In a shocking behind-the-scenes revelation, actor Stephen Graham has opened up about the harrowing experience of working with Hollywood A-lister Leonardo DiCaprio on the set of a high-octane film. The stark image of a chaotic car crash still lingers in Graham’s mind, one that left him with an unexpected physical fear – the possibility of accidentally breaking DiCaprio’s leg.
On-Set Antics
Stephen Graham, the co-creator and star of Adolescence, recently shared a hilarious and terrifying story about his experience on the set of Martin Scorsese’s 2002 epic drama, Gangs of New York. During an appearance on The Tonight Show Starring Jimmy Fallon, Graham recalled how he “got in trouble for a little bit” shortly after meeting Leonardo DiCaprio on set.
Graham, 51, asked DiCaprio for a turn driving a golf cart, which the actor used to navigate the large set at Cinecittà Studios in Rome. DiCaprio, 50, agreed, and Graham took the wheel, with their costar Alec McCowen seated in the back. As they drove the cart around the set, they reached the top of a “big hill,” and Graham decided to floor it, saying, “We were like the Flintstones, basically.”
Stephen Graham’s Near-Miss with Leonardo DiCaprio
However, as they sped down the hill, Graham realized that the golf cart’s back wheels had locked, causing the vehicle to fall. He described the scene, saying, “But a golf cart falling is kind of slow motion in itself, so it’s falling really slowly.” DiCaprio, who was seated in the front, looked on in shock, saying, “What the f—?”
Luckily, DiCaprio managed to get out of the way just in time, and they were all able to clear the falling cart and escape serious injury. Graham recalled McCowen’s reaction, saying, “Then Alec, who’s a lovely lad… he [tells me], ‘You’re an animal!’ And so my nickname became Ani.”
The Golf Cart Crash that Almost Shut Down Production
This near-miss could have had serious consequences for the production of Gangs of New York, which was already a complex and ambitious project. The film’s director, Martin Scorsese, is known for his meticulous attention to detail and his commitment to creating realistic and immersive cinematic experiences.
In this case, Graham’s antics could have resulted in serious injury to DiCaprio, which would have shut down production and potentially delayed the film’s release. Instead, the incident became a humorous anecdote that Graham could share years later, and a testament to the camaraderie and good humor of the cast and crew.
Alec McCowen’s Reaction to the Chaos
McCowen’s reaction to the incident is particularly noteworthy, as it highlights the sense of humor and camaraderie that existed on set. By dubbing Graham “Ani,” McCowen was able to diffuse the tension and turn a potentially disastrous situation into a lighthearted moment.
This kind of humor and camaraderie is essential for creating a positive and productive working environment, especially on a complex and demanding production like Gangs of New York. By fostering a sense of trust and respect among the cast and crew, Scorsese was able to create a film that is both critically acclaimed and beloved by audiences.
Behind the Scenes of Gangs of New York
Gangs of New York is a sweeping epic that explores the tumultuous history of New York City in the mid-19th century. The film features an all-star cast, including DiCaprio, Daniel Day-Lewis, and Cameron Diaz, and was widely praised for its cinematography, costume design, and direction.
The film’s production was marked by complexity and ambition, with Scorsese pushing the boundaries of what was possible on screen. From the elaborate sets and costumes to the intricate fight choreography and cinematography, every aspect of the film was carefully crafted to create a rich and immersive cinematic experience.
Despite the challenges and complexities of the production, the cast and crew of Gangs of New York were able to come together and create something truly special. The film’s success is a testament to the power of collaboration and creativity, and a reminder of the importance of fostering a positive and productive working environment.
The Art of Storytelling in Film
The Power of Cinema to Evoke Emotions
Cinema has long been recognized as a powerful medium for storytelling, capable of evoking strong emotions in audiences worldwide. The ability of film to transport viewers to new worlds, to make them laugh and cry, and to inspire them to new heights is unmatched by any other art form. The key to this power lies in the way that film can tap into our deepest desires, fears, and hopes, and to present them in a way that is both authentic and universal.
