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Martin Scorsese’s Daughter Francesca Was Cut from ‘Bones and All’

Scorsese previously starred in director Luca Guadagnino's HBO series "We Are Who We Are."

NEW YORK, NEW YORK - JUNE 10: Martin Scorsese and Francesca Scorsese attend the world premiere of Netflix's ROLLING THUNDER REVUE: A BOB DYLAN STORY BY MARTIN SCORSESE at Alice Tully Hall on June 10, 2019 in New York City. (Photo by Astrid Stawiarz/Getty Images for Netflix)

Martin Scorsese and Francesca Scorsese

Getty Images for Netflix

Francesca Scorsese was among the departed in the final cut of “Bones and All.”

After working with director Luca Guadagnino on 2020 series “We Are Who We Are,” Scorsese, daughter of auteur Martin Scorsese, filmed scenes for “Bones and All” opposite stars Timothée Chalamet and Taylor Russell.

Scorsese shared a set photo on her Instagram Stories with the caption, “Rip Harmony lol,” citing her character’s name. Scorsese is seen driving a car with Russell in the front seat and Chalamet in the back.

She added, “For those asking, Harmony is no longer in the film, she had fun though!!”

Scorsese’s fellow “We Are Who We Are” star Chloë Sevigny made a cameo in “Bones and All,” telling IndieWire that she agreed to the bit role after having a “built-in trust” with Guadagnino following the HBO series.

“I was in Italy, I was in my first trimester pregnant, and was so surprised by how the series turned out,” Sevigny said. “I was so in love with it, I also thought it was one of the best things made for television in the past 10 years.”

Sevigny continued, “So Luca called and said, ‘I have a small but pivotal role for you in my new film. Will you come?’ And I was like, ‘I’ll come for anything, one line, no lines, whatever it is.’ I just wanted to be there to support his vision. I’m just a huge fan.”

Sevigny noted that her small role includes a voiceover and “some growling” while keeping her particular shocking sequence under wraps. “I got the script. I was like, ‘I don’t even have one line.'”

She joked, “And I was like, ‘This motherfucker, again.’”

Director Guadagnino previously told IndieWire that there’s a much gorier version of “Bones and All” out there, but he opted to leave the most gruesome bits on the cutting room floor. “We had way more,” he said. “I shot so much more, but in the editing process, my editor and I were always clear that we should never be selfish about our capacity to portray horror. A lot of pain was happening to the characters, a kind of sacred reverence. It was quite beautiful, humbling, reverential.”

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