The teaser trailer for Martin Scorsese’s highly-anticipated Killers of the Flower Moon released this morning offers the first look at the sweeping scope of the director’s epic, 3 hour and 26 minute film.

Watch it above.

Over images of turn-of-the 20th century Oklahoma boomtown, we hear a Midwesterm-accented Leonardo DiCaprio (as Ernest Burkhart) relate basics of the Osage Nation’s story as it relates to the invasion of the white man, in Pawhuska, Oklahoma.

At the turn of the 20th century, oil brought a fortune to the Osage Nation, whose members became some of the richest people in the world, virtually overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted and stole as much Osage money as they could before resorting to murder.

Based on a true story and told through the romance between Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone), Killers of the Flower Moon is an epic western crime saga, where real love crosses paths with unspeakable betrayal.

Hailing from Apple Studios, the film is directed and produced by Oscar-winner Martin Scorsese and written by Scorsese and Eric Roth. Robert De Niro and Jesse Plemons also star. It is produced by Imperative Entertainment, Sikelia Productions and Appian Way. Other roducers include Dan Friedkin, Bradley Thomas and Daniel Lupi. Executive producers are by Leonardo DiCaprio, Rick Yorn, Adam Sommer, Marianne Bower, Lisa Frechette, John Atwood, Shea Kammer and Niels Juul.

The film will premiere in select theaters on October 6, 2023 before streaming globally on Apple TV+.

Welcome to My Favorite Scene! In this series, IndieWire speaks to actors behind a few of our favorite television performances about their personal-best onscreen moment and how it came together.

When Cate Blanchett first guest-starred in “Documentary Now!”, the two-time Oscar-winner played a part suited for her elite status. Directors Alex Buono and Rhys Thomas needed to cast for Izabella Barta, a Marina Abramović-inspired performance artist whose renowned work includes everything from sitting inside a rotating clothes dryer to flinging her paint-soaked body against a blank wall. Blanchett, no ordinary thespian, was the logical choice. If she can bring immediate veracity to both Lydia Tár, a pseudo-fictional character, and Katharine Hepburn, a very real Hollywood legend, then she can instill comedic credence to a legend of the art world, while perfectly serving the episode’s winking parody.

Her return to “Documentary Now,” however, somehow extends the actor’s range even further. In Season 4, Episode 3, “Two Hairdressers in Bagglyport,” Blanchett plays an ordinary assistant at a seaside salon. Alice, a widow who works for free, is a bit of a klutz. She sweeps hair in circles. She combs out curls with the force one would apply to a stuck pickle jar. Her giant block glasses don’t appear to help all that much, and it’s a minor miracle she hasn’t lopped off one of her older client’s dangling earlobes.

But the customers love Alice, as does her the shop owner, Edwina (Harriet Walter). She’s kind and generous. She’s loyal and always does her best. Blanchett lends Alice a deft blend of warm interiority and oddball energy — she’s familiar, yet unique, lovable yet often inept, in her own world but indispensable to this one.

Written by Seth Meyers and directed by Buono and Thomas, the episode actually originated from Blanchett, who pitched the idea of an episode based on “Three Salons at the Seaside,” a 1994 short film directed by Philippa Lowthorpe. She loved working with the crew so much during Season 3’s “Waiting for the Artist,” she couldn’t wait to return to “Documentary Now!” and while it took a number of years for her idea to come to fruition, she’s still thrilled by the results — so thrilled, she enthusiastically agreed to a half-hour Zoom conversation with IndieWire, in which she outlined her appreciation of Lowthorpe’s “beautiful” original documentary, the “Doc Now!” shooting process, and the series overall. (Yes, she saw the Werner Herzog episode, “which I love — I love it.”)

This interview has been edited for length and clarity.

IndieWire: Can you talk a little bit about how you ended up in this episode and where the idea came from?

Cate Blanchett: I was on the set of “Mrs. America” and a dear friend of mine was doing my hair. I was playing Phyllis Schlafly, [so] it was like seven hours under the hair dryer to play that character, and we got talking about people’s relationship to their hairdresser. He said, “Oh, have you ever seen that little documentary [‘Three Salons at the Seaside’]?” I laughed and I cried — just that the day was filled that these women in a hairdressing salon talking about death. Death is, you know, it can be very funny.

