‚Once Upon A Time In Hollywood‘: Box Office Update, Inception & more (Sept. ’19)

#Leo looks so cute here #Rick Dalton

#some close ups #tiff 2019

#just for pleasure

#his hair

#old interview with Leo #this girl had a massive crush on him #lol

#because of Tom Hardys birthday yesterday #inception

„You mustn’t be afraid to dream a little bigger, darling.“

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#have to post this #because lmao #cillian murphy #tom hardy #interview

Q: Is ‘Inception’ a metaphor for cinema?

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Leo & Brad: Commercial stuff & more (Sept. ’19)

#don’t know why but I like the idea of Leo chasing a woman because he’s crazy about her #lol #good stuff for a fan fiction

OPPO Mobile commercial feat. Leonardo DiCaprio (2011)

Like the wind that cries
I can feel you in the night
A distant lullaby
I will break through
No matter where you are
I will find you (by Ruelle)

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#some lucky people #tiff 2019 #the ellen show

Brad Pitt’s 35mm Levi Commercial (1991)

#he’s always sexy no matter what

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#imagine sitting next to him #I would die #brad pitt

#loved that scene #once upon a time in hollywood

Most disappointing movie 2019 // Selfie with Leo from Japan

Most disappointing movie 2019 so far:
IT Chapter II

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#probably my expectations were too high #though I didn’t hate everything about the movie #team ben #but hell the first one was much better

#from japan #2019 #once upon a time in hollywood

#cami looking stunning as usual

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📸: @livincool

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Leo supports two humanitarian relief organizations after Hurricane Dorian (Sept. ’19)

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Leonardo DiCaprio Announces Support of Two Humanitarian Relief Organizations After Hurricane Dorian

Leonardo DiCaprio is providing his support.

The 44-year-old Once Upon a Time in Hollywood star announced on Tuesday (September 10) his support of two organizations working on humanitarian relief and biodiversity protection in the Bahamas following the devastation of Hurricane Dorian.

“The Bahamas needs our help. Please join me in donating to the urgent humanitarian effort needed for disaster relief and recovery,” he wrote on his Instagram.

Funds donated to the Abaco Relief Fund will be 100% committed to directly assist with the immediate disaster relief needs of Bahamian citizens. The fund is focused on the core safety of the people, their essential needs such as water, food, shelter, medical needs, and the recovery of the community.

The other organization is the Bahamas National Trust. 100% of donations will go to the Bahamian nonprofit whose mission is to conserve and protect the natural resources of The Bahamas. Donations will support the recovery of the national parks and its park rangers affected by Hurricane Dorian, as well as long term natural solutions to hurricanes, such as restoration of mangroves and coral reefs.


#interesting article #though I don’t agree #Leo was always good #lol

After Seeing ‚Once Upon a Time … in Hollywood‘ I Have To Admit I Was Wrong. Leonardo DiCaprio Can Actually Be a Good Actor

There’s a scene in Once Upon a Time … in Hollywood in which Leonardo DiCaprio coughs. A lot. His character doesn’t want to be coughing. In fact, it’s the worst possible time for that nonsense, as he’s in the middle of a conversation. There’s a director looming over him, telling him things he doesn’t really agree with, but which he knows he’ll probably have to accept, so he’s trying really hard to suppress the cough and to seem cool; covering his mouth with his fist, halting his breathing, desperately attempting to maintain eye contact with the director—anything to reassert control. But try as he might he just can’t stop the convulsions from shaking him and his eyes from watering.

And, man, it just slew me. The rhythm of it, the editing, the reactions. But more than anything, it was Leo himself. With every anxious glance through watery eyes and every half-swallowed nervous cough he cracked me the hell up. I could not stop laughing the whole way through, and in fact began to mirror Leo’s movements, except from pure joy rather than anxiety, and from then on, something changed in me. When I went to see Tarantino’s elegiac, meandering tone poem a week or so ago, I entered the cinema with a vicious hangover in one hand and an axiomatic skepticism of Leonardo DiCaprio’s acting prowess in the other. I was pretty sure I’d enjoy the movie as a whole—Tarantino’s films fairly reliably hit the sweet spot for me (oh hey, here’s my ranking of them, sans … Hollywood!)—but I was equally certain that I would, at best, tolerate its lead. I couldn’t have been more wrong.

