Angelina Jolie and Brad Pitt are happy in their marriage — despite what you …

30 Oct 2015 | Author: | No comments yet »

Angelina Jolie Pitt breaks down the exclusive new By the Sea trailer.

“I’m counting on the audience to know that if it was close to us at all, we could never make this film,” Jolie, 40, tells Tom Brokaw in a new interview slated to air on the “Today” show on Monday morning.Rumors, begone. and are one of Hollywood’s most talked-about couples, but the pair have one thing in common that goes without saying: an unwavering love and respect for one another.Earlier this year, Angelina Jolie Pitt told EW that writing, directing and starring in By the Sea (in theaters Nov. 13) was made easier thanks to her leading man, husband Brad Pitt. “It was comforting in that he’s a great actor and we produced it together.

The couple also talks about Jolie’s recent surgeries: a double mastectomy in 2013 and the removal of her overies and fallopian tubes in March because of a gene mutation that raises her risk of overian and breast cancer. “I knew through the surgeries that he (Pitt) was on my side and that this wasn’t something where I was gonna feel less of a woman, because my husband wasn’t gonna let that happen,” Jolie says. “Whatever’s got to be done to keep the family together as possible is gonna be done,” he says. “(The operation) was her charge, no question. In a rare joint interview set to air Monday, Nov. 2, the couple, who secretly tied the knot in France in August 2014, sat down with NBC’s Tom Brokaw to open up about their life as a married couple. Of course,” I stumble, apologising clumsily that indeed his call was expected and, despite appearances, the receiver is not another too-casual Australian. She’s decisive, incredibly intuitive, knife-sharp, and might I say, sexy at her post,” Pitt told ‘V Magazine’. “It was probably not the wisest way to spend a honeymoon. It’s just that these phone calls tend to be highly choreographed enterprises, timed to the minute and connected by a personal assistant or publicist, most of whom then monitor the tone of the conversation.

There’s many things that can go wrong and go many different directions.” “You never know what a reaction is — you have to just make the choices you make in life. It was an emotionally charged set — even though the characters are very different from us, when you act you still express real emotion.” A closer look at those real (and raw) feelings are on display in the film’s latest trailer. During a period in which the Hollywood studios have wrested some power back from the stars — or at least the financiers and audiences have shifted their preference to films featuring familiar characters or books rather than familiar movie stars — Pitt is sitting comfortably. I like films that leave questions and cause discussion.” EW asked Jolie PItt what she hopes audiences will take away from seeing this new trailer. “This trailer hints at one of the bolder aspects in the narrative.

It represented an early zenith for Pitt the producer as his company Plan B Entertainment underscored its credibility as a generator of quality, socially significant projects. The searing period drama about the 1841 abduction of a free black man from Washington, DC, was more than a worthy film; it was the first best picture winner to be directed and produced by a black filmmaker (Britain’s Steve McQueen) and written by an African-American (John Ridley).

As an aside, Plan B, which Pitt runs with Dede Gardner and Jeremy Kleiner, received the Producers Guild of America’s 2015 Visionary Award earlier this year. But it was more about getting 12 Years a Slave out here, which was part of our bleakest history and yet we didn’t talk about it that way,” he says. “It was very strange there were no films made since Roots, which was a teleplay, and it took a Brit, Steve McQueen, to say: how come there’s no movies about American slavery? We didn’t say it.” A testament to his early achievements is the number of the films he has produced that had credible claims to the best picture Oscar (he has a producer’s credit on Martin Scorsese’s The Departed , but only one producer, Graham King, was awarded the top prize). His productions Moneyball and The Tree of Life had their dedicated supporters when they were pipped for the top Oscar by The Artist in 2012; and last year the Martin Luther King Jr tale Selma was a much admired best-picture nominee but was trumped by Birdman. Meanwhile, Plan B’s adaptation with Ryan Murphy of Larry Kramer’s seminal AIDS stage play The Normal Heart won an Emmy award as outstanding television movie last year.

