Latest news with #Tarantino
Perth Now
2 days ago
- Entertainment
- Perth Now
Scott Caan and Elizabeth Debicki join Once Upon A Time In Hollywood sequel
Scott Caan and Elizabeth Debicki have joined the cast of the new 'Once Upon A Time In Hollywood' movie. The pair will join Brad Pitt in David Fincher's follow-up to Quentin Tarantino's 2019 film, which starred Pitt and Leonardo DiCaprio. According to The Hollywood Reporter, it is unclear who Caan and Debicki will play in the upcoming movie. The story is said to feature two key female roles, 'one who runs a bar and mud wrestling establishment and one a trophy wife' but it has not been revealed if Debicki will play once of these or an entirely new part. It will be a reunion for Pitt and Caan, who previously worked together on the 'Ocean's' movie series. Brad, 61, will reprise his role as stuntman Cliff Booth, in the upcoming film, which Fincher will direct for Netflix from a Tarantino script. It's said that Tarantino retains the rights to the characters in 'Once Upon A Time In Hollywood', while Sony - which financed and released the movie - retains the film itself, which is why the upcoming project is not seen as a sequel or prequel despite using the Booth character. It's unclear if Leonardo DiCaprio will return as Western TV star Rick Dalton. Tarantino won't be at the helm, which means the film won't count as his 10th and final film. The director had had been set to reunite with Pitt - who also appeared in 'Inglourious Basterds in 2009 - for third collaboration on 'The Movie Critic. According to Deadline, Tarantino has "simply changed his mind" after delaying production to rewrite the script. Now, he's expected to go back to the drawing board in a bid to find a firm idea for what will be his final film.
Eater
3 days ago
- Business
- Eater
A New Italian Spot Hopes to Comfort Lincoln Park After The End of Tarantino's 30-Year-Run
Another Lincoln Park stalwart fell by the wayside when Tarantino's closed in March, ending three decades along Armitage Avenue. The neighborhood's restaurant scene has seen changes in recent times, and three decades seems to be a magic number. Pizza Capri closed its own 30-year run earlier this year when it moved to Avondale. Goose Island Beer Co. moved on from its original brewpub, relocating to the Salt Shed earlier in 2024 after a 35-year run on Clybourn. As Tarantino's wished farewell to its clientele, word spread that Cornerstone Restaurant Group planned to open a new project in the space. Cornerstone's Chicago-area restaurants include chef and partner Bill Kim's Urbanbelly, The Table at Crate, and Bill Kim's Ramen Bar inside Time Out Market Chicago. Cornerstone is also known for its partnership with Michael Jordan, running MJ's Mag Mile steakhouse, plus locations across the country and South Korea. In Lincoln Park, the company wants to retain Tarantino's customers and lure new ones with Dimmi Dimmi Corner Italian, pegged for a summer opening at 1112 W. Armitage Avenue. Executive chef Matt Eckfield worked with Kim, splitting about 13 years at Belly Shack (the chef's shuttered Puerto Rican and Korean restaurant in Bucktown) and Belly Q (the shuttered Korean barbecue-style spot in West Loop). Eckfield left Chicago for New York's Major Food Group, working as one of the conglomerate's executive chefs, spending nearly 12 years with its famous Italian American brands like Carbone, Contessa, and ZZ's Club. Eckfield is hopeful to make use of produce from Green City Market, the farmers market held weekly in the summer, just east of the restaurant and toward the lake. Eckfield wouldn't spill on menu specifics other than saying customers, including Tarantino's regulars, will recognize the food. Expect a mix of pastas made on premises and seasonal veggies. There will be sandwiches. Eckfield is excited to pump out some focaccia, saying that while most anyone can make the flatbread, few folks can bake focaccia that actually tastes good. 'There's not going to be tweezer work,' the chef says. Former Boka Restaurant Group pastry chef Casey Doody is handling dessert recipes with gelato, cakes, and more. So Lincoln Park is experiencing a renaissance. Dimmi Dimmi, which means 'tell me, tell me,' in Italian, should open in late July or early August. Another notable nearby opening comes near the busy Halsted and Clybourn intersection, where a group of experienced restaurant veterans is working on Brick & Mortar inside the former Golden Ox and Burger Bar space. Dimmi Dimmi Corner Italian , 1112 W. Armitage Avenue, planned for a late July or early August opening Sign up for our newsletter.
