s vernacular with his love of black-and-white,” she said.

Source: Indiewire

Camerimage: Duo Awards

Camerimage, festival basé à Torun en Pologne et rendant hommage aux directeurs de la photographie, s'est tenu ce week-end. Si Joker a remporté le prix pour la meilleure photo de l'année (Lawrence Sher), Quentin Tarantino et Robert Richardson se sont vu remettre le Duo Awards pour leur collaboration de 6 films.

“This is one of the proudest awards I’ve ever won,” said Tarantino. “I just got married this last year, but before that I’ve been married to this man [gesturing to Richardson]. After we first started working together, he said, ‘How do you think it’s going?’ And I said, ‘Oh, I’m putting towels in my house that have your monogram and my monogram on it.”

“I mean this from the bottom of my black heart,” Tarantino said. “Working with Bob is literally one of the greatest joys of my life and he’s led my films to a visual sophistication that, back when I was working at the video store, I couldn’t even dream of achieving myself, but I could appreciate in others.”

“Quentin is the most brilliant director I’ve ever worked with,” said Richardson, who has worked with other notable auteurs like Martin Scorsese and Oliver Stone. “Last night I sat with him for an hour and he read something to me that he just wrote, and this morning as well. His brain is fucking on fire. We should all be so lucky as cinematographers to have a man this talented, and why we create as cinematographers is because of men and women like him, and we should be very much in praise. Quentin, I love you.”

Tarantino a un plan

Tarantino était reçu ce 13 novembre par l'académie britannique du cinéma, la BAFTA, pour un Q&A revenant sur sa carrière. A cette occasion, les fans ont pu poser leurs questions. Il a déclaré être en pleine frénésie d'écriture. Après OUATIH, il a écrit une pièce, cinq épisodes de Bounty Law et le début d'un roman. L'écriture du dit roman devrait l'emmener jusqu'en mars prochain. Il a l'intention de donner vie à chacun de ces projets avant de commencer à se pencher sur son 10ème et dernier film.

“So I finished ‘Once Upon a Time in Hollywood,’ finished that script, put it aside, and then I wrote a play. And then I wrote a five-episode TV series. And right now I’m writing a book and I’m hoping that I’ll be finished in three months. So the idea will be hopefully by March maybe I’ll be finished with the book – and then, theoretically, maybe I’ll do the play, and then theoretically I’ll do the TV show, and then by that point I’ll be thinking maybe what I’ll do for the 10th movie.”

OUATIH: que devient Rick Dalton après le film?

Les personnages de Quentin Tarantino continuent de vivre dans son esprit, même quand le film est terminé. Le réalisateur a évoqué le destin de Rick Dalton (joué par Leonardo DiCaprio) après Once Upon a Time… in Hollywood durant le podcast The Margaret Cho : « Sa carrière pourrait se poursuivre de différentes façons. Si vous pensez qu’il représente George Maharis ça ira dans un sens, et si pour vous il est Ty Hardin ça ira dans un autre. C’est un mélange des deux. À la fin des années 70-début 80, ces premiers rôles machos de la télévision des années 50 et 60 sont revenus aux séries, mais cette fois dans des rôles de vieux flics, de chefs de jeunes policiers qu’ils envoyaient en mission. C’est ce qui pourrait se passer pour Rick, même s’il avait plus de succès dans les années 70 que je ne l’envisage, parce que c’est arrivé à des tas de types de ce genre ».
Quentin Tarantino cite notamment Earl Holliman, Jack Kelly (Maverick), et Vic Morrow (Mannix, Magnum). « Je dirais que je verrais bien Rick Dalton devenir l’un de ces gars », conclut-il.

Source: Première

OUATIH: l'impro de Di Caprio

Oublier son texte, tous les acteurs l’ont expérimenté et ont fait avec. Mais pour Rick Dalton, comédien de séries télévisées western incarné par Leonardo DiCaprio, c’est une tragédie. Après avoir ressenti une vive humiliation en public sur le tournage de Lancer, l’ancienne star du show Bounty Law s’enferme dans sa caravane pour se lâcher et s’insulter copieusement, espérant remettre de l’ordre dans ses idées et se reprendre. Une séquence importante, marquant un tournant dans la psychologie du personnage. Pourtant, d’après son interprète et le réalisateur Quentin Tarantino, ce coup de colère n’était absolument pas prévu dans le scénario, comme ils l’ont expliqué dans des propos rapportés par CinemaBlend.

