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Tag: daniel-day-lewis

‘Mr. Scorsese’ Interview: Director Rebecca Miller
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Premiering on Apple TV beginning October 17th is the new five-episode documentary series ‘Mr. Scorsese’, which was directed by Rebecca Miller (‘The Ballad of Jack and Rose’) and chronicles the life and career of Oscar winning filmmaker Martin Scorsese (‘Goodfellas’ and ‘The Irishman’).
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In addition to Scorsese, the series includes new interviews with Robert De Niro (‘Raging Bull’), Leonardo DiCaprio (‘The Departed’), Daniel Day-Lewis (‘Gangs of New York’), Margot Robbie (‘The Wolf of Wall Street’), Cate Blanchett (‘The Aviator’), Jodie Foster (‘Taxi Driver‘), Steven Spielberg (‘Saving Private Ryan’), Spike Lee (‘Do the Right Thing’), and Mick Jagger from the Rolling Stones.

(L to R) Rebecca Miller and Martin Scorsese in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.

Moviefone recently had the pleasure of speaking with director Rebecca Miller about her work on ‘Mr. Scorsese’, how she got involved in the project, interviewing Martin Scorsese, his working relationship Robert De Niro, Leonardo DiCaprio and editor Thelma Schoonmaker, which interview surprised her the most, pacing the series over five episodes, what Scorsese had to say about ‘Taxi Driver’, and what she hopes people take away from watching the series.

You can read the full interview below or click on the video player above to watch our interview.

Related Article: Director Martin Scorsese Talks ‘Killers of the Flower Moon’ and His Body of Work

‘Mr. Scorsese’ director Rebecca Miller.

Moviefone: To begin with, can you talk about how you got involved with this project and when conducting the interviews with Martin Scorsese, what was it like essentially directing the greatest director of all time?

Rebecca Miller: Well, I got involved with it really by a formless hunch, a feeling. I had made another documentary, Damon Cardasis my producing partner said, “What would you like to do?” Because I said I’d like to make another one. He said, “What’s the subject?” I thought of Martin Scorsese first. You know, he made it so easy in a way to interview him. He almost makes fun of himself in the very beginning of the series where he’s making jokes about, “You need a slate” and stuff like that. But really, he was just so open, I think, is the word. Just very open. I wasn’t really directing him so much as just listening to him, you know, and then asking the next question. We led each other into some very unexpected places.

(L to R) Archival photo of Leonardo DiCaprio and Martin Scorsese on the set of “The Aviator” featured in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.

MF: Mr. Scorsese has had many great collaborators over the years, but the three that stick out from the documentary were Robert De Niro, Leonardo DiCaprio, and editor Thelma Schoonmaker. Can you talk about interviewing them and is there a through line between their collaborations that you can put your finger on?

RM: The first word that comes to mind is trust. In fact, he mentions that with regards to them. You know, he knew that De Niro, even though he was becoming a star after ‘Mean Streets’, he could trust him. That he wasn’t going to abandon him or allow anyone to take the work away from him, because that was still a possibility from Marty at that time. With Thelma, he knew that he could trust her to help him make the work that he needed to make and not be obstructionist or egotistical about it. The same thing with, I think with Leonardo, because that’s what Marty needs is to be able to trust people that he’s collaborating with. Then once that trust is there, you’re free to experiment and to really be wild because you trust each other.

(L to R) Archival photo of Martin Scorsese and Thelma Schoonmaker featured in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.

MF: Of all the interviews you did with Mr. Scorsese’s friends, family and colleagues, was there one interview that really surprised you and was there anyone you wanted to speak with but were unable to?

RM: I got to talk to so many people, and people that I never expected to be able to speak to. His childhood friends were like a particular boon, it was just so amazing that I got to talk to them, especially because one of them died shortly after I interviewed him. But also, the model for Johnny Boy (from ‘Mean Streets’), you know, this was a once in a lifetime opportunity. I didn’t even know that I would necessarily have them.

(L to R) Robert De Niro, Frank “Butch” Piccirillo and Martin Scorsese in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.

MF: Can you talk about pacing and the challenge of fitting in all aspects of Mr. Scorsese’s life and career into just five episodes?

RM: I mean, I didn’t want to rush, but on the other hand, I really wanted there to be a sense of pacing and of urgency, because his work has that, and his personality has that. I wanted it to reflect his personality. I wanted the film to feel like Marty himself. Maybe that’s why sometimes there are certain cuts that feel like his cuts, because they’re originating with him and his personality. Then, of course, his work is an outgrowth of his personality. But you know, the number of segments really, at first it was going to be one feature film. Then I quite quickly realized there was no way I could do it that way, because the childhood and early adulthood really needed time, so you could understand how deeply connected his work in general is to those early years. Once you do that, once you spend that first episode, then you need more time to get to the rest of it. Because essentially, the series is really the dance between the art and the life. They’re creating each other. Art’s creating life, life’s creating art, and at a certain point, we kind of ran out of life in a way. That’s the point where you’re like, “Okay, that’s the end”. So, it’s the dance between those two things.

Archival photo of Martin Scorsese on the set of ‘Gangs of New York’ featured in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.

MF: Was there any movie that you asked Mr. Scorsese about where you were surprised by his answer?

RM: Well, I mean, I was very intrigued by his answers to ‘Taxi Driver’. I talked to him about it. I asked, “What is it about you at that time that’s in that film?” And you can see him close his eyes and sort of be resistant, but also want to give an answer. He gives this extraordinary answer but over throughout, there’s this thread of the deep connection between what he’s going through as a person, his own suffering, his obsessions, and the films that he’s making.

Archival photo of Martin Scorsese on the set of ‘The Departed’ featured in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.

MF: In the series, Mr. Scorsese talks says that in the stories he tells, the human struggle is what he is most interested in? Can you talk about his passion for that idea in terms of his filmography?

RM: I think overall, there’s a sort of sense of, as Nicholas Pileggi says, “Underdogs trying to score”, and very often, these people are struggling to become themselves. It’s like they want to become themselves, but in that process of trying to become themselves, like Jake LaMotta (in ‘Raging Bull’), for example, you can lose your soul, and that’s interesting too. The loss of the self, the loss of the soul, the kind of darkness that can come into sight of people. It’s not always good news in Scorsese’s universe.

