Nine Inch Nails Returns With Debut Hits On Multiple Charts
Industrial group Nine Inch Nails is responsible for the upcoming soundtrack, with Oscar winners Trent Reznor and Atticus Ross composing the music for the science fiction flick. Months before the movie hits theaters, one tune has already been released. "As Alive As You Need Me To Be" previews the album and builds anticipation for the movie itself. It also becomes a special hit for the Grammy-winning act as it debuts on a pair of musical rankings in the U.K.
The First Hits for Nine Inch Nails
"As Alive As You Need Me To Be" opens on both the Official Singles Downloads and Official Singles Sales charts this week, arriving at Nos. 74 and 76, respectively. Despite decades of success, this frame marks the first time Nine Inch Nails has ever appeared on either of the sales-focused tallies.
The Band's First New Win in Years
The tune gives the multi-genre outfit its first new hit in the U.K. in eight years. The band last launched a track on any U.K. list in the summer of 2017, when "Less Than" debuted at No. 26 on the Official Rock & Metal Singles chart.
Trent Reznor and Atticus Ross May Return to the Oscars
Tron: Ares stands out from other works by Reznor and Ross in one major way, as they chose to use the Nine Inch Nails moniker this time around. In the past, the duo has written scores under their actual names and jointly won the Academy Award for Best Original Score twice, for The Social Network and Soul. In 2020, they even competed against themselves when Mank was released the same year, and Tron: Ares could be a real contender not just for the score award, but also Best Original Song thanks to this new hit.
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Yahoo
20 minutes ago
- Yahoo
Josh Brolin had a gut instinct about ‘Weapons.' He felt it before with ‘The Goonies.'
The Oscar nominee opens up about fatherhood, masculinity and why Zach Cregger's chilling horror film pushed him into uncharted territory. Josh Brolin didn't want to make Weapons. It's not because he's afraid to get his hands dirty. Brolin has spent decades staring into the dark, bringing gravitas to roles in films like Sicario, True Grit and the Avengers franchise that wrestle with fate, masculinity and pain. Yet as the Oscar-nominated actor steps into the horror genre for the first time in his 40-year career, he says it's this movie that hits different. 'There's nothing about me that wanted to do a film like this,' he tells Yahoo about Weapons, in theaters Friday. 'Nothing ... other than maybe the selfishness of working with a great director.' That director is Barbarian breakout Zach Cregger, whose new movie has been kept tightly under wraps since day one. Weapons centers on a chilling mystery: Why did 17 children from the same classroom vanish at exactly 2:17 a.m.? Brolin plays the father of one of the missing kids who, when it becomes clear the authorities aren't doing enough, takes matters into his own hands. For Brolin, a real-life father of four, the premise alone was almost too much. 'Things that have to do with kids getting hurt, kids being taken, kids getting lost, being neglected … all that kind of stuff is my absolute living nightmare,' he says, the emotion clear in his voice. Brolin has two adult children, son Trevor, 37, and 30-year-old daughter Eden, with his first wife, Alice Adair. He wed Kathryn Boyd Brolin in 2016, and they have two young daughters. Being a father is the actor's favorite role to date. 'I like to think that I give [all of] myself on a very personal level when I work, and then you do something like this, and you realize maybe you haven't as much as you could," he says. "Because this is so personal to me.' At first, Brolin wasn't convinced Weapons was right for him. He passed on the project after reading the script, but then couldn't stop thinking about it. He'd seen Cregger's first horror film, 2022's Barbarian, and had mixed feelings. 'I liked it — but I laughed. So I was confused,' he says. He called his daughter Eden, whom he says is his first call for 'everything,' to get a second opinion. She immediately told him Barbarian was one of the best movies of the past five years. 'Her husband said the same thing.' Brolin explains there was something about Cregger's writing he kept coming back to. "There was all this depth where there shouldn't have been in the horror genre, which is usually very cosmetic and reactive," he says. "And [Cregger] was bringing this new idea.' That depth is evident in Archer, Brolin's character in Weapons — a blue-collar worker whose quiet strength begins to unravel after his son disappears. Brolin sees him as a stand-in for the modern everyman: a man weighed down by frustration, resentment and the creeping sense that the world is broken beyond repair. He was drawn to this character, a man who has built layer upon layer of emotional armor, only to realize it can't protect him from the pain he's forced to face. 