What a year it’s been for the Oscar winners. Fresh from his success with the Holocaust drama , Jonathan Glazer delivered an austere deconstruction of Shakespeare starring Scarlett Johansson. In early May, we saw the latest amuse bouche from Wes Anderson, featuring Jason Schwartzman, Rupert Friend and Anderson himself as a trio of eccentric mountaineers stuck up Mont Blanc in a blizzard.
Meanwhile, Martin Scorsese premiered a biting celebrity satire starring Timothee Chalamet. Greeted with relief by critics who fidgeted through all 31⁄2 hours of waiting for a bathroom break, Scorsese’s new film clocked in at a brisk 90 seconds. That these were not feature-length movies but adverts for luxury brands – Prada bags, Montblanc pens and a Chanel fragrance – you wouldn’t have guessed from the months of interviews, teaser images and behind-the-scenes videos that accompanied their release.
Chalamet even declared his collaboration with Scorsese “one of the highest honours, if not the highest honour, of my career”. He may not have been exaggerating. Where once an advertising contract for a movie star contained clauses forbidding its use anywhere but far-off Asia, these days it’s not just part of the job, it is the job.
The 28-year-old Chalamet was reportedly paid $US35 million ($53.1 million) to promote Bleu de Chanel – more than the salary for every film of his up to this point in his career combined, including ($US8 million), ($US2 million) and ($US3 million). And t.