Up until now, I have not exactly been what you could call a fan of Leonardo DiCaprio. In fact, one of the first pieces I wrote here that managed to get a little bit of traction and pull in a decent bit of traffic still remains quite high up in the Google rankings, almost four years later:

Hashtag hot take, yeah?

Just to be clear, in that piece I wasn’t saying that Leonardo DiCaprio was a bad actor. Just that he wasn’t nearly as amazing as conventional wisdom would suggest. The hysteria seems to have died down a bit since Leo finally won his Oscar—for The Revenant, shortly after that piece was published—but popular discourse back then always seemed to place the actor in the pantheon of All Time Greats—and certainly in the hall of Greatest Contemporary Actors. I disagreed vehemently. To me, he seemed the epitome instead of Try Too Hard. Not just in his choice of roles, but more in the way he played those roles. I could always see him acting. Granted this is—as with anything concerning the arts—a fairly subjective issue, but Leo could never do what I judge actors on above everything else: Disappearing into a role. Making you forget that they are a famous face.

For me, Leo never disappeared. No matter the role I could always see him in my mind’s eye, rehearsing his lines between takes, checking that his posture is right for his character, furrowing that brow in the mirror to find just the right level of intensity. One might say that it’s harder to disappear into a role the more recognisable or unique your face is, or the more idiosyncratic a character you are in real life. Which is fair enough. Yet I never had the problem I had with Leo with someone like, say—just to compare him to a contemporary male example of each—George Clooney, or Michael Shannon, or Samuel L. Jackson. Those dudes could disappear. For me, Leo never did. Onscreen, no matter how hard he tried—and in fact the more he tried—he always remained Leo.

That piece got a fair amount of shares, and I remember receiving a bunch of messages of vociferous agreement, so I’m guessing I’m not the only one out there who thought so. A common thread in some of the replies was the feeling of kicking against conventional wisdom, and of the bafflement at Leo’s apparent status as conventional wisdom in the first place. To this day I’m not entirely sure where this conception of Leo’s titanic (sorry, had to be done) talent came from. To his credit, he has made a fair amount of interesting choices; and though he has not been shy of doing films that could reductively yet still fairly accurately be called Oscar bait he has also eschewed the comic book movie craze that has otherwise taken over all of Hollywood and that only the last remaining examples of what we used to know as Movie Stars—Tom Cruise being another example—have really been able—or willing, or both—to avoid.

Back in the days of Romeo+Juliet (1996), Titanic (1997), and The Beach (2000) I get the sense that thanks to his angelic good looks Leo was just as often tarred with the ‘pretty boy’ brush as he was recognised for any skill he might have brought to a role. Where the narrative began to change is some time around 2002, during which both Spielberg’s Catch Me If You Can and Scorsese’s Gangs of New York came out. Talking about diving headfirst into the Legendary Hollywood Male Auteurs pool, huh? You want the quickest route to industry prestige? Get an older white male auteur to cast you in something (no disrespect meant, some of those lot are my favourite directors of all time, but the point remains). It’s the latter of the two movies which I think represented the real turning point. Gangs of New York and Amsterdam Vallon’s scraggly facial hair is the role which to me marked out Leo’s desire to be seen as a Serious Actor. A Real Heavyweight. One Of The Greats. What followed was over a decade of (by and large) serious, often auteur-led, prestige pictures that tackled weighty themes, and for which Leo adopted his best Grim Frown and put on his most powerful Intense Face:

The Aviator (2004)
The Departed (2006)
Blood Diamond (2006)
Body of Lies (2008)
Revolutionary Road (2008)
Shutter Island (2010)
Inception (2010)
J. Edgar (2011)
Django Unchained (2012)
The Great Gatsby (2013)
The Wolf of Wall Street (2013)
The Revenant (2015)

And you know what, fair f**ks to him. The movies may vary quite wildly in quality—The Departed being a genuinely great remake of a modern classic; J. Edgar an anodyne and creatively bloodless biopic—but there are no sequels and a lot of the choices are genuinely interesting, if not always totally successful. It’s surprising the boy has had as much energy to chase original projects considering the endless quest to pursue every 19-25 (AND NOT ONE MONTH MORE!) blonde model under the sun but there we are. Some respect for the choices is due.