Martin Scorsese in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.

MF: Finally, what will you remember most about making this series and what do you hope fans learn about Mr. Scorsese and his work that they did not already know?

RM: I mean, just having him in my life and the friendship that I have with him is such an immense reward. The idea that I was able to maybe give him back to the people that love him in a form that they didn’t know or anticipate, and to shed something new on the films and maybe bring people back to the films or to the films when they haven’t seen them, that to me is a great reward.

Martin Scorsese in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.

What is the story of ‘Mr. Scorsese’?

Explore the many lives of Martin Scorsese through intimate interviews with the man himself, access to his private archives, plus conversations with Robert De Niro, Leonardo DiCaprio, Margot Robbie, Daniel Day-Lewis, Steven Spielberg, and more.

Who is featured in ‘Mr. Scorsese’?
- Martin Scorsese as Himself
- Francesca Scorsese as Herself
- Thelma Schoonmaker as Herself
- Isabella Rossellini as Herself
- Robert De Niro as Himself
- Leonardo DiCaprio as Himself
- Margot Robbie as Herself
- Cate Blanchett as Herself
- Spike Lee as Himself
- Steven Spielberg as Himself
- Mick Jagger as Himself
Martin Scorsese in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.

List of Martin Scorsese Movies:
- ‘Mean Streets‘ (1973)
- ‘Taxi Driver‘ (1976)
- ‘The Last Waltz‘ (1978)
- ‘Raging Bull‘ (1980)
- ‘The King of Comedy‘ (1983)
- ‘The Color of Money‘ (1986)
- ‘The Last Temptation of Christ‘ (1988)
- ‘GoodFellas‘ (1990)
- ‘Cape Fear‘ (1991)
- ‘Casino‘ (1995)
- ‘Bringing Out the Dead‘ (1999)
- ‘Gangs of New York‘ (2002)
- ‘The Aviator‘ (2004)
- ‘The Departed‘ (2006)
- ‘Shutter Island‘ (2010)
- ‘Hugo‘ (2011)
- ‘The Wolf of Wall Street‘ (2013)
- ‘Silence‘ (2017)
- ‘Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese‘ (2019)
- ‘The Irishman’ (2019)
- ‘Killers of the Flower Moon‘ (2023)
Buy Martin Scorsese Movies on Amazon
October 13, 2025
Movie Review: ‘Anemone’
(L to R) Daniel Day-Lewis as Ray and Sean Bean as Jem in director Ronan Day-Lewis’ ‘Anemone’, a Focus Features release. Credit: Courtesy of Focus Features / © 2025 FOCUS FEATURES LLC.

Opening in theaters October 3 is ‘Anemone,’ directed by Ronan Day-Lewis and starring Daniel Day-Lewis, Sean Bean, Samantha Morton, Safia Oakley-Green, and Samuel Bottomley.
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Related Article: Daniel Day-Lewis to Return to Acting for His Son’s Movie ‘Anemone’

Initial Thoughts

(L to R) Daniel Day-Lewis as Ray and Sean Bean as Jem in director Ronan Day-Lewis’s ‘Anemone’, a Focus Features release. Credit: Courtesy of Focus Features / © 2025 Focus Features, LLC. All Rights Reserved.

It’s been eight years since the great Daniel Day-Lewis last appeared in a motion picture – ‘Phantom Thread,’ one of my least favorite Paul Thomas Anderson films – so the news of his return was rightly regarded with lots of anticipation.

But while Day-Lewis remains a riveting, magnetic presence on screen, the film itself, ‘Anemone,’ ends up somewhat of disappointment. Co-written by the actor with his son, Ronan Day-Lewis – who also makes his feature directorial debut here – ‘Anemone’ is painstakingly slow in stretching a thin, rather well-worn plot to two hours. The younger Day-Lewis pulls off some gorgeous imagery (as befitting his work as a painter), but aside from that and the acting by his father and Sean Bean, there’s not enough here to make this a welcome return for the three-time Oscar winner.

Story and Direction

(L to R) Actor Daniel Day-Lewis and director Ronan Day-Lewis on the set of ‘Anemone’, a Focus Features release. Credit: Maria Lax / Focus Features © 2025 Focus Features, LLC. All Rights Reserved.

‘Anemone’ opens with what chillingly looks like children’s drawings of the Troubles in Ireland and the conflict between the IRA and the British Army, immediately giving us an idea of the story’s backdrop. But the main narrative itself is revealed only sluggishly, as Jem Stoker (Sean Bean) leaves his partner Nessa (Samantha Morton) and her son Brian (Samuel Bottomley) on a quest to see his estranged younger brother Ray (Daniel Day-Lewis), who has exiled himself to a cabin deep in a remote forest for 20 years with virtually no contact from his family.

There’s a palpable unease between the two men at first, with the paranoid and incommunicative Ray only gradually opening up to his sibling. As the film continues, we find out – bit by bit – that Jem is deeply religious while Ray is not (with his own very good reasons, which he recounts in a long monologue as disgusting as it is bizarre), that both men were subjected to a brutal upbringing from their father, and that both also served in the military during the Troubles – with Ray in particularly wracked by memories that he can’t let go. But Jem is on a mission to bring his brother back with him in order to deal with a family situation that has reached the point of crisis.

(L to R) Ronan Day-Lewis and Daniel Day-Lewis at the premiere of ‘Anemone’. Photo: Focus Features.

In the end, that storyline is just not enough to sustain any momentum, and ‘Anemone’ begins to drag in all the wrong places, just as the critical revelations begin to fully come to light. There are lots of scenes of Ray or Ray and Jem walking through woods or along beaches, which only pad out the essential slimness of the narrative. And that narrative itself doesn’t necessarily tell us anything new that we haven’t seen in tales like this before, of absent, violent, or disengaged fathers, or of men traumatized by the institutions in which they were raised and the legacies they bequeath their sons.

