The second trailer for Scarlett’s upcoming movie Jurassic World Rebirth has been release, We get to see a ton more new footage of Scarlett in this one as well as more of the story. You can watch it below and caps are in the gallery.

Five years post-Jurassic World: Dominion (2022), an expedition braves isolated equatorial regions to extract DNA from three massive prehistoric creatures for a groundbreaking medical breakthrough.

“That was the moment where all of us were like, I think this is going to work.” Scarlett Johansson takes a walk down memory lane as she rewatches scenes from her classic works including ‘Ghost World,’ ‘The Avengers,’ ‘Lost in Translation,’ ‘Her,’ ‘Marriage Story’ and more. Scarlett opens up about the “blind faith” her and her ‘Avengers’ costars had to have in the movie, the extensive recording process for ‘Her,’ Adam Driver’s “no-bullsh–t” style while working on ‘Marriage Story’ and so much more.

To go with the interview I just post Scarlett is as well on the cover of the ‘Deadline Hollywood’s Special Issue for the Disruptors & Cannes Film Festiva”. I have added in the full digital scans to the gallery from it.

deadline.com – The director of Eleanor the Great and star of Jurassic World Rebirth on being sexualized as a teen, how “we’re being muzzled” by Trump’s tech allies, and more.

Whatever kind of diner food you’re into is going to be delicious—and also enormous.”

Scarlett Johansson is priming me on what to order at the Ritz Diner, a 60-year-old institution in her Upper East Side neighborhood. She’s just walked in wearing bulky circumaural headphones, a plush turquoise turtleneck, and an old Yankees cap, and we’re sitting in a small booth by a window with the blinds closed. Today may technically still be in the midst of a dreary New York winter, but this buoyant mid-March afternoon—the temperature inching toward 60 degrees, the sun brightly shining—is signaling the beginning of spring. Before ordering a turkey sandwich on rye, Johansson suggests a change in the season will do us all some good: “It’s such a weird time.”

She smiles the kind of nervous smile my mother gives me when she’s spent too many hours doomscrolling. “For me, there’s a blanket of unease,” she says. “Every day it feels like you’re going to get hit with some news that’s disturbing.” She asks for a black coffee and a seltzer. I tell her my husband is urging me to disable push alerts on my phone. “No, I get it,” she says. “It’s awful. I’m thinking, Should I just get rid of my whole news feed now?”

We trade a few more stories about general political anxiety before Johansson downloads me on her experience at the Oscars from a week prior. She presented alongside June Squibb, the 95-year-old star of Johansson’s feature directorial debut, Eleanor the Great—which, it just so happens, includes the Ritz Diner as a key location. They nailed a bit about Squibb actually being the latest disguise of 34-year-old Bill Skarsgård, the hunky shape-shifting star of Nosferatu and It. “June was so excited, it made me feel excited too,” Johansson says. Otherwise, she has some beef with the Oscars telecast: “Why was it so long?” I suggest that the elongated tribute to the James Bond franchise might be one possible culprit. “No comment,” Johansson says, then comments, “It felt like an ad placement. What a weird thing.” She didn’t watch the whole tribute but gauged the reaction at an after-party. “People were like, ‘What the hell was that?’?”

Johansson last attended the Oscars five years ago, when she was a double nominee for her devastating turns in Marriage Story and Jojo Rabbit. Back then, Hollywood’s resistance to Donald Trump remained voluble. Now he’s barely acknowledged at public events, including the Academy Awards. I ask what Johansson thinks of this shift, since before Trump’s reelection she’d called the idea of him becoming president again “unfathomable.” She reminds me of who attended Trump’s inauguration in January.

“These are people that are funding studios. It’s all these big tech guys that are funding our industry, and funding the Oscars, and so there you go,” Johansson says. “I guess we’re being muzzled in all these different ways, because the truth is that these big tech companies are completely enmeshed in all aspects of our lives.” How do you fight that? “I don’t know how you fight that,” she says, pointing to The Apprentice, the lightning rod Trump tale starring Sebastian Stan that most studios refused to touch. (It was acquired by the small distributor Briarcliff Entertainment and received two Oscar nominations.) “Here’s where you would go, ‘Okay, you can fight it by making stuff like that,’?” she says. “But then what happened with the release? It was buried.”