But still. I could never believe him. It always felt like he was acting under duress. ‘Act as hard as you can or your wife and children get it!’ Except here in this case it seemed as if it was Oscar himself that held the gun. I can’t pretend to read anyone’s mind, and it may well have just been the story created by the media, with Leo himself never feeling any pressure to claim himself a gold statue. But it certainly felt like he did. The cliched ‘destroyed himself physically for the role’ narrative around The Revenant—and the Academy Award that it actually did win him—contributed greatly to this impression. Perhaps it was just the internet and the pundit class that finally took a breath and let go of after he took that statuette home, but if Once Upon a Time … in Hollywood is anything to go by, it feels like Leo did too. Yes, Leo’s performances in Django and Wolf of Wall Street are both characterized by a high energy, manic sort of gonzo power, but they still feel too studious, too self-consciously mannered.

I’m still processing my feelings about Tarantino’s latest. I respect the dazzling craft often on show—the entire Spahn ranch sequence is a bravura display of tension and quality not seen in the director’s work since the opening of Inglourious Basterds—yet I’m still unsure about the delivery of the movie’s message, and the late, great Sally Menke’s absence in the editing room is deeply felt in multiple parts. Yet the one thing I came away from the movie completely sure of was Leonardo DiCaprio. It started with that damn coughing, and from then on I believed him completely. Leo’s Rick Dalton is by far the actor’s greatest performance. It would be reductive and cheap to speculate how much Leo is drawing on his own experiences in portraying the anxiety-riddled, alcoholic actor worried about fading into irrelevance. All we have to go on here is the performance. And the performance is dynamite. You pity Dalton, you dislike him, yet you want to crack a beer with him, and to comfort him. Tarantino has written a great character, but Leo makes him come alive. The deep insecurities that wrack Dalton’s sense of self and belonging are writ large in Leo’s every twitch and flail and hilarious tear. It’s at once an outsized, loud role, yet also a very subtle performance, full of pathos and great comic timing. It feels natural, real, in ways that I have never seen from the actor.

Cultural opinions form part of our identity, and the more we repeat them and make them known to other people, the more baked in they get. They become dogma. Hard to shift. Axiomatic. For me, that was my belief that I could never believe Leonardo DiCaprio’s acting. ‘Once Upon a Time … in Hollywood’ has changed everything. And I’m glad it has. I really hope that going forward Leo decides to echo his hero Jack Nicholson, and he keeps bringing the looseness and the lived-in understanding of character that he has here. If he does, I’ll keep believing.


#like I said

Favorite Movie Kisses: Scene #4

Catch me if you can (2002)
locking lips with: Amy Adams

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#hell of a kiss #damn #leo the cheeseburger #lmao

#wished those two had more scenes #elizabeth banks

TIFF 2019: ‚And We Go Green‘ premiere (Sept. 19)

Premiere of And We Go Green at the Ryerson Theatre in Toronto/Canada, 08.09.19
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thanks to bellazon

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via gettyimages

#who wouldn’t? #lol

#short review

#this said it all #wow #indeed

#Leo arriving

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Леонардо ДиКаприо на премьере документального фильма "And we go green", что можно перевести как "И вот загорается зеленый" – это популярная фраза у британских гоночных комментаторов в момент старта гонок. Лента рассказывает об автогонках с электромобилями — ABB FIA Formula E Championship. Цель фильма — поддержать предотвращение климатических изменений за счёт использования электромобилей вместо автомобилей.  #LeonardoDiCaprio #AndWeGoGreen #TIFF #TIFF2019

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#with fans

#on stage

#bit of both #arriving #with fans

‚And We Go Green‘: Film Review | TIFF 2019

Leonardo DiCaprio serves as producer on Fisher Stevens and Malcolm Venville’s documentary profiling electric racecar grand prix competitions showcasing renewable energy technology.

Since their inception, motorsports competitions have relied on the resounding rumble of gas-powered racecars tensed for the green flag and the intensifying shriek of howling engines as they tear around a track through clouds of exhaust to entice and entertain spectators. The prospect of replacing that visceral experience so beloved by both drivers and fans with the high-pitched whir and whine of electric racecars incapable of duplicating that kind of sensory overload seems like a tricky proposition.