Ronan Day-Lewis and cinematographer Ben Fordesman pull off a number of gorgeous, painterly compositions – while working primarily in muted greens, blues, and browns – but the director also shows his relative greenness behind the camera with some awkwardly showy moves as well. More hallucinatory sequences are mysterious seemingly just for the sake of it, while other scenes – like a massive hailstorm battering down on the characters – seem heavy-handed in their symbolism, as is the fact that the flower of the title, which Jem and Ray’s father used to grow, continues to bloom outside Ray’s cabin.

Cast and Performances

Sean Bean stars as Jem and Daniel Day-Lewis stars as Ray in director Ronan Day-Lewis’s ‘Anemone’, a Focus Features release. Credit: Courtesy of Focus Features / © 2025 Focus Features LLC.Credit: Courtesy of Focus Features / © 2025 FOCUS FEATURES LLC

‘Anemone’ is a small movie, with just five main speaking parts, but of course Daniel Day-Lewis is the main attraction here. And he brings all of his skills to bear in what is certainly an enigmatic, shape-shifting character. Ray Stoker is at times reclusive, misanthropic, cruel, and cold, with a hint of violence churning under the surface; but Day-Lewis subtly, masterfully peels back the hard exterior to show us vulnerability, hurt, and even love. His work meets the moment in a movie that needs him to essentially give it purpose.

Two often underrated actors get a chance to shine here as well. Samantha Morton’s role as the woman at the nexus of the lives of these three men is less well-defined, unfortunately, but Morton does what she can and creates a portrait of a woman for whom a hard life has not quite destroyed her heart just yet. And we have to give it up for Sean Bean, another great British actor who often doesn’t get the credit he deserves, as Jem, the grounded, decent, pragmatic counterweight to his impulsive and tormented brother. Spoiler alert: Bean also avoids the fate that usually befalls his characters in films, which is nice to see.

Final Thoughts

(L to R) Daniel Day-Lewis, Ronan Day-Lewis and Sean Bean at the premiere of ‘Anemone’. Photo: Focus Features.

As we stated earlier, Daniel Day-Lewis is an actor one can always watch for his total submersion into whatever character he’s playing, and he’s lost none of that powerful presence in the eight years he’s been away. ‘Anemone’ is worth seeing if you are a DDL completist, while Ronan Day-Lewis certain has enough visual acumen to point toward a promising career as a filmmaker. Bobby Krlic (aka The Haxan Cloak) also contributes a haunting, guitar-driven score that adds a lot of atmosphere.

But by the time it reaches a climax that should be emotional but doesn’t quite get there, ‘Anemone’ doesn’t offer enough of a compelling reason for Daniel Day Lewis’ return, except for the fact that the film – like its subject matter – is a family affair.

‘Anemone’ receives a score of 50 out of 100.

(L to R) Daniel Day-Lewis and Sean Bean at the premiere of ‘Anemone’. Photo: Focus Features.

What is the plot of ‘Anemone’?

A mysterious shared history has left brothers Ray (Daniel Day-Lewis) and Jem (Sean Bean) Stoker estranged for 20 years, with Ray living in self-imposed exile. But a family crisis forces Jem to track Ray down in his cabin deep in the woods and ask him to revisit the most troubling moments of their past.

Who is in the cast of ‘Anemone’?
- Daniel Day-Lewis as Ray Stoker
- Sean Bean as Jem Stoker
- Samantha Morton as Nessa Stoker
- Samuel Bottomley as Brian Stoker
- Safia Oakley-Green as Hattie
‘Anemone’ opens in theaters on October 3rd.

Daniel Day-Lewis Movies and TV Shows:
- ‘Gandhi‘ (1983)
- ‘The Bounty‘ (1984)
- ‘My Beautiful Laundrette‘ (1986)
- ‘A Room with a View‘ (1986)
- ‘Nanou‘ (1988)
- ‘The Unbearable Lightness of Being‘ (1988)
- ‘My Left Foot: The Story of Christy Brown‘ (1989)
- ‘Eversmile New Jersey‘ (1991)
- ‘The Last of the Mohicans‘ (1992)
- ‘The Age of Innocence‘ (1993)
- ‘In the Name of the Father‘ (1993)
- ‘The Crucible‘ (1996)
- ‘The Boxer‘ (1997)
- ‘Gangs of New York‘ (2002)
- ‘The Ballad of Jack and Rose‘ (2005)
- ‘There Will Be Blood‘ (2008)
- ‘Nine‘ (2009)
- ‘Lincoln‘ (2012)
- ‘Phantom Thread‘ (2018)
- ‘Anemone’ (2025)
Buy Tickets: ‘Anemone’ Movie Showtimes

Buy Daniel Day-Lewis Movies on Amazon
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October 2, 2025
10 Best Daniel Day-Lewis Performances of All Time

Daniel Day-Lewis at the premiere of ‘Anemone’. Photo: Focus Features.

Daniel Day-Lewis is widely considered the greatest living actor!

He has been awarded three Academy Awards for Best Actor for his work in ‘My Left Foot‘, ‘There Will Be Blood‘ and ‘Lincoln‘, which is more than any other male actor in history!

Day-Lewis returns to the big screen on October 3rd in his latest film called ‘Anemone‘, which he co-wrote with his son Ronan Day-Lewis, who also makes his directorial debut.
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In honor of the new film, Moviefone is counting down the 10 best Daniel Day-Lewis Performances of all time.

Let’s begin!

10. Guido Contini in ‘Nine‘ (2009)

Daniel Day-Lewis stars in ‘Nine’. Photo: The Weinstein Company.

Arrogant, self-centered movie director Guido Contini (Lewis) finds himself struggling to find meaning, purpose, and a script for his latest film endeavor. With only a week left before shooting begins, he desperately searches for answers and inspiration from his wife, his mistress, his muse, and his mother.
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9. Newland Archer in ‘The Age of Innocence‘ (1993)

(L to R) Daniel Day-Lewis and Michelle Pfeiffer stars in ‘The Age of Innocence’. Photo: Columbia Pictures.

In 19th century New York high society, a young lawyer (Lewis) falls in love with a woman (Michelle Pfeiffer) separated from her husband, while he is engaged to the woman’s cousin (Winona Ryder).
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8. Reynolds Woodcock in ‘Phantom Thread‘ (2018)

Daniel Day-Lewis in ‘Phantom Thread’. Photo: Focus Features.