The Influence of Directors like Steven Spielberg
Ask anybody with a passing interest in movies who they think of when they hear the word “director”, and 9 times out of ten, you’ll get the same name: Steven Spielberg. The man is undoubtedly the most successful director of our time, perhaps of all time. He single-handedly invented the blockbuster with 1975’s JAWS, but he’s also responsible for some of the most viscerally powerful “serious” films ever made: SCHINDLER’S LIST (1993) and SAVING PRIVATE RYAN (1998). He’s one of the biggest personalities in entertainment, recognized the world over with several entries in the top ten highest-grossing films of all time. His brand has bled over into new media like videogames and television and his influence can be felt in the ambition of every single up-and-coming director.
Spielberg is an aspirational figure for many wannabe filmmakers because he’s proof positive that anyone with talent and passion could go on to become the biggest filmmaker of all time. Many of these filmmakers, myself included, will find parallels between Spielberg’s development and their own—to a point. In fact, the parallels stop right around the internship phase, unless you too got signed to a television-directing contract after showing your short film to an executive at Universal. My point is that Spielberg didn’t have the luxury of connections to get him in the door. What got him there was the singular desire and drive to make movies.
Stephen Graham Was Afraid of Breaking Leonardo DiCaprio’s Leg in Cart Crash – PEOPLE
Stephen Graham narrowly avoided giving Leonardo DiCaprio a major injury that could’ve shut down production on Gangs of New York. The Adolescence star and co-creator recalled how he “got in trouble for a little bit” shortly after meeting DiCaprio on the set of Martin Scorsese’s 2002 epic drama, during an appearance on The Tonight Show Starring Jimmy Fallon Wednesday, March 19. “Leo used to drive a golf cart — you know, the way they drive golf carts on big sets and stuff. So I asked him for a go; I was like, ‘Can I have a go on the golf cart?’ ” Graham, 51, told host Jimmy Fallon. “And he was like, ‘Uh … yeah, okay,’ ” the English actor added. Never miss a story — sign up for PEOPLE’s free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human-interest stories.
As the two and their costar Alec McCowen, who was seated in the back, were driving the cart around Cinecittà Studios in Rome, they reached the top of a “big hill.” “And golf carts aren’t that fast, are they? But going downhill, they are,” said the English actor. “I floored it … we were like the Flintstones, basically.” While attempting to clear the hill, “All of a sudden — you know how when you knock a golf cart into reverse and it takes its time? Well, if you knock it into reverse when you’re going quite fast, the back wheels lock,” Graham told Fallon, 50. “So as the back wheels lock, I’ve turned it, and as I’ve turned it, the whole thing’s just started to fall,” he continued. “But a golf cart falling is kind of slow motion it itself, so it’s falling really slowly.”
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Photo 12/Alamy Leonardo DiCaprio and Stephen Graham in ‘Gangs of New York’ (2002)
Related: Scary Stories from Actors Who Were Injured in On-Set Accidents
The earliest film I can remember seeing was a Spielberg film. It was E.T: THE EXTRATERRESTRIAL (1982). I could have only been three or four years old at the time, and I remember it well because it was during a tumultuous period in my brand-spanking-new life. My younger brother had just been born, and due to our growing family, my parents moved us out of the home in the working-class southeast Portland neighborhood in which I was born. As my architect father was designing and building the house that I would eventually spend the bulk of my childhood in, we lived in a small apartment out in the suburbs, with a large, vacant field serving as a backyard. One day my mother sat me down in front of our TV and popped in a VHS cassette of E.T. THE EXTRATERRESTRIAL while she prepared dinner. I don’t know why I connected with it at such an early age—perhaps the film’s suburban setting subconsciously connected with my own alienation that stemmed from my new, similarly-suburban surroundings. By the end of the film, I was a sobbing mess. Just soggy as all hell, blubbering as the credits rolled. My mother leaned out from the kitchen to ask what was wrong. I remember my reply very distinctly, delivered between wet gasps of air as my little frame shook: “It’s just SO SAD!!!”. Most people don’t really begin to start forming concrete memories until about four or five. And indeed, this early period of my life I can only remember in brief snippets, like a hazy half-forgotten dream (oddly enough, I can still remember some very vivid dreams from that time). But there was something about this movie that just cut right to the core of my little heart, searing itself into my permanent memory before I could really begin to process what I was even watching. It’s a great illustration of cinema’s profound emotional power in the hands of a capable filmmaker.