Regardless, the FIA, organizer of the world-renowned Formula One competitions, is gambling that there’s a nascent fanbase for similarly staged all-electric “Formula E” events that can popularize zero-emissions vehicles for a wider audience. The team behind And We Go Green appears to be onboard with that wager, as eco-doc producer Leonardo DiCaprio (Ice on Fire) and Academy Award-winning filmmaker Fisher Stevens (The Cove) shift gears to make the case for accelerating the automotive industry’s transition to renewable energy.

And We Go Green certainly highlights that sustainability message with conviction, but what Stevens and co-director Malcolm Venville have achieved is even more effective, a thoroughly involving electric vehicle motorsports documentary, with all of the thrilling action, colorful personalities and imminent danger that the genre implies. As a producer on The Cove, Stevens and director Louie Psihoyos converted an investigative inquiry on dolphin slaughter into a tense eco-thriller that galvanized audiences worldwide. The crossover appeal of such issue-driven entertainment clearly carries the potential for And We Go Green to similarly capture a broad audience via a variety of formats, although it’s perhaps best suited to the global reach of tech-savvy streamers.

As an offshoot of the world-renowned Formula One race series, the Formula E international circuit shares many of the same characteristics, including aerodynamically styled cars, serpentine racecourses and the intense rivalry of the sport’s top drivers. Familiar players like Renault, Audi and British racing powerhouse McLaren similarly dominate the production of electric racecars, featuring chassis and batteries built to required specifications, with customized engines and electronic power systems designed by individual race teams.

And We Go Green (the title echoes the announcer’s catchphrase that opens every race) joins the tour’s fourth season in 2017 as it’s getting underway with the first two races in Hong Kong. Ten further grand prix follow, spread across North Africa, South America, Europe and the U.S. on street circuits rather than racecourses, bringing the action directly to fans in urban centers. Ten teams form a pool of 20 drivers, with the top ten finishers accumulating points toward winning the season’s trophy. Defending champion Lucas di Grassi, a Brazilian representing Audi, faces a highly competitive field, with prior winner Sebastien Buemi driving for Renault eager to reclaim the podium and top-ranked drivers like Jean-Eric Vergne (Techeetah), Sam Bird (Virgin Racing) and Nelson Piquet Jr. (Jaguar) close behind.

Formula E founder Alejandro Agag, a former Formula One team owner, contends that “Formula E could have been created by two kinds of people: either environmentalists or racing people.” Agag is clearly the latter, serving as the sport’s chief promoter, collaborating with the race teams and signing on sponsors. When DiCaprio arrives in Morocco to attend the Marrakesh race, Agag acts as host, giving him a tour behind the scenes and explaining how the circuit’s generators running on renewable fuel provide the electrical power to charge racecar batteries. DiCaprio approves, emphasizing the advantages of zero-emission vehicles that don’t require recharging from the electrical grid, which only displaces emissions to another source.

Away from the circuit, Agag devotes his energy to accelerating the research and development process for refining Formula E battery performance that’s so essential to racecar responsiveness. Improved efficiency will eventually trickle through the auto industry to improve passenger EVs he believes, by providing increased driving range and reducing recharge requirements. For their part, manufacturers recognize that partnering with Formula E can give them access to advanced technology that can be transferred to the consumer market.

In typical sports doc fashion, Stevens and Venville break away from the action to provide profiles on some of the individual drivers, which adds human interest but doesn’t prove as revealing as their comments about the Formula E format. Many are Formula One veterans, but piloting electric cars forces them to develop new skills, like battery power management techniques, to conserve energy. Formula E cars are also much more precise than their liquid fuel counterparts and “the throttle response is instantaneous,” during acceleration observes di Grassi.

The filmmakers capture the contests across most of the major venues with both conventional racetrack footage and more contemporary techniques that include cameras mounted in the cockpits or aboard pursuing cars. Interviews with the drivers are kept appropriately brief, situated within the context of this unique sport and supplemented by historical footage and photos covering their careers, although the individual profiles and archival material could probably stand some trimming for pacing purposes. Overall though, editor Gabriel Rhodes has assembled a compelling package that conveys the visceral thrill of racing and the emotional highs and lows of adrenaline-fueled competition.