In 1950s London, a renowned dressmaker’s (Lewis) meticulous lifestyle begins drastically changing as his relationship with his young muse (Vicky Kreps) intensifies.
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7. Christy Brown in ‘My Left Foot: The Story of Christy Brown‘ (1989)

Daniel Day-Lewis stars in ‘My Left Foot: The Story of Christy Brown’. Photo: Palace Pictures.

No one expects much from Christy Brown (Lewis), a boy with cerebral palsy born into a working-class Irish family. Though Christy is a spastic quadriplegic and essentially paralyzed, a miraculous event occurs when, at the age of 5, he demonstrates control of his left foot by using chalk to scrawl a word on the floor. With the help of his steely mother — and no shortage of grit and determination — Christy overcomes his infirmity to become a painter, poet and author.
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6. Nathaniel “Hawkeye” Poe in ‘The Last of the Mohicans‘ (1992)

Daniel Day-Lewis stars in ‘The Last of the Mohicans’. Photo: 20th Century Fox.

In war-torn colonial America, in the midst of a bloody battle between British, the French and Native American allies, the aristocratic daughter of a British Colonel and her party are captured by a group of Huron warriors. Fortunately, a group of three Mohican trappers comes to their rescue.
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5. Danny Flynn in ‘The Boxer‘ (1997)

Daniel Day-Lewis stars in ‘The Boxer’. Photo: Universal Pictures.

Nineteen-year-old Danny Flynn (Lewis) is imprisoned for his involvement with the I.R.A. in Belfast. He leaves behind his family and his sixteen-year-old girlfriend, Maggie Hamill (Emily Watson). Fourteen years later, Danny is released from prison and returns to his old working class neighborhood to resume his life as a boxer.
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4. Gerry Conlon in ‘In the Name of the Father‘ (1993)

(L to R) Daniel Day-Lewis and Emma Thompson stars in ‘In The Name of The Father’. Photo: Universal Pictures.

A small-time Belfast thief, Gerry Conlon (Lewis), is wrongly convicted of an IRA bombing in London, along with his father (Pete Postlethwaite) and friends, and spends 15 years in prison fighting to prove his innocence.
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3. Bill “the Butcher” Cutting in ‘Gangs of New York‘ (2002)

Daniel Day-Lewis stars in ‘Gangs of New York’. Photo: Miramax Films.

In early 1860s New York, Irish immigrant Amsterdam Vallon (Leonardo DiCaprio) is released from prison and returns to the Five Points, seeking revenge against his father’s killer, William Cutting (Lewis), a powerful anti-immigrant gang leader. He knows that revenge can only be attained by infiltrating Cutting’s inner circle. Vallon’s journey becomes a fight for personal survival and to find a place for the Irish people.
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2. Abraham Lincoln in ‘Lincoln‘ (2012)

Daniel Day-Lewis in ‘Lincoln.’ Photo: Walt Disney Studios.

The revealing story of the 16th US President’s tumultuous final months in office. In a nation divided by war and the strong winds of change, Lincoln (Lewis) pursues a course of action designed to end the war, unite the country and abolish slavery. With the moral courage and fierce determination to succeed, his choices during this critical moment will change the fate of generations to come.
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1. Daniel Plainview in ‘There Will Be Blood‘ (2008)

Daniel Day-Lewis in ‘There Will Be Blood’. Photo: Paramount Vantage.

Ruthless silver miner, turned oil prospector, Daniel Plainview (Lewis), moves to oil-rich California. Using his son to project a trustworthy, family-man image, Plainview cons local landowners into selling him their valuable properties for a pittance. However, local preacher Eli Sunday (Paul Dano) suspects Plainview’s motives and intentions, starting a slow-burning feud that threatens both their lives.

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September 30, 2025
Daniel Day-Lewis Returning to Acting for ‘Anemone’
Daniel Day-Lewis presents during the live ABC Telecast of The 86th Oscars® at the Dolby® Theatre on March 2, 2014 in Hollywood, CA. Credit/Provider: Richard Harbaugh / ©A.M.P.A.S. Copyright: ©A.M.P.A.S.

Preview:
- Daniel Day-Lewis will appear in a movie for the first time since 2017.
- He’s co-written ‘Anemone’ with his son Ronan, who is also directing.
- Sean Bean, Samantha Morton and Samuel Bottomley co-star.
With three Oscars under his belt and a long, successful career, Daniel Day-Lewis could be well forgiven for dedicating the rest of his days to other pursuits.

And indeed, it appeared he might be doing just that, having not graced screens since 2017’s ‘Phantom Thread,’ directed by Paul Thomas Anderson.
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But when Day-Lewis was spotted by British tabloid newspapers apparently on location shooting a new movie, interest naturally peaked. Was he really back? Would it be a cameo?

Now, we have confirmation from Focus Features, which is backing the new film, titled ‘Anemone’ alongside production company Plan B.

But this isn’t just any movie –– it’s the directorial debut of Day-Lewis’ son Ronan Day-Lewis, and Daniel co-wrote the script with his son.

Related Article: Leonardo DiCaprio and Sean Penn Join Paul Thomas Anderson’s New Film

What’s the story of ‘Anemone’?

Daniel Day-Lewis presents an Oscar® during the live ABC Telecast of The Oscars® from the Dolby® Theatre in Hollywood, CA on Sunday, March 2, 2014. Credit/Provider: Michael Yada / ©A.M.P.A.S. Copyright: ©A.M.P.A.S.

There aren’t many official details yet, but the plot “explores the intricate relationships between fathers, sons, and brothers, and the dynamics of familial bonds.”

Focus Features Chairman Peter Kujawski shared his enthusiasm in a statement:

“We could not be more excited to partner with a brilliant visual artist in Ronan Day-Lewis on his first feature film alongside Daniel Day-Lewis as his creative collaborator. They have written a truly exceptional script, and we look forward to bringing their shared vision to audiences alongside the team at Plan B.”