As her friends will tell you, Johansson is among the most outspoken A-listers we’ve got. “There’s a leadership quality inherent in everything she does,” says her fellow Avenger Robert Downey Jr. In 2021 Johansson sued the Walt Disney Company after the studio released Black Widow simultaneously in theaters and on Disney+, which was a watershed moment in actors’ fight for fair compensation in the streaming era. After reaching a settlement, she got right back into business with the Mouse House, spearheading a Tower of Terror movie, which she is still working on.

Scarlett is featured in yet another magazine for her directing, for the upcoming Cairns film festival this time for “The Wrap (The 2025 Cannes Directors Portfolio)” magazine with a new photoshoot. Only 1 photo is out but we have the scan in the gallery now.

With the Empire magazine that just came out we got to as well get some new movie stills from Jurassic World Rebirth. And now the stills that were in the magazine have been release in HQ and added to the gallery. A totle of 7 new ones have been added and it looks to be a fun ride of a movie.

The first behind the scenes photos from Scarlett’s upcoming movie that she has direct Eleanor the Great have come out. You can see Scarlett working behind the camera and talking to the cast in these photos.

To go with the interview I just post Scarlett is as well on the cover of the ‘Deadline Hollywood’s Special Issue for the Disruptors & Cannes Film Festiva”. I have added in the full digital scans to the gallery from it.

deadline.com – Scarlett Johansson has wanted to direct since she was 12 years old. On the set of Robert Redford’s 1998 film The Horse Whisperer — her seventh movie as an actor — she saw the specific way he worked, the way he understood his actors, and she had a clear thought: I want to do that someday.

Obviously, in the almost 30 years since Johansson made that private wish, it’s not as though she’s been waiting for something to happen. Oscar-nominated twice and a Tony winner for her work on Broadway, she serves as executive producer and stars as Black Widow in the Marvel Cinematic Universe. She founded her production company These Pictures in 2017, and, along with Redford, her director collaborators over the years include Christopher Nolan, Sofia Coppola, Jonathan Glazer, the Coens, Noah Baumbach and Wes Anderson. She’ll reconvene with the latter at Cannes, since she’s appearing in his latest — their third go-round together — The Phoenician Scheme.

Somehow, though, the right directing project never came along, until last year, when Johansson’s old friend Celine Rattray at Maven Screen Media gave her a script about an older, lonely woman named Eleanor who moves to New York after the death of her best friend. Attached to the film was 94-year-old June Squibb, the Oscar-nominated MVP of Alexander Payne’s 2013 film Nebraska.

When we sit down together in a New York photo studio, Johansson has just wrapped the shoot accompanying this article, and quick as a flash, she’s wiped off all the makeup and is back in her regular clothes — a chic but low-key jacket and pants. Her only adornment is a little jewelry, including her signature multiple earrings. She’ll shortly be off to another shoot, this time for QVC for The Outset — the clean, environmentally conscious skincare line she developed.

When I tell her I’ve seen the film, Eleanor the Great, she seems to feel something strangely novel, being a director putting her own feature out there, after so many years in the business. “It’s such a funny thing to have people seeing it, because I’ve lived with it for a long time,” she says. “I guess I’ve never had that experience of making something and not… It’s different. When you’re acting in something, it’s out of your hands, of course. Obviously, I’ve been working on this in such a bubble, that then to share it with everybody, it’s great.” She says this experience “initially felt a little nerve-wracking, but now I’m realizing, hopefully it will be widely shared. But it’s such a different feeling than waiting to see how a director cut your performance, or what their takeaway was from the work that you guys did together. It surprises me when people say they’ve seen the film.”

The Eleanor script had an immediate impact. “When I read it, I cried, and that almost never happens,” she says. “Sometimes you’ll read a script that’s really moving. When I read Jojo Rabbit, I cried. Sometimes a script will move you like that, which is extraordinary.”