While there may be a temptation to view Formula E as a PR stunt designed to distract attention from Formula One’s inherently wasteful ways, such an enticing platform for promoting electric vehicles really has no viable competitors. Although the electric event still has some issues to address with improving sustainability, until there are better alternatives, there’s the thrill of Formula E.


#love this


‚Once Upon A Time In… Hollywood‘: And the oscar goes to…

Die vielleicht beste „Once Upon A Time In Hollywood“-Szene stammt nicht mal von Tarantino

Quentin Tarantinos neuer Film hat einige Szenen, die sich ins Gedächtnis brennen – etwa wenn Leonardo DiCaprios Rick Dalton seinen Text vergisst und sich anschließend in seinem Wohnwagen darüber ärgert. Dabei stand das so nicht mal im Drehbuch…

Viele loben „Once Upon A Time… In Hollywood” über den Klee, andere wiederum finden den neuen Film von Quentin Tarantino schlicht langweilig – mit Ausnahme des furiosen Finales. In einem dürften sich aber so ziemlich alle einig sein: Der neunte Film des Kult-Regisseurs hat gleich mehrere Szenen, die sich nachhaltig ins Gedächtnis brennen. Neben dem großen Showdown am Schluss und der kontroversen Bruce-Lee-Szene zählt schauspielerisch sicherlich auch jene Szene zu den Highlights, in der sich Rick Dalton (Leonardo DiCaprio) darüber echauffiert, seinen Text vergessen zu haben und nun vor versammelter Mannschaft schlecht dazustehen. Wie Tarantino in einem Interview mit Today verriet, stand das alles so gar nicht im Skript – und ist einzig und allein auf dem Mist seines Hauptdarstellers gewachsen.

Nach einer Idee von Leonardo DiCaprio…

Dass Rick Dalton bei den Dreharbeiten einer Dialogszene mit seinem Kollegen James Stacy (Timothy Olyphant) seinen Text vergisst, stand überhaupt nicht im Drehbuch. Stattdessen war es Leonardo DiCaprio, der mit der Idee an Tarantino herantrat – es würde ihm damit nämlich leichter fallen, in der Rolle des gebeutelten TV-Stars zu bleiben. Der Regisseur erkannte schnell, dass das Scheitern seiner Hauptfigur ganz im Sinne seines Films wäre und nahm DiCaprios Vorschlag in „Once Upon A Time…“ auf. Dabei bleibt es aber nicht, denn nachdem Dalton einen Take nach dem nächsten versaut, folgt erst das eigentliche Highlight…

Der Schauspieler zieht sich anschließend völlig in Rage in seinen Wohnwagen zurück, um sich über sich selbst zu ärgern. Hätte er beim Textlernen doch mal ein paar Whiskey Sour weniger getrunken! Die Szene bekommt nicht nur durch Tarantinos Jump-Cuts eine ganz eigene Dynamik, sondern bleibt vor allem dank DiCaprios intensiver Darbietung im Kopf. Denn sie macht deutlich, wie sehr Rick Dalton mit sich selbst zu kämpfen hat, wenn er dann plötzlich doch wieder zum stets griffbereiten Flachmann greift, um ihn gleich wieder wutentbrannt wegzuwerfen.

Dieser Nervenausbruch stand nicht nur nicht im Drehbuch (logisch, wenn auch schon der Versprecher und somit der Auslöser dafür nicht im Skript war), sondern wurde gar nicht erst geschrieben. Leonardo DiCaprio hat die komplette Wohnwagenszene nämlich improvisiert. Was das In-der-Rolle-bleiben betrifft, scheint der 44-jährige Oscarpreisträger sein Ziel also wohl zweifellos erreicht zu haben. Das findet auch Brad Pitt, der sich sicher ist: „Das ist einer der besten Zusammenbrüche, die es jemals in einem Film gab.“

Ob die Wohnwagenszene auch wirklich die beste in „Once Upon A Time…“ ist, liegt natürlich im Auge des Betrachters. Denn so ziemlich jede halbwegs wichtige Figur im Film hat zumindest eine großartige Szene –von Cliff Booth (Brad Pitt) über Sharon Tate (Margot Robbie) bis hin zu George Spahn (Bruce Dern). Genau davon könnt ihr euch derzeit auch selbst überzeugen: „Once Upon A Time… In Hollywood“ läuft deutschlandweit im Kino – und das überaus erfolgreich.