Ronan Day-Lewis is better known as an artist than a filmmaker at this point, though he did create 2018 short ‘The Sheep and the Wolf’ and the Sargasso music video ‘Snow and Sun.’ He’s known for his painting, which has been included in several public exhibitions over the past few years.

Who else stars in ‘Anemone’?

Sean Bean in ‘Game of Thrones’. Photo: HBO.

The cast also includes Sean Bean, Samantha Morton, Samuel Bottomley and Safia Oakley-Green. Day-Lewis was spotted filming with Bean this week, which is likely why the statement was released. We’re fairly sure all involved might have wanted to wait until the first trailer.

Crew-wise, the movie features Director of Photography Ben Fordesman, Costume Designer Jane Petrie and Production Designer Chris Oddy.

Does this mean Daniel Day-Lewis is officially back?

The Oscar® for performance by an actor in a leading role goes to Daniel Day-Lewis for his role in “Lincoln” during The Oscars® from the Dolby® Theatre in Hollywood, CA, Sunday, February 24, 2013 live on the ABC Television Network. Credit/Provider: Michael Yada / ©A.M.P.A.S. Copyright: ©A.M.P.A.S.

That remains to be seen at this point –– while he’s clearly happy to work alongside his son, Day-Lewis has expressed little interest in otherwise getting back to work on a more regular basis.

But who knows? Perhaps this small taste will spark his desire to act more often again. Either that, or he’ll vanish back into the off-screen world in much the same way as Gene Hackman.

When will ‘Anemone’ be in theaters?

With shooting ongoing, there is no indication when ‘Anemone’ will arrive on screens, but if it turns out well, we could conceivably see it landing in a 2025 awards slot.

Actor Daniel Day-Lewis poses backstage with his Oscar® for performance by an actor in a leading role for his role in “Lincoln” during the live telecast on the ABC Television network from the Dolby® Theatre in Hollywood, CA, Sunday, February 24, 2013. Credit/Provider: Todd Wawrychuk / ©A.M.P.A.S. Copyright: ©A.M.P.A.S.

Daniel Day-Lewis Movies and TV Shows:
- ‘Gandhi‘ (1983)
- ‘The Bounty‘ (1984)
- ‘My Beautiful Laundrette‘ (1986)
- ‘A Room with a View‘ (1986)
- ‘Nanou‘ (1988)
- ‘The Unbearable Lightness of Being‘ (1988)
- ‘My Left Foot: The Story of Christy Brown‘ (1989)
- ‘Eversmile New Jersey‘ (1991)
- ‘The Last of the Mohicans‘ (1992)
- ‘The Age of Innocence‘ (1993)
- ‘In the Name of the Father‘ (1993)
- ‘The Crucible‘ (1996)
- ‘The Boxer‘ (1997)
- ‘Gangs of New York‘ (2002)
- ‘The Ballad of Jack and Rose‘ (2005)
- ‘There Will Be Blood‘ (2008)
- ‘Nine‘ (2009)
- ‘Lincoln‘ (2012)
- ‘Phantom Thread‘ (2018)
Buy Daniel Day-Lewis Movies on Amazon
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October 2, 2024
Martin Scorsese Attached to ‘Gangs of New York’ TV Adaptation

Daniel Day-Lewis as William “Bill the Butcher” Cutting in director Martin Scorsese’s ‘Gangs of New York.’

Sooner or later, it seems that every classic movie will one day become a TV series. But not many of them can boast the director of the Oscar-nominated original film, nor someone with the clout and kudos of Martin Scorsese.

The new TV adaptation of ‘Gangs of New York’, however, has both.

You’re likely aware of Scorsese’s 2002 gangster movie, which boasted the star power of Leonardo DiCaprio, Cameron Diaz and Daniel Day-Lewis and adapted Herbert Asbury’s 1927 non-fiction book ‘The Gangs of New York’.

‘Gangs’ cinematic story (adapted by Jay Cocks, Steven Zaillian and Kenneth Lonergan) was set in a god-forsaken district of early-1860s Lower Manhattan known as the Five Points.

The vicious Nativist, Bill “The Butcher” Cutting (Day-Lewis) is the supreme overlord of an area riddled with crime, prostitution, theft and murder, as the American Civil War still rages on.

Sixteen years after the brutal murder of his father at Bill’s blood-stained hands, an orphaned Irish American, Amsterdam Vallon (DiCaprio), returns to this melting pot of corruption to avenge his untimely death; yet a lot has changed since then.

Who can remember the once-innocent boy and now a young man bent on revenge, who works his way up to the hierarchy of Five Points? Will Amsterdam ever taste the dangerous but sweet fruit of retribution?

(L to R) Leonardo DiCaprio as Amsterdam Vallon, and Daniel Day-Lewis as William “Bill the Butcher” Cutting in director Martin Scorsese’s ‘Gangs of New York.’

Not wanting to repeat what has already been brought to the screen (to the tune of nearly $200 million worldwide at the box office and 10 Oscar nominations), the plan from Miramax TV, according to Deadline, is to focus on characters who didn’t appear in the movie.

Playwright and TV writer Brett Leonard, who most recently was on the staff of the Apple TV+ drama ‘Shantaram’ (which stars Charlie Hunnam) is overseeing the new show, while Scorsese will be an executive producer and bring his considerable experience to directing the first two episodes and therefore setting the visual tone for the show.

This is not the first time that ‘Gangs’ has been the target of a proposed TV version, nor the first time Scorsese has been involved.

In 2013, Miramax and GK Films started development on a series which would likewise deviate from the film’s focus, instead spreading the story to other cities, including Chicago and New Orleans and chronicle the birth of organized crime in America.

“This time and era of America’s history and heritage is rich with characters and stories that we could not fully explore in a two-hour film,” Scorsese said at the time of that original announcement. “A television series allows us the time and creative freedom to bring this colorful world, and all the implications it had and still does on our society, to life.”

The show as of yet doesn’t have a broadcast or streaming home, but you can imagine that HBO would certainly be interested given the success of ‘Boardwalk Empire,’ it’s last collaboration with the director that featured mobsters.