The accolades grow, but Pitt’s outstanding achievement as a producer, which made the industry sit up and take notice, was his success in salvaging the 2013 zombie drama World War Z. The film, which features Pitt as a UN investigator trying to halt a zombie pandemic, encountered a litany of travails, including reshoots, issues with its director, Marc Forster, the lack of a final act, rewrites and the public airing of all its troubles in a prominent Vanity Fair article.

Pitt identifies with the dual world champion who abruptly quit motorbike racing in 2012, citing his weariness with the political machinations of the sport. “Going back to Casey, you just want to be a part of the purity of the race and not all the side show that went with it,” Pitt says of the divide between his on-screen and off-screen lives. “The dog-and-pony show of it all, the endless press requirements and the constant attention and bloggers and opinion — I completely understand what Casey objected to.” For Pitt — whose marriage with Jolie remains Hollywood’s most glamorous if, for many, frustratingly private — the sideshow is tiresome. You sense the relief as he enthuses about the process of creation and documenting his true love, motorbikes. “And producing, you’re behind the camera, you buy material, you develop the material, you put all the pieces and the talent together to tell that material, you edit that material, you fight for its release and how it’s going to be shown, and I quite enjoy that,” he says. Late last year, Jolie told The Weekend Australian she was almost done with acting, saying: “I’m sure I’ve got a few more in me but I’d be very happy to say goodbye to that part of my life … [and] unless I’m sure there’s a role or something I should do or [which] really means something to me, I’d rather spend my time telling stories from behind the camera.” “Not directing, but certainly I’m older now and want to spend more time with my family, and I get to do that through producing, so yeah I’m peeling back,” he says. Plan B has a broad slate of projects ranging across size and genre, including the war satire War Machine, which is being directed by David Michod, the Australian director of Animal Kingdom, and will be released through the streaming platform Netflix.

The package is not designed, we’ve just kind of gone where we found those opportunities.” Hitting the Apex is one of those opportunities, a pleasing diversion that reflects one of his passions. Pitt narrates and produces the film by Mark Neale documenting the scintillating 2011-13 MotoGP seasons and the feuds among the disparate personalities driving those seasons: Valentino Rossi, Marc Marquez, Jorge Lorenzo, Dani Pedrosa, Marco Simoncelli and Stoner.

Just this week, Rossi underlined his brilliance and volatility when, during the Malaysian Grand Prix, he kicked Marquez off the track during a mid-race fight. His penalty — being assigned to the back of the grid in this weekend’s title-deciding final race in Valencia — all but lost him the chance for his seventh championship, as he currently leads Lorenzo by seven points in the championship. Documenting it was easy, at least for Pitt; MotoGP is Pitt’s true sporting love (Neale nearly went bankrupt twice before Pitt’s company saved the day).

The latter, who had once made music videos for U2 and Paul Weller, forged a solid documentary career with films such as No Maps for These Territories, which showcased cyberpunk author William Gibson, and earlier forays into MotoGP, Faster and Fastest, narrated by another bike nut, Ewan McGregor. McGregor was trying to develop a MotoGP drama for film with Neale before Pitt’s Plan B was “up and running and pretty strong, and he came to us just to make the ride a little simpler”, Pitt says. “I feel for the documentarian,” Pitt adds. “They put in four years into a film and each month they’re spending their last dime, getting more money to put the pieces together. It’s a very dedicated profession.” Neale wanted to focus on the seasons from the end of 2010 to 2013 because of the changing of the guard among riders and bikes, with Rossi’s abysmal jump from Yamaha to Ducati and Stoner’s retirement, Pitt says, “at the top of his game when he certainly had another championship or two in his pocket”. Pedrosa, for instance, is very forthcoming about the regret of a singular moment on which his career seemed to pivot, yet sanguine about his knowledge of how that transformed his life.

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