They ate (pun intended). Read Variety's BonesAndAll cover story:
Timothée Chalamet has been on a wilder world tour than most rock stars.Bones and All
At Venice, Chalamet made headlines when he proclaimed that it’s “tough to be alive” in the age of social media, adding, “I think societal collapse is in the air.” When asked to elaborate on this assertion in London, he backpedals: “I think what I was saying was really, ‘What would it be like to grow up now?’” he says. “I guess I’m still growing up. Especially in the context of my career, I’m still growing.
Chalamet knows a little something about music. At the famed LaGuardia High School, he had the rap moniker Lil Timmy Tim. An uncovered video of him rapping about statistics class while wearing a backward baseball cap has been watched 10 million times on YouTube. Soon, he’ll be returning to those roots by channeling a young Bob Dylan in “Going Electric,” a biopic directed by James Mangold.
Zendaya will have a larger role in the second “Dune,” reprising her part as the warrior Chani. “She hasn’t wrapped yet,” he says, “and it’s amazing. She’s bringing exactly what she brought to the first one — which was incredible — but in greater abundance. And she’s really become a sister.
If you’re raising your eyebrows at someone describing “Silence of the Lambs” as “fun,” you haven’t met Guadagnino. The tall, chatty Italian director has spent his entire life obsessing over Dario Argento’s horror classic “Suspiria.” Following “Call Me by Your Name,” Guadagnino directed an elegant remake, in which flesh is ripped and heads explode.
Chalamet was in Rome doing reshoots for the first “Dune,” stuck in Europe during the pandemic, when Guadagnino sent him the “Bones and All” screenplay. They talked at length, and the actor realized that this could be the first project in which he might have a hand in shaping his character. Guadagnino told Russell and Chalamet that they had to sink their teeth into the role of real cannibals. “The intention was always that we were hopefully doing justice to the reality of these people’s lives,” says Russell.
“We came up with a lot of very subtle ideas about wearing the fatigue of being an eater on their faces and bodies — like scars in unpredictable places because of the reactions of the victims, who wounded them.”
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