Scans from Brad’s Vanity Fair cover have been added to the gallery:
MAGAZINE SCANS > T – Z > Vanity Fair
Photo Shoots > 068
“He took me through how excited he was when he read the book, what was exciting for him, the geopolitical aspect of it,” screenwriter Damon Lindelof tells Vanity Fair contributor Laura M. Holson in the June issue of Vanity Fair of meeting Brad Pitt to discuss the star’s troubled zombie project, World War Z.
Lindelof says Pitt explained, “‘But when we started working on the script, a lot of that stuff had to fall away for the story to come together. We started shooting the thing before we locked down how it was going to end up, and it didn’t turn out the way we wanted it to.’” The actor asked him to watch an edit, and told him, “The thing we really need right now is someone who is not burdened by all the history that this thing is inheriting, who can see what we’ve got and tell us how to get to where we need to get.” Lindelof tells Holson the ending was abrupt and incoherent, but more importantly they were missing a large chunk of footage.
In her revealing report, Holson also speaks to director Marc Forster and Paramount executives Marc Evans and Adam Goodman about the many problems that plagued the set—which included re-writing and reshooting 40 minutes of the film to find a coherent ending—and, most astonishingly, how the budget ballooned to around $200 million.
While closing down the production in Malta, for instance, the wrap-up crew found a stack of purchase orders related to the cast and extras that had been casually tossed into a desk drawer and forgotten; the amount totaled in the millions of dollars. Marc Evans, president of production at Paramount, was shocked. He calls the overages an “unthinkable action” which needed to be addressed immediately. “It was literally insane. Adam [Goodman, president of the Paramount Film Group] and I believed we’d gotten out of Malta good, and I found out we weren’t. That is a nightmare.”
When it came time to watch the director’s cut, Holson reports, the room was silent. “It was, like, Wow. The ending of our movie doesn’t work,” says Evans. “I believed in that moment we needed to reshoot the movie.” After 10 minutes of polite discussion, everyone left. “We were going to have long, significant discussions to fix this,” he recalls thinking.
“I said to them, There are two roads to go down here,” says Lindelof. “Is there material that can be written to make that stuff work better? To have it make sense? To have it have emotional stakes? And plot logic and all that? And Road Two, which I think is the long-shot road, is that everything changes after Brad leaves Israel.” That meant throwing out the entire Russian battle scene—or about 12 minutes of footage—and crafting a new ending. “I didn’t think anyone was going to say, ‘Let’s throw it out and try something else,’ ” Lindelof recalls. “So when I gave them those two roads and they sounded more interested in Road B”—which meant shooting an additional 30 to 40 minutes of the movie—“I was like, ‘To be honest with you, good luck selling that to Paramount.’ ”
I added scans from Entertainment Weekly’s feature on World War Z:
MAGAZINE SCANS > A – F > Entertainment Weekly
Candids of Brad Pitt and Angelina Jolie taking the twins to the museum on the 14th have been added to the gallery:
I have added scans from People Magazine to the gallery:
MAGAZINE SCANS > N – S > People
PHOTO SHOOTS > 065
Launched in 1921 and an immediate world-class best-seller, Chanel No. 5 was for Coco Chanel, said her friend Misia Sert, “like winning the lottery.” For Diana Vreeland, the perfume’s streamlined cubic bottle was “the best packaging since the beginning … the most distinguished thing of any thing she put her name on.” Andy Warhol painted it, and Marilyn Monroe confessed she slept in nothing but the aromatic elixir. Now Brad Pitt—following in the fabled footsteps of Catherine Deneuve, Ali MacGraw, and Nicole Kidman—is the first man ever officially to endorse it. In anointing Pitt the new face of its signature fragrance, the House of Chanel is subtly circling back to its gender-twisting origins; the founding couturière cleverly revolutionized women’s fashion by raiding her boyfriends’ closets for such comfortable haberdashery staples as boaters, cardigans, tweeds, and jerseys. Pitt—whose gritty hit-man movie Killing Them Softly will open concurrently with his seductive Chanel ads—also stars in an allusive, unorthodox Chanel No. 5 spot directed by Joe Wright. The choice of Brad Pitt to articulate the male response to a female scent “was obvious,” explains Maureen Chiquet, C.E.O. of Chanel. “No. 5 is the most iconic fragrance of our time, and Brad Pitt is the most iconic actor of our time. Women in every culture love No 5. No matter where you are, No. 5 is there.”