"Comme ce n’était pas dans le script, on n’a jamais cherché à la répéter," affirme Tarantino, avant de rajouter : "C’est une idée qui nous est venue sur le plateau, parce qu’il y avait vraiment un truc à exploiter d’après Leo. À un moment, il est venu me voir et m’a sorti "Écoute, il faut que je foire pendant la séquence de Lancer, d’accord ? À ce moment-là, il faudrait que ça provoque une vraie crise existentielle." Ma première réaction, ça a été de lui dire : "Attends, tu veux foirer ma séquence de western ? C’est mon western, tu piges ? J’essaie de rajouter du putain de western dans ce film au moment où les gens ne s’y attendent pas. Alors viens pas me foirer ça !""
Après délibérations avec son acteur, le réalisateur a accepté de faire deux tentatives : une scène dans laquelle Rick Dalton ne se raterait pas, puis une avec l’oubli de texte. C’est finalement cette dernière qui a été retenue, après avoir émerveillé Tarantino, la trouvant "géniale". Mais ce changement de plan impliquant forcément des différences avec le scénario, il a fallu ajouter un nouveau passage : la remise en question de Dalton dans sa caravane. "J’ai dit à Leo : "Ok, maintenant il va nous falloir un peu plus que ça si on veut vraiment construire quelque chose… tu vas avoir ton duel, mais ce sera avec toi-même pendant une pause sur le plateau de Lancer." Je le lui ai dit comme ça, et c’est comme ça qu’on a tourné."

Un seul angle de caméra, Leonardo DiCaprio dans sa caravane s’en prenant à lui-même et se remettant en question, furieux après s’être trompé devant l’équipe technique de la série western… d’apparence simple, la séquence a pourtant été un vrai défi pour l’acteur, pris au dépourvu d’après Tarantino : "Il m’a demandé "Qu’est-ce que je devrais dire ?" Alors j’ai proposé : "Tu devrais improviser. Je te filerai des idées." Et je lui ai donné des pistes sur des choses qui pourraient obséder Rick Dalton et le faire péter un câble : son collègue Jim Stacy, la gamine... Mais il l’a fait à sa sauce. Et quand il commençait à manquer d’inspiration, je lui glissais des indications. Pour moi, aussi forte que soit la scène, la chose la plus touchante dans sa création, c’était la nervosité de Leo ! Je veux dire, je ne l’avais jamais vu aussi mal à l’aise que ce jour-là."
Once Upon a time… in Hollywood est sorti cet été au cinéma et fait partie des quatre meilleurs films au box-office français de Quentin Tarantino : le film a cumulé 2,6 millions d’entrées, juste derrière les 2,8 millions de Pulp Fiction et Inglourious Basterds.

Source: Première

Crawl, meilleur film de 2019 pour QT

Tarantino est toujours consulté et/ou donne souvent son avis sur ce qu'il a vu, ce qu'il a aimé, ce qu'il faut voir, à grand renfort de classement par genre ou par année d'exploitation. S'il reconnaît avoir vu peu de film cette année à cause du tournage, du montage et de la promo de Once Upon A Time In... Hollywood, il vote pour le Crawl d'Alexandre Aja, petite série B de genre efficace. Des crocos dans le salon, à voir absolument.

Q&A with Tarantino, Pitt, Di Caprio and Robbie

One of the most memorable moments in Once Upon A Time in Hollywood is Rick Dalton's (played by Leonardo DiCaprio) frantic meltdown in his trailer after he forgets his lines while shooting a pilot for western series Lancer. As it turns out, that scene was not in the original script, and was added by Quentin Tarantino at DiCaprio's behest.

The star told the writer-director, "I need to fuck up during the Lancer sequence, and when I fuck up during the Lancer sequence, I need to have a real crisis of conscious about it and I have to come back from it in some way," Tarantino remembered at a post-screening Q&A in Los Angeles on Sunday. "My response was, 'You're going to fuck up my Lancer sequence?! That's my western! I get two-for-one in this movie, I snuck a western in here while no one was fucking looking!'"