Director Martin Scorsese at the Academy Awards.
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October 21, 2022
Jennifer Lawrence Slams ‘Phantom Thread’: ‘I Got Through About 3 Minutes of It’

The Queen of Oversharing is on a streak. Jennifer Lawrence always gives candid interviews, and with “Red Sparrow” heading to theaters Friday, March 2, she is everywhere right now, saying everything … whether she should or not.

Her latest target is a bit of left field choice: Paul Thomas Anderson‘s movie “Phantom Thread.” It is nominated for six Academy Awards, including Best Picture, and Best Actor for Daniel Day-Lewis in what’s billed as his final acting role.

Jennifer Lawrence is an Oscar winner for “Silver Linings Playbook,” and she gets to vote for the 2018 Best Picture. But not only did she not care to vote for “Phantom Thread,” she didn’t even watch it. Here’s what she told Marc Maron’s “WTF” podcast (via IndieWire):

“I got through about three minutes of it. I put in a good solid three. I’m sorry to anybody who loved that movie,” Lawrence said. “I couldn’t give that kind of time. It was three minutes and I was just [oof].

Is it just about clothes? Is [Reynolds Woodcock, DDL’s character] kind of like a narcissistic sociopath and he’s an artist so every girl falls in love him because he makes her feel bad about herself and that’s the love story? I haven’t seen it, so I don’t know. I’ve been down that road, I know what that’s like, I don’t need to watch that movie [laughs].”

Oof is right. If there are any third rails in Hollywood, insulting Daniel Day-Lewis might be one of them. Lawrence didn’t quite go that far, but she got close.

At the very least, PTA is less likely to give her a call for his next film, and considering his track record (“There Will Be Blood,” “The Master,” “Boogie Nights,” “Punch-Drunk Love”) you’d almost think she’d want to at least be respectful. Then again, JLaw’s brand is candor. Maybe PTA and DDL would appreciate her honesty.

Some commenters have agreed with her on “Phantom Thread” — which has a 91 percent fresh rating on Rotten Tomatoes, and a 70 percent Audience Score. But others have used JLaw’s words as an opportunity to say the same about her films, including the reviled “mother!” and “Passengers.”

Speaking of “mother!” Lawrence is up for a Razzie Award for that movie. Don’t forget to see if she “wins” on Saturday, the day before the Sunday, March 4 Oscars. You always get bonus points for showing up to accept your Razzie in person, but considering she was a controversial nominee, she may not be the big loser/winner.

[Via: IndieWire]

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February 27, 2018
Oscars 2018: Who Will (and Should) Win All the Major Categories This Year

This is the most exciting Oscar race in a while.

Not only did last year’s Best Picture snafu add a destabilizing element to the proceedings, but there were a ton of great movies, performances, and technical accomplishments last year, which means that there is a much better chance for something unexpected to happen during the broadcast (airing on Sunday, March 4 on ABC).

But, of course, as in any competition, there are those we think deserve to win and those that will inevitably conquer anyway. There’s always so much that goes into the votes, from the current political climate to the marketing campaign associated with the nominees (and, really, how cool are those “Get Out” billboards?), that a degree of unpredictability creeps in — especially in the uneven landscape we find ourselves in this year. But hey, it’s fun anyway, right?

Best ActorWho Will Win: It looks like Gary Oldman, who has shockingly never won an Academy Award, will finally get his little gold man — and deservedly so.

Oldman’s turn in “Darkest Hour” renders Winston Churchill as a larger-than-life historical figure and a deeply flawed human being (with or without the dazzling make-up, he fully inhabits the role). Plus, that scene where Churchill finds himself amongst London’s working class in a subway car plays like gangbusters.

Who Should Win: It’s hard to moan about Daniel Day-Lewis needing another Academy Award (he’s already won three), but his performance in “Phantom Thread” really is remarkable (even for him). Reynolds Woodcock is, like the actor himself, demanding and accused of chasing an unfathomable level of perfection in his work. But he’s also wounded, damaged, and perverse — and it’s this shading that puts the performance over the top. If this really is his last movie, he went out on a high note.

Best ActressWho Will Win: Frances McDormand. This seems pretty clear (and has been for a while).

Her passionate performance in “Three Billboards Outside Ebbing, Missouri” as a woman whose daughter was raped and murdered — the crime still unsolved — is fiery and determined. She does questionable things, uses eyebrow-raising language, and compromises herself morally. Yet, you still root for her. It’s another amazing performance in a career exclusively defined by them.

Who Should Win: Sure, McDormand’s performance is surely admirable, but was there a performance more out-and-out lovable than Sally Hawkins in “The Shape of Water?”

What could have felt gimmicky and unnecessary (she’s a mute!), in Hawkins’ talented hands (literally) becomes something soulful and profound. Her love affair with the creature isn’t just the outward manifestation of her desire to connect, but symbolic of our own insecurities and suppressed sexuality. It’s a fearless performance and one that is all too often overlooked for the more extravagant aspects of the production.

Best Supporting ActorWho Will Win: Another perennial runner-up, Sam Rockwell should finally triumph on Oscar night this year. Rockwell’s racist cop, Dixon, in “Three Billboards Outside Ebbing, Missouri” is one of the most controversial figures in a movie that has come under siege recently for its depiction of race relations (and general relationship with the topic of race).

It’s still going to win a ton of awards and Rockwell has been a favorite of fellow actors (again, it cannot be overstated how much their approval can swing a vote). Plus, he’s terrific in the role!

Who Should Win: Willem Dafoe in “The Florida Project,” hands down.

Sure, the movie was polarizing and failed to secure much Academy love, but it’s also beautiful and allegorical — a sun-drenched odyssey that mixes dreamy escapism with hardscrabble reality. And it’s Dafoe who centers the entire movie as the kindly manager of a fleabag motel on the outskirts of Walt Disney World. He’s funny, heartbreaking, and deeply real, and it would be awesome for the actor, who has a resume littered with colorful weirdos, to finally get an Oscar for being someone so recognizably human.

Best Supporting ActressWho Will Win: Allison Janney as Tonya Harding’s no-nonsense mother in “I, Tonya.”

