I’ve managed to add 8 missing photoshoots into the gallery including the new shoot Aaron did with Esquire. You can read the Esquire article here.

Gallery Links:

– Home > Photoshoots > SHOOT 109
– Home > Photoshoots > SHOOT 110
– Home > Photoshoots > SHOOT 111
– Home > Photoshoots > SHOOT 112
– Home > Photoshoots > SHOOT 113
– Home > Photoshoots > SHOOT 114
– Home > Photoshoots > SHOOT 115
– Home > Photoshoots > SHOOT 116

Sony Pictures has made some significant release date shifts for its upcoming films, including “Kraven the Hunter” and “Spider-Man: Beyond the Spider-Verse.”

The delays come as dual union strikes disrupt the day-to-day business of Hollywood, and the SAG-AFTRA conflict makes it particularly difficult to open major fall movies without the participation of star talent. Aaron Taylor-Johnson’s anticipated Marvel outing “Kraven” is shifting to August 30, 2024, from a planned October 6 outing this year. The push to next Labor Day is vital, studio insiders said, as leading man Taylor-Johnson would need to engage in a worldwide press tour to open the visceral action project in just over two months.

“Spider-Man: Beyond the Spider-Verse,” the third film in the blockbuster Lord and Miller animated franchise, has been undated. It was meant to open March 29, 2024. Due to union’s work stoppage orders, the voice cast cannot complete dialogue recording in time for the spring opening, said a Sony source. A new date is expected in the coming weeks.

A planned sequel to “Ghostbusters: Afterlife,” the Paul Rudd vehicle which trapped over $200 million at the worldwide box office in 2021, has been pushed from its 2023 Christmas corridor (December 20) to Easter weekend next year (March 29, 2024).

A “Karate Kid” reboot has also been kicked from June 7, 2024, to December 13, 2024, and the Blumhouse project “They Listen,” is also now undated from a planned August 30, 2024, opening.

I’ve finally able to add screencaptures of Aaron from the red-band trailer of his latest film Kraven The Hunter which I will say looks amazing. Please be advised that the trailer is heavily violent so pre-warning before you look at the captures!

Gallery Links:

– Home > Movie Productions > Kraven The Hunter > SCREENCAPTURES: RED BAND TRAILER #001

First off, we have a beautiful design by the amazing Claudia who was amazing enough to design this. I’ve also managed to add screencaptures from 2021 movie The King’s Man in which Aaron had a small role playing Archie Reid.

Gallery Links:

– Home > Movie Productions > The King’s Man > SCREENCAPTURES

Aaron Taylor-Johnson wears many hats. The 32-year-old is an actor (since he was six years old), a father and husband, an occasional model, and when we hop on a call to talk about his latest campaign for Calvin Klein, an IT guy, too.

There’s a good ten or so minutes where the connection between my end in New York and his end in London is off. His voice is crackly and distorted, and we try to power through before Taylor-Johnson devises a quick solution: He hops off the conference platform, reconnects via a phone call, and is back in the game. “Is this any better?” he asks. It’s a thousand times better.

I’ve caught Taylor-Johnson in a time that he describes as “busy.” The week before, he was in Australia, where he’s been since the beginning of the year, finishing up shoots on The Fall Guy. Now, he’s just touched down in London, where he’s doing additional shoots on Kraven the Hunter before heading out to Prague to shoot Nosferatu. Between all of this, he’s making his debut in a Calvin Klein campaign for the brand’s spring 2023 collection, sporting jaw-grazing hair, boxer briefs, a denim jacket (sans shirt), and snazzy jeans—all with the kind of energetic magnetism that translates seamlessly from the big screen.

“I felt absolutely honored and flattered to have been invited to be a part of Calvin Klein’s men’s underwear,” he says. “I felt incredibly safe in the hands of Mert [Alas] and Marcus [Piggott], who I think are equally iconic photographers.”

The campaign is definitively stripped-back: no frills, no props, no color, even. Alongside fellow Calvin Klein ambassadors Michael B. Jordan, FKA Twigs, Kendall Jenner, and JENNIE, Taylor-Johnson is expressive and acrobatic; on his knees in one shot, standing tall in the next, a statue caught in contrapposto.

“I was almost taking that vulnerability and putting it into confidence,” he says. “It was great fun. I think there’s a level of nerves and expectations when you’re going to be photographed in your underwear, but quite honestly, I’ve only ever worn Calvins, so I just felt honored and thrilled to be part of it.”

Calvin Klein, a brand iconic in its simplicity, its minimalism, its timeless style, is a natural fit for Taylor-Johnson. In the same way that—and bear with this metaphor—underwear are the foundation upon which an outfit is built, Taylor-Johnson’s adaptability, his readiness to step into any role and play any character, is the heart and soul of his career. He describes his own style as “classic”: a pair of jeans, a nice white tee, and boots. Something versatile. Something comfortable. Something that is reliably unchanging.

“I tend to enjoy fashion and dressing up more through characters, when I’m getting ready for a role or I’m in the process of doing something,” he says. “That’s always a part of how I build characters. I work on the psychology, but I also work on the layering and the skin that they wear on the outside as well.”

Taylor-Johnson has worn the skin of a few centuries’ worth of men; he’s been a young John Lennon in Nowhere Boy, sporting vintage ‘50s get-ups that he likes best of all his characters’ wardrobes. He’s been an ostracized Russian socialite in Anna Karenina. And most recently, in Bullet Train, he’s been a deadly assassin, equal parts brutally lethal and charmingly witty, with a mustache as killer as his profession.

Taylor-Johnson laughs when I bring up that ‘stache, sharing that it was a stroke of his own genius—and pandemic-induced experimentation. “It was that facial hair boredom,” he says. “I just got very creative with trying different characters and looks. For that character, I think I tried two or three different beards, and I wore them for a week each. I got a lot of feedback from my family—they all think I’m ludicrously nuts.”

The result, fortunately, looked less than ludicrous, and more like the facial hair of a classy, gentleman killer. It’s a hard look to pull off, but Taylor-Johnson, with his classical features, does it effortlessly and confidently. It seems that’s how he does most things, though.

“I definitely feel like I’m someone who can express myself better in movement than I can in words, which is why I feel more comfortable as a performer,” he says. Things like dance bring him confidence; he finds himself drawn to nature, tells me he finds inspiration from being immersed in it as much as possible, and has taken an interest in regenerative farming and rewilding.

“The lessons you get from just seeing nature just do its thing—it’s really just this sitting back and observing situation, watching and listening and learning and wanting to evolve and grow,” he says. At this point, more than any other, I find myself glad Taylor-Johnson was able to play IT guy and fix the audio at the beginning of our call—the profound passion wouldn’t have been so palpable in his voice otherwise.

“I’m excited by many things, by many people around me,” he says. “But when you’re starting to observe more is when you can really have a chance to…grow.”