#are there still people who questioning his awesomeness?

#some more interviews #once upon a time in hollywood

ZDF Interview mit Leo & Brad Pitt
RTL Interview: Leo gibt Brad Pitt Hygiene Tipps
RED Interview: Leo, Brad und die einstweilige Verfügung
RED Interview: Komplett

#japanese interviews

Leo in german GQ (Oct. ’19) // ‚Once Upon A Time In… Hollywood‘: Brad Pitt confirms Extended Cut

#more from the german GQ magazine #october 2019
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#leo the billion dollar man #lol
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#what a cutie

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💞💞 #leonardodicaprio

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Cute…….❤❤❤❤ #leonardodicaprio

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Brad Pitt Confirms Tarantino’s Plan for Extended ‘Once Upon a Time in Hollywood’ Miniseries

Shortly after Sony opened Quentin Tarantino’s “Once Upon a Time in Hollywood” in theaters nationwide this summer, rumors circulated the writer-director was thinking about putting back in the footage he removed from the film’s theatrical cut and releasing an extended version of “Hollywood” as a Netflix miniseries. Tarantino did just that with “The Hateful Eight” earlier this year. Would “Once Upon a Time in Hollywood” be next? It turns out the rumor is true, at least according to Brad Pitt. The actor confirmed with New York Times carpetbagger Kyle Buchanan that Tarantino has discussed the idea. Pitt says “it’s a pretty arousing idea.”

As IndieWire previously reported, Tarantino’s first assembly cut of “Hollywood” ran four hours and 20 minutes. The film’s theatrical cut came in at just over two hours and 40 minutes. Several scenes that were used in Sony’s promotional trailers and advertisements were not seen in the theatrical cut, including one moment where Margot Robbie’s Sharon Tate goes for a swim. Tarantino also cut out scenes he shot with Tim Roth as Jay Sebring’s butler, James Marsden as Burt Reynolds, and Danny Strong as Dean Martin. “Hollywood” Producer David Heyman also told IndieWire that 10-year-old breakout Julia Butters had material cut. Heyman said one of Butters’ cut scenes was so good it would have made her a lock for an Oscar nomination.


Pitt told The New York Times that he would be excited by the idea of an extended “Once Upon a Time in Hollywood” release. While Pitt did not confirm if the miniseries would be for Netflix should Tarantino go through with the idea, it appears likely given Tarantino’s release of “Hateful Eight.”

“It’s almost the best of both worlds,” Pitt said of Tarantino’s idea. “You have the cinema experience that exists, but you can actually put more content in the series format.”

“Hollywood” earned glowing reviews from critics and has grossed over $280 million at the worldwide box office. The film is expected to be a top contender for Oscar nominations early next year.


#never a big fan of depp #sorry #but I’m all in for Leo and Brad

#everyone’s going nuts over this pic #looking like Leo #maybe it’s just the leather jacket but whatever #harry styles

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It’s been two years since @harrystyles shocked the world with his eponymous debut and lead single, Sign of the Times. After 89 arena-packed shows across five continents, the 25-year-old all but disappeared. Now he’s back to bare all. ⁠⠀ ⁠⠀ Click the link in bio to buy your copy now 📦⁠⠀ ⁠⠀ Photography: Collier Schorr @collierschorrstudio⁠⠀ Styling: Danny Reed @reed_danny⁠⠀ Hair: Holli Smith @hollismithhead ⁠⠀ Make-up: Dotti @therealistdotti⁠⠀ Words: Trey Taylor @treytylor⁠⠀ ⁠⠀ Editor: Stuart Brumfitt @stuart_brumfitt⁠⠀ Art Director: Alex O'Brien @celibatewives⁠⠀ ⁠⠀ Harry wears @martine_rose⁠⠀ ⁠⠀ #HarryStyles #TheFace #ComingSoon #PrintMagazine #SeptemberIssue

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