I had such a great time doing “Waiting for the Artist.” I’d spoken to Andrew [Singer] at Broadway Video, and he said, “Look, if you ever have any documentaries that you love, [let me know.]” So I sent it to Andrew and he loved it, and he showed it to Seth [Meyers] and I sent it to Alex [Buono] and Rhys [Thomas] and they loved it, too. We kept in sporadic contact, and I saw we were both filming in Budapest, and we caught up, just friendly. Then out of the blue, they said, “I have a script to send you.” I went, “Oh my God, I thought you guys had filed this away in the bottom of your sock drawer.” I was so surprised by it, and I went, “Yes, of course, let’s do it.”

Then, while we were shooting, over a drink they said to me the reason why we’re in the U.K. is because of this idea. Well, at least that’s what they told me. I don’t know if it’s true. He probably said that to everyone.

It felt like this episode really drew attention to that original documentary, “Three Salons at the Seaside,” in a sincere way.

Sometimes in the early [episodes,] like their “Grey Gardens” one, what they do with it seems more one-to-one with the original. It holds the hand of the original. I think in a way, this one does too, because these women in the original documentary are just such glorious creations that you have to honor them. I think that’s kind of the tone — as irreverent as they are, as out there and often offensive as they can be, they’re really a polite bunch of gentlemen. This particular documentary, you could feel the love of their own grandmothers in it, I think.

Was there a scene that stood out to you in the original documentary that you wanted to honor or capture in your own way?

In our iteration of it, I really love the taking of the photographs. [Shooting this series is] so fast and furious. You never know what’s going to happen. You know those weird Japanese game shows of the ‘90s where people used to stand in front of the pyramids and put magnifying glasses to the nipples and see how long they can stand it? That’s the process of shooting these things.

[So] the actual putting together of the photo book, it was a surprise to me. I took some of the pictures and then they took some of the pictures because it’s the way Alex and Rhys work. The making of that book and the unveiling of the book was particularly memorable.

But in the original film, I loved the handbag. The idea that there are so many funerals and the owner of this particular salon didn’t want the women to go unprepared. So she kept a little funeral bag there and a list of when people had died because she didn’t want people to get the dates of the death wrong. And inside the funeral bag was a tissue and a mint. She’d really thought about it, this funeral bag.

It’s quite a sweet film.

The amazing thing was that we shot in the original salon. Of course, it’s had a makeover several times, but the woman who used to run the salon was there, and she came along with her dogs. Not a lot has changed.

So it’s still being used as a salon today?

Yeah, it’s still a salon. And she was really, really lovely.

What was it like working with all the women who played clients? There were so many and, even in a short amount of time, they each had their own personalities and great little moments.

I remember Rhys saying to me there were literally hundreds of people that they could have cast. They were hilarious. And so up for it. It was so much fun. The outtakes, we’ve got three hours worth of gems where these women would just riff — and they’d riff off one another. They used to have this beauty pageant down by the pier, and there was one woman who brought in her big scrapbook because she was Miss Blackpool Pier from 1957 or something. She was a hot potato in her day. They lived.

And you really went to work on them. The physical comedy is outstanding. That scene where you’re combing a curl out of a client’s hair — I thought you were going to fall over.

It’s so loose. I love it. I really loved doing “Waiting for the Artist” and this. I’ve got a dear friend who’s a visual artist, Julian Rosefeldt. We did a thing called “Manifesto,” which we shot super fast, no rehearsal. We talked about things technically, but there’s no time to overthink anything and no time to really plan. You come in, and you muck around. [On ‘Documentary Now!’] it’s like one set is set up where someone’s doing something in the kitchen, quietly, while something else is being filmed in the main body at the salon. And you move between the set simultaneously, so there’s no preciousness at all.

It’s almost like doing a silent movie. They’ll often talk through the take. And they’ll shoot, I’ll step behind the camera and say, “Oh, I see if I move a bit more to the left, it’ll be better.” It’s incredibly, incredibly fluid. […] It’s akin to a theatrical rehearsal room for me, or the Australian film industry, where if you’re an actor and you’re standing next to something that the gaffers can’t pick up, then you pick up and move the equipment. You are your own roadie on this one.

How did you settle on Alice’s accent?

Oh, I don’t know that we did land, to be honest. [laughs] I don’t know.

It plays very well!

I think it was probably Blackpool via New Delhi. I don’t know what it ended up being. I didn’t listen to Fred [Armisen] too much. [laughs] But yeah, it was all from the [original] documentary.

Have you sent any more pitches to the “Documentary Now!” team?

