Venice Film Festival Welcomes Pitt and Clooney, and Their New Film ‘Wolfs’ 

US actors George Clooney (R) and Brad Pitt (L) attend a premiere of "Wolfs" at the 81st annual Venice International Film Festival, in Venice, Italy, 01 September 2024. (EPA)
US actors George Clooney (R) and Brad Pitt (L) attend a premiere of "Wolfs" at the 81st annual Venice International Film Festival, in Venice, Italy, 01 September 2024. (EPA)
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Venice Film Festival Welcomes Pitt and Clooney, and Their New Film ‘Wolfs’ 

US actors George Clooney (R) and Brad Pitt (L) attend a premiere of "Wolfs" at the 81st annual Venice International Film Festival, in Venice, Italy, 01 September 2024. (EPA)
US actors George Clooney (R) and Brad Pitt (L) attend a premiere of "Wolfs" at the 81st annual Venice International Film Festival, in Venice, Italy, 01 September 2024. (EPA)

George Clooney and Brad Pitt returned to the Venice Film Festival on Sunday for the world premiere of “Wolfs.”

Before hitting the red carpet, the Hollywood stars reflected on reuniting, the rise of streaming and Clooney’s New York Times op-ed urging President Joe Biden to end his reelection bid.

Asked about the impact of his piece, Clooney said he’d not yet had to answer that question.

“The person who should be applauded is the president who did the most selfless thing anyone’s done since George Washington,” Clooney said. “All the machinations that got us there, none of that’s going to be remembered. And it shouldn’t be. What should be remembered is the selfless act.”

Clooney continued: “It’s very hard to let go of power. We know that. We’ve seen that all around the world. For someone to say, I think there’s a better way forward? All credit goes to him.”

Most of the discussion was focused on the film, however, an old school action thriller directed by Jon Watts, in which they play lone wolf fixers unhappy to have been hired for the same job to cover up a bloody mess involving a district attorney (played by Amy Ryan).

The film will have a limited theatrical release, starting Sept. 20, before hitting Apple TV+ on Sept. 27. Apple TV+ acquired “Wolfs” in a competitive bidding war, beating out both traditional studios and rival streaming services.

Deadline reported in 2021 that the understanding was that it would come with a robust theatrical release, something the stars may have also forfeited money to ensure, the trade publication said. Then, several weeks ago the streamer announced different plans: Theatrical would be limited. Streaming would be quick.

Clooney confirmed that they did forfeit some of their salaries to guarantee a theatrical release and that it’s a “bummer” that it won’t be wider than a few hundred theaters.

“We would have liked it, we wanted it. That’s why Brad and I gave some of our money back,” he said, adding that a report in the New York Times overestimated the dollar amount of their salaries by millions.

Far from being anti-streaming, however, Clooney said that everyone is simply finding their way during this revolution. There are bumps and mistakes, but there’s also much more opportunities for actors, he said.

“Streaming, we need it, our industry needs it,” Clooney said. “They also benefit from having films released ... and we’re figuring it out, we haven’t gotten it figured out yet.”

Producer and Plan B executive Jeremy Kliner, who has worked with Pitt for over 20 years, said that they make films believing in their shelf lives, and that they’re doing something worthwhile.

Pitt added: “I think we’ll always be romantic about the theatrical experience but at the same time I love the existence of streamers ... it’s a delicate balance. It’ll right itself.”

Though both regulars at the picturesque festival on their own, with Clooney’s premieres including “Gravity” and “Good Night and Good Luck,” and “Ad Astra” and “The Assassination of Jesse James...” among Pitt’s, only once have they walked the carpet together. No, it wasn’t for an Ocean’s film. It was in 2008, for the premiere of “Burn After Reading,” the madcap Coen brothers’ farce in which they share one memorable scene.

“In ‘Burn After Reading’ I got the extreme pleasure of shooting him in the face and I thought maybe we’d try it again 15 years later,” Clooney said with a laugh.

The two teased one another about each other’s age and relevance, with Clooney joking that Pitt is 74 and lucky to be working at his age. (Clooney, for the record, is 63. Pitt is 60.)

Pitt was waiting for a good idea to reunite with Clooney on screen and thought the idea of two cleaners who think they’re the best sounded fun. Their years of working together made their banter, and overlapping dialogue, natural to do.

“As I get older, just working with the people that I just really enjoy spending time with has become really important to me,” Pitt said.

When they got the script, they said Watts hadn’t specified who was playing which part so Pitt and Clooney got on the phone and figured it out for themselves.

Pitt arrived at the festival just days apart from his ex, Angelina Jolie, who received praise for her turn as opera singer Maria Callas in Pablo Larraín’s “Maria” and left Italy for another festival soon after.

Pitt and Jolie had been romantic partners for a decade when they married in 2014. Jolie filed for divorce in 2016, and a judge declared them single in 2019, but the divorce case has not been finalized with custody and financial issues still in dispute. Several weeks ago, a Los Angeles court granted a petition from the third-eldest child of the former couple to legally change her name from Shiloh Nouvel Jolie-Pitt to Shiloh Nouvel Jolie.

The film’s director, who catapulted from indies to the Tom Holland Spider-Man films, said in a director’s statement that this film is him trying to get back to street level after “seven years of swinging from skyscrapers and jumping through multiverse portals.” He was unable to speak about the film with his stars after testing positive for COVID-19.

“He flew all the way here and then he got COVID,” Clooney said. “So now we’re all going to get it.”



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
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Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."