This performance is miraculous for a number of reasons — for grounding an otherwise heightened movie, while also still being admittedly over-the-top, for being as savage as she was sympathetic, and perhaps more importantly, for holding her own while sharing scenes with a puckish parrot. Quite frankly, “I, Tonya,” an electric, totally entertaining romp, should have been nominated for more. Happily, it’ll take home a prize for Best Supporting Actress.

Who Should Win: Janney. Did you see that parrot? You try keeping a straight face!

Best DirectorWho Will Win: This is a category that is almost as contentious as the Best Picture prize. What’s sort of shocking is how many of the titans didn’t score directing nominations.

Despite “Darkest Hour” taking home nominations in a number of categories (including Best Picture), it didn’t secure a directing nomination. The same goes for “Call Me By Your Name,” “The Post” (sorry, Spielberg) and, perhaps most tellingly, “Three Billboards Outside Ebbing, Missouri.” And as impressive an experience as “Dunkirk” is, Christopher Nolan will likely have to settle for being nominated (his first). Since we think that “Billboards” will take home the Best Picture prize, that will have the Academy looking elsewhere for their Best Director. They’ve probably found one in Guillermo del Toro, the Mexican auteur behind “The Shape of Water.”

If it’s one thing that everyone can agree on (even if they don’t love the film), it’s how impeccably crafted it is — every swooping crane shot, well-placed visual effect, and identifiable element of the production design (that Jell-O!) Del Toro did a great job and it’ll be nice for him to join his BFFs Alfonso Cuaron and Alejandro Gonzalez Inarritu in having a Best Director statue on his mantle (surrounded, no doubt, by statues of classic big screen monsters).

Who Should Win: We’re all for Del Toro winning Best Director. Not only is “The Shape of Water” virtually flawless, but this is a long time coming; he’s been cranking out challenging, elegant, blood-splattered masterpieces for years. (Just to cut off your next question, “Pan’s Labyrinth” failed to win the Best Foreign Language feature Oscar, if you can believe that.)

But we wouldn’t mind if Greta Gerwig (“Lady Bird“) or Jordan Peele (“Get Out“) took home the prize either. Their movies were such esoteric, personal accomplishments that wound up pleasing the masses; that kind of authorial vision is hard to come by and should be applauded at every turn.

Best Animated FeatureWho Will Win: While there could be an independent movie upset (the astounding, oil-painted “Loving Vincent” is probably the likeliest candidate), it seems like Pixar will walk away with another win thanks to their exceptional “Coco.”

Not only is “Coco” top-tier Pixar, robustly designed and animated, full of beautiful character work and wildly imagined environments, but it also will make you cry your eyes out. And honestly, for a movie to make an impact amongst the oodles of screeners that Academy voters receive, it’s got to pack an emotional wallop. And “Coco” accomplishes that. Unless there’s some far-reaching, unacknowledged contingency of “Boss Baby” supporters, Lee Unkrich‘s film will take home the gold.

Who Should Win: “Coco,” and for another reason, too: it’s secretly one of the more political candidates. This is a movie that celebrates Mexico and its cultural and ancestral traditions, released during a time when our Commander-in-Chief routinely admonishes Mexico, while threatening to build a post-apocalyptic wall. Our politicians are attempting to reinforce the otherness of Mexico, while “Coco” beautifully proposed that cultural specificity is what makes us all the same.

Best Adapted ScreenplayWho Will Win: James Ivory, who at the age of 89 is one of the oldest Oscar nominees ever, will finally pick up an Oscar for his tender, aching adaptation of glimmering gay romance “Call Me By Your Name.” Everything about the movie is beautiful and sensual, and that all begins with the words on the page; sometimes he enhanced scenarios from the book, other times he changed them, and some things, like the jaw-dropping speech Michael Stuhlbarg gives at the end of the film, he invented wholeheartedly. If the best adaptations capture a work’s spirit, then Ivory certainly did that.

Who Should Win: An Ivory win wouldn’t sting in the least, but it’d be amazing if Dee Rees and Virgin Williams wound take home the prize for “Mudbound.” An adaptation of Hillary Jordan’s best selling 2008 novel, the tale of postwar stress in the poor American south crackles with vibrancy and electricity. It’s one of the rare movies where the term “novelistic” aptly describes it, and most of that has to do with the script, which features realistic dialogue, overlapping narration, and long passages in which the audience just soaks up what is happening instead of being spoon-fed every detail.

Best Original ScreenplayWho Will Win: This is one of the hardest categories to clearly judge because there are just so many tremendous nominees.

Between the confessional sensitivity of “The Big Sick” and “Lady Bird,” to the conceptual audacity of “The Shape of Water” and “Get Out,” it’s a category chockablock with unforgettable moments, well-drawn characters, and exciting scenarios. And yet, the winner will undoubtedly be Martin McDonagh‘s “Three Billboards Outside Ebbing, Missouri.” McDonagh, who failed to score a Best Director nomination for the film, is a beloved playwright who has had more original works performed on the West End than William Shakespeare. Despite the controversy that has sprung up around “Three Billboards” in recent weeks, it’s still a knockout — a confrontational look at sex and race in a deeply divided America, with almost biblical overtones. It’s going to be hard to pass up.

Who Should Win: For our money, it should go to Jordan Peele and “Get Out.” Peele, in his very first outing as a writer/director, crafted a screenplay that was scary, funny, and thoughtful. It was a razor-sharp examination of the current racial and political climate but draped it on a spooky, modern-day “Twilight Zone” framework. It would be one thing if it were merely insightful but to also be this entertaining? Please.

Best PictureWho Will Win: Honestly, this is one of the few years in recent memory without a clear-cut frontrunner. Sure, you can discount potential winners “Call Me By Your Name” and “The Post” for not having enough ancillary nominations to support taking home the top prize. And, at this point, it feels like “Dunkirk” and “Darkest Hour” — two movies with World War II subject matter that overlaps — are just canceling each other out. But besides that, it’s anybody’s guess.

If the wind blows in a certain direction, “Get Out” could capture the Oscar like it captured the zeitgeist. The subtlety and grace of “Lady Bird,” unadorned but brilliant, could get through; ditto the fashionable but subdued “Phantom Thread.” But our best guess? “Three Billboards Outside Ebbing, Missouri,” with its incredibly of-the-moment sentiment and murderer’s row of outstanding performances (keep in mind how many actors vote for the Best Picture award), will take home the Best Picture Oscar.