What, that they can sit on for another seven years? [laughs] You know, I haven’t. But I’d work with them again in a heartbeat. I absolutely love it. I hope they’ll do [another season], but that’s what’s so special about them. It’s very rare that a series continues getting deeper and richer and continues to kind of surprise not only viewers, but to surprise itself internally. They don’t work to a delivery schedule, just once they’ve got enough ideas that they’re really excited by, they’ll bunch it together and they’ll do [another season.] You can feel it’s like they’re getting the band back together again. It’s a really great environment to be around.

Did you get to keep the photo book — the one made for the show, with Alice on the cover?

I have it somewhere, I do, I actually do. I love it.

That’s good. It’s a perfect keepsake.

Yes! And look, I’ve got a new headshot out of it, so.

“Documentary Now!” Season 4 is available from IFC. All four seasons are now streaming on Netflix.

While delivering the commencement speech to graduating students Wednesday at Columbia University’s Graduate School of Journalism, Christiane Amanpour became the first CNN anchor to publicly criticize the network’s Donald Trump town hall.

In the speech, which was brought to wider attention by CNN media reporter Oliver Darcy in the latest Reliable Sources newsletter, Amanpour detailed a conversation she had about the event with CNN CEO Chris Licht, and then used her speech in part to rebut the primary arguments Licht and other CNN figures have used to defend the town hall from critics.

You can watch the entire speech above at the top of the page. Amanpour’s remarks begin about 40 minutes in.

Airing Wednesday, May 10, the town hall, moderated by former Tucker Carlson employee Kaitlan Collins, became a reputational disaster for CNN. Critics during and after noted how Trump was allowed to lie again and again with very little pushback on a variety of subjects. It was also noted that at one point Trump defamed E. Jean Carroll, the woman who had successfully sued him for sexual assault and defamation the day before — and he even insulted Collins to her face. In addition to the backlash, the event may also have contributed to a massive drop in viewership for CNN just two days later.

Amanpour set the scene early in her speech, telling graduates that journalism is, at its core, “a public service,” and that above all it is “about the truth.” Continuing on these concepts, she later said that the role of a journalist is “to expose the injustices, the inequities, the human rights abuses, and to give the voiceless their chance to be seen and heard, and especially to speak truth to power.”

“To hold the powerful accountable is not just a slogan, it is vital. And when we do it well, it makes a huge difference. And when we don’t, it makes an equal and opposite difference,” she said. “For better and for worse, I’ve always opted to speak out when staying silent might have been easier.”

This led her to bring up the town hall. She described how she recently spoke to Licht personally, which she described as a cordial and frank encounter. And then, Amanpour took a closer look at what then event’s defenders have said.

Those of you paying attention since last week of course know that CNN brass believes they did a public good. Many of CNN’s on-air talent have expressed the same sentiment, including primetime mainstay Anderson Cooper, who the day after the show insisted the town hall informed viewers of things they might not know about Trump — and even, essentially, said critics were being closed-minded.

Amanpour didn’t mention Cooper by name, but in her remarks she seemed to respond directly to him.

“The fact the American people voted 3 times against Trump and Trumpism — 2018, 2020, 2022 — also speaks volumes,” she said. “We’ve done our duty, we’ve told the story, we’ve put that in everybody’s awareness, and people have had the opportunity to make their choices, and they have done.”

“I still respectfully disagree with allowing Donald Trump to appear in that particular format,” she continued. “We know Trump and his tendencies. Everyone does. He just seizes the stage and dominates. No matter how much flack the moderator tries to aim at the incoming, it doesn’t often work. For me, I would have dropped the mic at ‘nasty person,’ but then that’s me.”

Amanpour next addressed graduating students, and described the town hall as, “a very well-timed, practical masterclass” on what could have been “done better.”

Noting that the her colleagues in the media “still haven’t learned how to cover Donald Trump,” she suggested, “Maybe we should revert back to the newspaper editors and TV chiefs of the 1950s, who in the end refused to allow McCarthyism onto their pages, unless his foul lies, his witch hunts and his rants reached the basic evidence level required in a court of law.”

“His influence gradually decreased with all but his fervent colleagues and cults,” she added. “So maybe less is more,” she suggested. “Maybe live is not always right.”

Later, Amanpour also offered advice to the graduates: “Be truthful, but not neutral. Bothsidesism is not always objectivity. It does not get you to the truth. Drawing false moral or factual equivalence is neither objective or truthful. Objectivity is our golden rule and it is in weighing all the sides and hearing all the evidence, but not rushing to equate them when there is no equating.”

“There is a 100% connection between a robust, independent, free and fair press and a functioning democracy and the advance of human rights and justice,” Amanpour added.

Watch the whole thing above.