The Guardian
3 days ago
- Entertainment
- The Guardian
Ryan Reynolds has pitched an ‘R-rated' Star Wars. What would that look like?
Take all the essential ingredients of Star Wars – samurais in space, adventure among the wookiees, aliens with backward syntax, evil cyborgs with a penchant for murder by telekinesis – then imagine George Lucas hadn't given us all of that through a PG prism. This, it appears, is what Ryan Reynolds did when pitching to Disney. 'I said, 'Why don't we do an R-rated Star Wars property?'' Reynolds told The Box Office podcast. ''It doesn't have to be overt, A+ characters. There's a wide range of characters you could use.' And I don't mean R-rated to be vulgar. R-rated as a Trojan horse for emotion. I always wonder why studios don't want to just gamble on something like that.' Let's imagine the scene: a gaggle of studio execs are nervously cowering before the Hollywood A-lister's megawatt smirk as he reveals his idea for a take on George Lucas's space opera that doesn't hold back. This is Star Wars Tarantino-style. Perhaps Mando's got a drug problem, or Chewie really does rip people's arms off – and beat them to death with the wet ends. Somewhere over in Coruscant a Jedi slices a corrupt senator into symmetrical chunks without ever unsheathing his saber. Or maybe Reynolds just thinks the galaxy far, far away could use a little more Deadpool & Wolverine-style sweary irreverence. He's wrong. Push Star Wars too far into the realm of self-aware snark, or nudge it to start laughing at itself before the audience does, and you undercut the very thing that keeps fans tethered to its dusty, big-hearted mythos. We already have umpteen animated takedowns – Robot Chicken's fever-dream dismemberments, Family Guy's fart-laced remakes – and they're fine, in their way. But if Star Wars ever starts mimicking the shows that exist solely to mock it, then the circle will be complete. Having said that, it's impossible to dismiss completely the idea of a darker, more adult take, because all the essential ingredients are already in place. There are very few kids' movies in which a father cuts off his own child's limbs, or a giant slug-monster chains a bikini-clad hostage to its throne. There are not many movies fit for a Saturday matinee that feature swamp goblins gaslighting traumatised orphans. From despair-fuelled redemption arcs to slow-burn patricide, Star Wars already has everything it needs to drop the family-friendly facade and lean fully into its dark side. Andor, and to a lesser extent Rogue One, have already shown that it's possible to dispense with the fairytale veneer. Perhaps what Reynolds is saying is that if superhero movies can prosper by dismantling their own mythology in a blaze of sweary sarcasm, why shouldn't space-opera flicks find similar salvation in a galaxy where blood spurts with wild abandon like the Kurosawan epics that Lucas borrowed so much from in the first place. Perhaps it's a terrible idea and would ruin everything that feels sacred about Star Wars. But just for a moment imagine it: a galaxy not full of hope but hangovers. Where Force ghosts don't offer guidance, they just hover awkwardly, muttering regrets. Where Chewbacca's fur is matted with something unspeakable and the lightsabers don't hum, they scream.
Yahoo
4 days ago
- Business
- Yahoo
Quentin Tarantino's right-hand man says the best financial advice the director gave him is straight from Warren Buffett's playbook
Quentin Tarantino once warned fellow Hollywood director Eli Roth, 'Don't buy a house as soon as you're successful.' A mansion in the suburbs may be the ultimate status symbol, proving that you've made it, but the Reservoir Dogs and Pulp Fiction filmmaker thinks it'll make you an employee to your mortgage—and it was all Roth could think of, after his first hugely successful film, Hostel, hit $80 million at the box office. Whether it's a sprawling estate in the suburbs complete with a pool or a penthouse apartment overlooking Manhattan, luxurious real estate is the ultimate symbol of success. But the hefty mortgage that comes with it will leave you trapped chasing paychecks, Hollywood icon Quentin Tarantino warns. And it's the best financial advice he once gave fellow American director and collaborator, Eli Roth. 'Quentin told me, 'Don't buy a house until you can afford to completely pay for it outright,'' the Cabin Fever and Hostel filmmaker recalls to Fortune, adding that many others in the industry use their first million-dollar paycheck to get a mortgage with a $200,000 down payment. 'But you basically become an employee of your house. So every decision that you make becomes, 'Can I pay my mortgage? Can I pay my mortgage?' Not, 'Is this best for my career?'' Roth explains. 'Everyone gets trapped by living a certain lifestyle.' Tarantino has just bought a $13.8 million property in Israel. But Roth says the director told him he waited some years before splashing out on a mansion. 