Who Should Win: Unquestionably, Guillermo del Toro‘s affecting, genuinely strange “The Shape of Water,” should take home the top prize. Not only is it unlike any of the nominees, it’s unlike any other movie we can think of (yes, it wears its heart and its homage on its sleeve).

It’s a movie set in the early 1960’s that speaks to today, with its sweetly rendered inclusiveness and nods to the current political quagmire. Unlike past movies-about-movies winners, this one doesn’t drown in cloying platitudes; it’s got grit and heart.

February 23, 2018
17 Things You Never Knew About ‘The Last of the Mohicans’

Has there been a movie couple in the past quarter century as steamy as Daniel Day-Lewis and Madeleine Stowe in “The Last of the Mohicans“?

Released 25 years ago this week (on September 25, 1992), Michael Mann‘s pre-Revolutionary adventure saga never got Day-Lewis out of his buckskin or Stowe out of her corset, yet their smoldering glances and passionate embraces sparked more sexual chemistry than screen couples in more explicit movies have displayed.

“Mohicans” was a hit that transformed Day-Lewis into a Hollywood leading man, proved Mann could do historical epics as well as contemporary crime dramas, and put Wes Studi (who played the villain, Magua) on the map as a character actor. Still, there’s a lot that fans of the movie haven’t seen — the production’s off-camera turmoil, the missing love scene, and the secretly prankish side of the usually intense Day-Lewis. Here’s what really happened in the feral backwoods.
1. There really was a Col. Munro who led the British forces at Fort William Henry when the French attacked it in 1757. James Fenimore Cooper drew much of his 1826 novel from accounts of the siege’s survivors, but the rest of the characters were his own inventions.

2. Mann drew more from the 1936 Randolph Scott movie version of “Last of the Mohicans” — a movie he’d enjoyed as a kid — than from Fenimore Cooper’s novel. Not only is the book a notorious slog to read, but it’s also largely an apology for white appropriation of Indian lands, one that wouldn’t have sat well with post-“Dances With Wolves” audiences.
3. Fortunately, in Mann’s research, he found the diary of Louis-Antoine de Bougainville, a French explorer who served as an officer during the siege. His detailed, witty, sarcastic account of the event served as a bracing counterpoint to Fenimore Cooper’s version.

4. The unspoiled woodlands of rural New York in 1757 were played by the Blue Ridge Mountains of North Carolina of 1991. Mann spent a reported $6 million just to build the Fort William Henry set to historical specifications.
5. Day-Lewis brought his usual Method obsessiveness to the part of Hawkeye. Before he came to the set, he spent six months with a trainer building his upper-body strength. In the North Carolina forest, he spent another month learning Daniel Boone-type survival skills, including hunting, skinning animals, building canoes, wielding a tomahawk, and loading and firing a 12-pound flintlock rifle.

6. Like a real frontiersman, he brought his rifle everywhere, even to Christmas dinner. And while some of the actors and crew spent their downtime listening to Walkmans and smoking Marlboros, Day-Lewis made a point of avoiding modern technology and rolling his own smokes. Explaining what drew him to the role, he said, “I liked the idea of a man who had not been touched by 20th-century neurosis, a life that isn’t drawn inwards.”
7. Russell Means was 52 when he made his big-screen debut as Chingachgook. He was already famous, however, for his activism as the national director of the American Indian Movement.

8. Wes Studi, too, had been an Indian activist before turning to acting later in life. (Before “Mohicans,” his most prominent credit was as the Indian mystic in Jim Morrison’s visions in Oliver Stone‘s “The Doors.”) Both Means and Studi had been involved in the Wounded Knee occupation in 1973, 18 years before they reunited on the “Mohicans” set as antagonists.
9. Much of the secondary romance, between Alice Munro (Jodhi May) and Chingachgook’s son Uncas (Eric Schweig) didn’t make it into the movie. It was rumored that there was a more explicit love scene between them, cut at the insistence of the 17-year-old actress’s mother, who chaperoned May throughout the shoot. Schweig, however, has said that their scene was more “puppy love” than its reputation suggests, and that Mann de-emphasized the Alice-Uncas romance in order not to distract from the main love story between Hawkeye and Cora Munro (Stowe).

10. Hawkeye and Cora may have been mentally undressing each other on screen, but when the cameras stopped, Day-Lewis and Stowe were busy trying to punk each other. Their practical-joke war started with food fights and escalated to a bloody car crash, faked by Day-Lewis and his chauffeur, for Stowe to stumble upon.
11. Mann was notoriously as much a perfectionist as his star, supposedly shooting up to 20 takes of many scenes and keeping the night-shoot crew working from dusk until dawn. An oft-repeated (but apocryphal) anecdote from the set had Mann, at the end of a long night, complaining about an orange light messing up his shot, only to have a crew member respond, “That’s the sun, Michael.”

12. By the end of the shoot, Mann had gone $7 million over his $33 million budget. Oscar-winning costume designer James Acheson had left the production, citing creative differences with Mann, to be replaced by Elsa Zamparelli.
13. In post-production, Mann scrapped composer Trevor Jones‘ electronic score and decided he wanted a more traditional orchestral score. Jones reworked his score but didn’t have time to finish it, and Mann had to hire composer Randy Edelman to complete the music.

14. After the shoot, Day-Lewis had a hard time shaking the character. Complaining of hallucinations and claustrophobia (he was no longer used to spending much time indoors), the actor turned to a French holistic doctor, who prescribed him a potion of mystery ingredients, which Day-Lewis assumed to be a concoction of herbs and alcohol. Whatever it was, it seemed to do the trick.
15. “Last of the Mohicans” earned $75.5 million at the North American box office, making it the 17th biggest hit of 1992.

16. Despite critical raves, the film earned just one Oscar nomination. The category was Best Sound, and “Mohicans” won.
17. Mann has yet to make another movie set before the 20th century. After “Mohicans,” he said, “My next movie will have flat floors and people who wear zippers. I’ve had it with nature and stuff that falls off, everything tied together with thongs.”

September 24, 2017