DID YOU READ

Tim Grierson on Leonardo DiCaprio and Kate Winslet’s Remarkable Post-“Titanic” Careers

Leonardo DiCaprio and Kate Winslet

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Every once in a while, websites will run one of those “Where Are They Now?” features where they’ll spotlight a beloved old movie or TV show and then let you know what its cast members are up to these days. Normally, one of the actors has remained successful, while the rest of them had OK careers whose highlight was this specific movie or TV show. I realize such features are popular, but they always make me sorta sad. So many of these poor people are, say, 20 years removed from their biggest hit — it must be somewhat difficult to only be remembered for something a lifetime ago.

That’s what makes the 3D re-release of writer-director James Cameron’s “Titanic” this week so unusual. The Oscar-winning romantic drama, which opened December 1997, featured two rising young stars who haven’t been associated with a hit that mammoth since. (To be fair, though, almost no one has: It wasn’t until “Avatar” came around that “Titanic” was knocked off its perch as the highest-grossing movie of all time.) Leonardo DiCaprio and Kate Winslet became household names thanks to “Titanic,” but, somewhat miraculously, neither of them feel hopelessly chained to that film. They’ve gone on to impressive careers. That doesn’t happen that often.

You could argue that lots of people knew DiCaprio and Winslet before “Titanic.” And while that’s true, it’s important to go back and see what each actor’s biggest hit was before “Titanic.” For DiCaprio, it was “Romeo + Juliet,” which made $46 million and was sort of a dry run for Cameron’s high-stakes romantic tragedy. Meanwhile, Winslet had “Sense and Sensibility,” the Jane Austen adaptation that earned Winslet the first of six Oscar nominations and grossed $43 million. By comparison, “Titanic” made $601 million, which was far more than the two stars’ entire filmography combined to that point. Audiences may have been aware of DiCaprio and Winslet, but Cameron’s smash made them superstars.

The challenge, though, is what a superstar does next. Although Winslet was the one to get an Oscar nomination from “Titanic,” DiCaprio was the bigger name, and so his subsequent films had to contend with the expectations that they featured “the star of ‘Titanic.’” “The Man in the Iron Mask” was a modest performer, he had a small (but really funny) part in Woody Allen’s “Celebrity,” and then he was the lead in “The Beach,” a critical and commercial disappointment that, just three years removed from “Titanic,” started to make people wonder if his star was beginning to wane.

But it was then that DiCaprio made a career decision that’s helped him immensely since: aligning himself with A-list filmmakers. In December 2002, he returned with Martin Scorsese’s “Gangs of New York” and Steven Spielberg’s “Catch Me If You Can.” Additionally, DiCaprio, who had one Oscar nomination under his belt already with “What’s Eating Gilbert Grape,” began making the transition from marquee dreamboat to serious actor. That hasn’t always gone smoothly — some still complain that his performances in “J. Edgar” and “The Aviator” lack the necessary authority and grit — but with two Oscar nominations and five $100-million-plus hits in the last 10 years, he’s clearly established himself as a star who earns both critical and commercial respect. That was hardly a sure thing when “Titanic” came out and he was just 23.

Unlike DiCaprio, Winslet never had such pressure after “Titanic.” Maybe it was because DiCaprio already had a reputation as a Hollywood bad boy, but Winslet wasn’t perceived as a “celebrity” in the same way. She was an actress, appearing in acclaimed indies like “Heavenly Creatures,” “Jude” and Kenneth Branagh’s “Hamlet.” If her co-star’s turn in “Titanic” seemed part of a well-designed ascent to stardom, Winslet’s involvement was a bit more out of leftfield.

So it shouldn’t have been a surprise that after “Titanic,” she went back to indies, very happily doing “Quills” or “Iris” and not worrying if audiences wondered why she wasn’t interesting in the spotlight. She’s done the occasional studio movie, like the romantic comedy “The Holiday,” but mostly the art house has been her domain, and she’s done terrific work in films like “Eternal Sunshine of the Spotless Mind” and “Little Children.” (She also won Best Actress for “The Reader.”) But it’s worth noting that the biggest hit she’s been associated with since “Titanic” was last year’s “Contagion,” which only made $76 million. But wisely, she’s never made box office numbers the way to gauge her success — it’s from the impressive body of work she’s already amassed at age 36.

Ironically, this weekend’s other big release is also beset with nostalgia: “American Reunion.” Looking at the poster for the film, which recreates the group-shot photo from “American Pie,” you can’t help but glance at the different actors and consider which ones have disappeared and which ones have had thriving careers. (Of that bunch, would you have guessed that Alyson Hannigan would be doing as well as any of them?) But with “Titanic,” there’s no such whatever-happened-to-so-and-so? awkwardness. In fact, we almost take it for granted that these two young stars have continued to be major onscreen presences. Honestly, they made it look rather easy. Even when they reunited for “Revolutionary Road” in 2008, the “Titanic” connection (though obvious) wasn’t that big of a deal. They’re two of our most constantly rewarding stars — them being in another movie together seemed natural.

Maybe that’s why both DiCaprio and Winslet have expressed a little embarrassment at seeing “Titanic” again 15 years later. Cameron said that he showed the film to DiCaprio and “[h]e said to me, ‘I’m such a young punk. Look at me.’ He was practically crawling under the seat.” As for Winslet, “I’ve seen little pieces of it,” she said, “but it’s a whole different me and we look much younger and our acting was different, hopefully not as good as now.”

And they’re both right. It’s a nice feather in an actor’s cap to be part of a film as popular and acclaimed as “Titanic.” But perhaps it’s even better to have gone on to do even better work since.

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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

car notes note

This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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Dark Arts

Foot Fetish Jesus And Other Nightmares

Meet the minds behind Comedy Crib's latest series, Quirks and The Mirror.

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The Mirror and Quirks are really, really strange. Deeply disturbing yet hauntingly beautiful. But you really don’t need to read a synopsis of either of the aforementioned shows to understand the exact variety of nightmare-bonkers comedy these shows deliver — that’s why the good lord made links. Instead, take a peek behind the curtain and meet the creators.

Quirks

Let’s start with Kevin Tosi. Kevin does the whole show by himself. That doesn’t mean he’s a loner — Kevin has a day job with actual humans. But that day job is copywriting. So it’s only natural that his suppressed demons would manifest themselves in biting cartoon form, including “Foot Fetish Jesus”, in ways that somehow speak to all of us. If only all copywriters channeled their inner f*ckedupness into such…expressive art.

The Mirror

Onward to the folks at Wham City Comedy.

These guys aren’t your typical comedy collective in that their work is way more left-field and even elevated than your standard digital short. More funny weird than funny ha-ha. They’ve done collaborations with musicians like Beach House, Dan Deacon & Wye Oak, television networks (obviously), and others. Yeah they get paid, but their motivation feels deeper. Darker. Most of them are video artists, and that explains a lot.

See more of The Mirror and Quirks on IFC.com and the IFC app.

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