'He goes, 'I didn't buy a house until Jackie Brown. Everyone else thought I was going to buy one after Pulp Fiction. I waited because I didn't want to get stuck being an employee of my house—and then I didn't have to worry about it. ''Don't buy a house as soon as you're successful, hold on to your money.'' Roth took Tarantino's words of wisdom seriously and didn't become a homeowner until he was 35, after the success of Hostel: Part II. 'Hostel is a movie that cost $3.8 million. It made $80 million at the box office. It was a massive DVD sale. And all I could hear was Quentin's words in my head: 'Don't become an employee of your house.' 'So I just kept my rental, and I went back to work,' Roth tells Fortune, adding that he finally got on the property ladder in the summer of 2007. 'I'd made three successful movies, and I knew that I was going to have checks coming in, and I wouldn't have to take a job,' he recalls. 'I didn't direct again for five years.' That is, until the offer to work with Tarantino on Inglourious Basterds—where the budget was limited and Roth tried his hand at acting in the role of Sgt. Donny Donowitz. 'I went from making millions on a movie so that I could then go to Germany and be paid $65,000 but have the greatest experience of my life and create this iconic character,' Roth adds. 'And of course, acting under Tarantino is what made me a completely different director and enabled me to work with great actors, Cate Blanchett, Ana de Armas, Jamie Lee Curtis … But that was only because I was careful; I waited until I had three movies done that were successful, and I bought a house that was in my budget range. 'If I was stuck as an employee of my house, I would have had to take some directing job that I wouldn't want to do, and then I would have missed the opportunity of a lifetime.' Despite his continued career success, Roth kept that home until a year ago—moving for a home with fewer stairs in the same neighborhood and price range, to accommodate life with a newborn. Billionaire investor Warren Buffett, is worth more than most people can fathom. However, like Tarantino and Roth, the outgoing CEO of Berkshire Hathaway, hasn't inflated his humble abode as his wealth as ballooned. The 94-year-old still resides in the Omaha house he bought for $31,500 (around $350K today) with his late wife, Susan, in 1958. And Buffett has repeatedly called the five-bedroom home, which is now worth around $1.3 million, one of his best-ever investments. Despite being worth some $168 billion, Buffett proudly calls himself 'cheap' for never having upsided his property—but he 'wouldn't trade it for anything,' owing to the memories of raising three kids there. Buffett's not the only billionaire who lives well below his means. Ever after his wealth surpassed the $100 billion milestone in 2023, Mexican telecom mogul Carlos Slim has maintained a simple lifestyle including no yachts and living in the same house for more than 40 years; And then there's Bill Gates, who said he will never move out of the $130 million mansion he bought for just $2 million in 1988. This story was originally featured on
The Wire
25-05-2025
- Entertainment
- The Wire
At Cannes 2025, India Sees a Calm After the Storm
Crew members install the red carpet at the Palais des Festivals ahead of the opening ceremony of the 78th international film festival, Cannes, southern France, Tuesday, May 13, 2025. Photo: AP/PTI. Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute Now Filmmaker Quentin Tarantino was once asked by his good friend and director Robert Rodriguez on his talk show The Director's Chair – what endeared him to Cannes so much. Tarantino likened the film festival to the chess championships where Bobby Fischer was a contender. I'm assuming what he meant was that everyone invited here was either at the top of their craft, or was swinging for the fences – championing the French saying ' l'art pour l'art (art for art's sake)'. Tarantino, who broke out as a phenomenon after Pulp Fiction (1994) won the Palme d'Or at the 47th Cannes film festival, is right about its durable prestige in terms of being rated among the best and the bravest filmmakers of the world. This is why cinephiles from India look forward to the festival each year – to get a sense of where Indian cinema stands vis-a-vis film industries from around the world. Payal Kapadia, whose All We Imagine As Light (2024) became the first Indian film in nearly three decades to play in competition and ended up winning the Grand Prix (losing narrowly to Sean Baker's Anora), returned as a part of the Cannes jury alongside names like Halle Berry, Hong Sangsoo, and Jeremy Strong among others. After an exciting 2024 edition, it was back to business with no Indian films in contention for the festival's top prize. There were, however, three