EARLY AMATEUR WO Benson Boone at the 67th Grammys Awards on Sunday at the Crypto.com Arena in Los Angeles. (Robert Gauthier / Los Angeles Times)
It all started with a joke about Timothée Chalamet’s wispy mustache. As comedian and host of the 67th Grammy Awards Trevor Noah patrols the crowd, he arrives at the table where Benson Boone is seated. He makes a jab about how Boone sported the facial hair first and announces the performance. The lights shine down on Boone and he puts on a somewhat believable look of shock. Within a matter of seconds, he pulls a microphone out of his jacket pocket. But the generated shock factor is nowhere near over. Supermodel Heidi Klum and comedian Nikki Glaser rip off Boone’s suit — he’s wearing a skin-tight, sequined unitard underneath — and sings “Beautiful Things.” He does his signature backflip and puts on a lively performance of the radio hit. He proves that the late Freddie Mercury isn’t the only one capable of rocking a tight powder-blue body suit — while literally flipping off a piano. The crowd swoons and giggles.
Doechii at the 67th Grammys Awards on Sunday at the Crypto.com Arena in Los Angeles. (Robert Gauthier / Los Angeles Times)
Just when the performance seems to conclude, Doechii, in a gray suit and tie, answers to a series of low-pitched whistle tones. She takes the stage on a raised industrial platform. With a swarm of dancers all wearing the same gray uniform, they contort their bodies around her, creating a collective spectacle. As she raps “Catfish” and “Denial Is a River,” tracks off her newly Grammy-winning mixtape, “Alligator Bites Never Heal,” she strips down to white underwear and a bra. The entire arena is on the edge of their seats, hanging on to every bar she spits. When her portion of the stage goes dark, the camera pans to SZA’s face as she cheers at the top of her lungs and Billie Eilish inaudibly yelling “Oh, my god.” Doechii’s industrial set transitions into a red-hued performance for newcomer Teddy Swims. In a full-length trench coat, he belts a violin-powered version of “Lose Control,” which is a single off “I’ve Tried Everything but Therapy (Part 1).” Through his diamond-encrusted teeth, the 31-year-old musician focuses his performance on his vocal ability.
Conclusion
In the latest reveal from the set of the forthcoming film, a shocking tale of on-set jitters has come to light. Stephen Graham, the renowned British actor, candidly confessed to feeling a deep-seated fear of causing harm to his co-star Leonardo DiCaprio during a pivotal car crash scene. The actor’s candid admission provides a glimpse into the pressures and anxieties that often go unspoken behind the scenes of Hollywood’s most high-profile productions. Graham’s fear was rooted in a genuine concern for DiCaprio’s well-being, highlighting the immense respect and camaraderie that exists among actors in the industry.
The significance of this revelation cannot be overstated, serving as a poignant reminder of the intensity and physicality involved in creating cinematic magic. The incident underscores the importance of prioritizing actor safety and the need for meticulous planning in high-stakes film productions. Moreover, it humanizes the actors involved, revealing the very real emotions and fears that lie beneath the surface of their performances. As the entertainment industry continues to evolve, it will be essential to address these concerns and prioritize the well-being of the talented individuals who bring stories to life.
As we move forward, it’s clear that the lines between reality and fiction are increasingly blurred, and the concerns of actors will continue to take center stage. Graham’s confession serves as a powerful reminder of the importance of empathy and understanding in the pursuit of artistic excellence. By shedding light on the unseen struggles of the industry’s most talented individuals, we can foster a more compassionate and supportive environment, allowing creatives to push the boundaries of their craft with confidence and courage.