To appease both parties, Tarantino shot the scene both with the forgotten lines and without, deciding that "with the fuck up, it was just so amazing that of course we were going to use it," and then went about crafting the trailer tantrum, deciding to mostly leave it up to DiCaprio to improvise. The director wanted to do three continuous takes with DiCaprio in crisis, and planned to cut together the best bits ⁠— he threw out topics to his star but DiCaprio was left to do the rest. For example, Tarantino would say, "Get pissed off about Jim Stacy," and DiCaprio would respond, "Oh that fucking Jim Stacy, just sitting up there watching me, thinking he's so fucking hot, he wouldn't be a wrangler on my show." He director laughed remembering, "the cutest part was how nervous he was to do it, I've never seen him so nervous."

The Q&A, which featured Tarantino, DiCaprio, Brad Pitt and Margot Robbie, was held at Tarantino's New Beverly Cinema theater, and was part of a nationwide event where the (phone-free) moderated discussion was live-streamed into select theaters across the country. Much of the conversation revolved around Tarantino's unique filmmaking process, which included giving DiCaprio a rigorous film education and transforming current-day Los Angeles into the 1969 version of the city.
Noting how nothing in the film uses CGI or green screens, DiCaprio said, "It's like nostalgia within nostalgia, because we're doing a film about Hollywood in 1969, and then we're also doing a film that is done the way they do it in 1969," while Robbie added, "I don't think I've ever felt so transported as I did on Quentin's set." Part of that, she said, was due to Tarantino's no-phones-on-set rule, which prompted Pitt to share an "epic" story from working with the director on Inglourious Basterds. 
"You have to check your phone in —there are no phones, this is sacred ground —and one went off in between takes and you would've thought someone went into the Sistine Chapel and took a shit," Pitt joked. "Not only did production come to a grinding halt —and no one would cop to it, even though we knew the general area —Quentin sent us home for the rest of the day and we had the afternoon off to think about we had done."

"I ask you for one thing, and if you have no more respect for me than that, then go home," Tarantino said in justifying the situation, while Pitt mic-dropped in response.

Once Upon A Time in Hollywood, which follows the lives of fading western TV star Dalton and his stuntman Cliff Booth (Pitt), all while navigating a changing Hollywood and the arrival of the Manson Family, also features many A-list actors in minor roles, including Al Pacino and the late Luke Perry. DiCaprio, who acts opposite both in the film, remembered that he was "brought back to my teenage past and felt starstruck" upon meeting Perry, whom he said "couldn't have been a gentler soul."
The star also revealed that though his and Pacino's scenes account for just a few minutes in the movie, they were shooting together for almost three weeks, and DiCaprio "got to rehearse with Al at my house and his place for months beforehand because we had these long sequences together, and that was just a magical moment, one-on-one with Al Pacino."

Pitt, whose character spends some significant screen time at Manson's Spahn Ranch —where he checks in on George Spahn (played by Bruce Dern) — chatted about working with Burt Reynolds, who was set to play the part of Spahn before his death. "We got to spend two glorious, fun-filled days with Burt and I'm grateful for the experience," Pitt said, remembering how Reynolds himself had a famous friendship with his stuntman Hal Needham, and "he told us a lot of stories about their relationship."

Robbie also spoke about getting into character as Sharon Tate, which was "beautiful in its simplicity," but challenging in giving such a light, carefree performance.
"I find it a lot easier to go dark, a lot easier to yell and scream and cry and do all of that on screen; I can get there a lot quicker. To be truly light all the time was actually hard, weirdly hard," she said, while also revealing she worked with a movement coach and "did a lot of weird stuff, like where you run around and pretend to be a cloud." Robbie also made a list of everything that made her happy and would try to do all of those things on shooting days, as well as rules like she "couldn't look at emails within 24 hours of going to set" to cut out stressors.

Source: The Hollywood Reporter

OUATIH: l'édition spéciale Blu-Ray 4K

Le Blu-ray 4K du film

Inclus le Blu-ray du film

Un exemplaire exclusif d’un numéro parodique de MAD magazine inspiré par le film

Un disque vinyle 45 tours : "Good thing" de Paul Revere and the Raiders, et "Bring a little lovin" de Los Bravos

Un adaptateur pour platine

Un poster collector vintage de Rick Dalton tiré du film Operazione Dyn-o-mite !

7 Scènes supplémentaires

Bonus :

Blu-ray :

La lettre d'amour de Quentin Tarantino à Hollywood

Bob Richardson : Pour l'amour du cinéma

Entre spécialistes : Les voitures de 1969

Recréer Hollywood : Le décor de production de Once Upon a Time… à Hollywood

La mode de 1969

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