Indian films playing at the festival. Neeraj Ghaywan, whose first film Masaan (2015), premiered in the Un Certain Regard section, returned with his second film Homebound (2025) playing in the same section. Produced by Karan Johar's Dharma Production, with executive producer Martin Scorsese on board, the film starring Ishaan Khatter, Vishal Jethwa and Janhvi Kapoor – is based on a New York Times op-ed written by veteran journalist Basharat Peer. It's only Ghaywan's second feature film in a decade, where he's spent working on ad film projects, directing for web series, and also helming short films in anthologies. Ghaywan's film is based on the lives of two friends, who were a part of a mass migration that took place after a nationwide lockdown was announced on March 23, 2020 because of the rising cases of COVID-19. Homebound got glowing reviews in Cannes, and it will be interesting to see how the film will be received by the Censor Board of Film Certification (CBFC). Especially because it depicts one of India's most pressing humanitarian crises in recent memory, inferring a mishandling by the powers that be. Anubhav Sinha's Bheed (2023) is the only other Hindi feature film that depicted the aftermath of the lockdown announcement, facing significant online outrage upon the release of its trailer. However, Sinha's did get an eventual theatrical release after some minor tweaks. Kokob Gebrehaweria Tesfay's A Doll Made Up Of Clay was among the 16 short films selected among the 2,700 entries for Cinéfondation – a category that features the works of student films from across the world. Tesfay – an Ethiopian national and an international student (in the Direction department) at the Satyajit Ray Film & Television Institute (SRFTI) in Kolkata – made the film around a Nigerian footballer, who after a career-ending injury, seeks escape through an ancestral ritual. Tesfay's is the third student film to find acceptance in the section in the last five years from India after Ashmita Guha Neogi's CatDog (2020) and Chidananda Naik's Sunflowers were the first to know… (2024). Both these films went on to win first prize – a grant of €15,000. Shivendra Singh Dungapur's Film Heritage Foundation (FHF), at the forefront of India's efforts at archiving and restoring classic films, were also at Cannes for a fourth consecutive time. FHF screened the 4K restorations of Satyajit Ray's Aranyer Din Ratri [Days and Nights in the Forest/1970, Bengali] and Sumitra Peries' Gehenu Lamai [Girls/1978, Sinhalese]. Both films got long standing ovations, especially Ray's film – which had Wes Anderson among its audience. The Hollywood director has long cited Ray as an influence, and is also thanked by Dungarpur in the restored version of the film. Among the primary cast, Sharmila Tagore and Simi Garewal accompanied Dungarpur on the red carpet of the premiere. FHF is slowly becoming a regular feature at the Cannes film festival – joining hands with labs and archivists from around the world to preserve films from the subcontinent. Earlier they screened G. Aravindan's Thampu (1978) in 2022, M.K. Binodini Devi's Ishanou (1990) in 2023, and Shyam Benegal's Manthan (1984) last year. The chasm between official selections and films merely boarding the hype train at Cannes, continues to exist. Among them is Anupam Kher's Tanvi The Great, which premiered at the Marche du film (the Cannes Film Market) – a place where any film seeking distribution can hold a screening for potential exhibitors, audiences. Many films playing in the Cannes Film Market tend to conflate their achievement with a 'Cannes premiere' – without necessarily being an official selection, which only happens through a highly competitive selection process. It's a bit like how influencers have begun showing up on the red carpet without an invitation in the last few years, because they have the money and sponsorship to show up. As indie filmmakers and actors, part of official selections, tend to struggle to pay for their trip to Cannes. India has had a good showing at Cannes film festival in the last few years — with Payal Kapadia's A Night of Knowing Nothing (2021) and Shaunak Sen's All That Breathes (2022) winning the Camera d'Or in successive years. And Kapadia's All We Imagine As Light picking up the Grand Prix in 2024. Anasuya Sengupta winning Best Actor (Un Certain Regard) for The Shameless (2024) was something no pundit could've predicted, and yet the film is nowhere to be found on Indian platforms a year later. At the time of writing this, Jafar Panahi's It Was Just An Accident won the Palme d'Or, while Joachim Trier's Sentimental Value picked up the Grand Prix. Let's hope the Indian contingent doesn't lose momentum of the last few years – and if the Bharat Pavillion's continued neglect of its official selections helps matters. For those interested, there might be a lesson in Panahi's win.