'I like the idea of confronting this masculinity that this guy represents, because I don't really have a lot of respect for that,' Brolin says. 'And I was willing to confront it." Brolin was excited to play up the tension between who Archer thinks he's supposed to be and who he is beneath the surface. "It's nice to see him kind of break," he says. "I thought it was a good challenge and allowed me to focus on something else other than what happened to the kids.' Despite some disturbing themes, Brolin threw himself into Weapons, not just as an actor but also as an executive producer. 'Maybe the producer part of me, the older part of me, just wants another great filmmaker in the mix. You're always hoping for that. And it turns out that it's absolutely the case — [Cregger's] truly a visionary,' Brolin says. As someone who's worked with the likes of the Coen brothers, Denis Villeneuve and Paul Thomas Anderson, Brolin knows the difference between hype and talent. What sets Cregger apart, he says, is his emotional investment. This was evident after a conversation the two had in which the director explained he wrote Weapons from a place of grief, not ambition, following the sudden death of a close friend. 'He's coming from this really emotional place," Brolin says. "I want to be directed by somebody where it's that personal. I don't want to be with somebody where it's just a job for them." That propensity for risk-taking and creative freedom is something Brolin values now more than ever, especially after four decades in the business. At 57, he's far less concerned with box office performance than with telling stories that matter to him in the moment. It's a shift, he tells me, that's happened with age. 'I don't see all this stuff defining me in any way, shape or form. I've seen people that have — Philip Seymour Hoffman comes to mind," he says, referring to the Oscar-winning actor who died in 2014."What a massive impact. And then ultimately, there are young people now who don't even know who he is." He chooses roles based on what resonates with him at the moment — even if he doesn't know whether it'll land with audiences. 'I have a feeling,' he says. 'An instinct.' He highlights The Goonies and No Country for Old Men as movies he's done that he believed at the time would have had a lasting impact. "Where people are actually looking back 15 years later and saying, 'That was a pivotal watch for me.'" He pauses, then says he had the same feeling when he finally saw the final cut of Weapons. "I didn't expect what I saw. I knew it was going to be good. … I think it's very special," he says. "I think it could be one of those movies that people look back on and go, 'Yeah, I remember seeing Weapons. That was a totally unique take on a genre that had been exhausted.'' He hopes audiences feel the same way. But for Brolin, the reward was bigger. Solve the daily Crossword
Yahoo
4 hours ago
- Yahoo
Matilda Lutz Talks ‘Red Sonja' and Returning to the Action Genre 8 Years After ‘Revenge'
In 2017, Matilda Lutz announced herself to the world with a tour-de-force performance in Coralie Fargeat's Revenge. The French action-thriller received festival accolades and critical acclaim, but due to a limited U.S. theatrical run, it became one of those word-of-mouth movies that film buffs proudly recommended to their uninitiated friends. The assumption at the time was that Lutz would go on to become a fixture in the action genre, but the Italian actor had a very different takeaway from her breakout turn. Instead of doubling down on actioners, Lutz proceeded to operate with a filmmaker-first mentality. After all, Fargeat turned what could've been an overly familiar revenge story in another director's hands into a subversive rape-revenge tale. The French writer-director applied a similar approach to her 2024 body horror film, The Substance, earning herself three Oscar nominations in the process. More from The Hollywood Reporter Daisy Ridley Talks the Physical Toll of 'Cleaner' and Quality Over Quickness for Her Next 'Star Wars' Movie 'The Brutalist' Director Brady Corbet Celebrates This Year's Oscar Nominees as "Very Radical, Daring, Original Movies" 'Wicked' Producer Marc Platt Pushed for a Single Film With Intermission: "That Was One Battle I Lost" 'First of all, I love action. But it's important to me that the roles make sense and that they're with directors I want to work with. So my choices are more based on directors and the people involved in the project than the genre,' Lutz tells The Hollywood Reporter. Now eight years removed from Revenge, Lutz returns to the action genre, albeit of the sword and sorcery variety, in MJ Basset's Red Sonja. The seasoned filmmaker already has a cult hit in the subgenre, 2009's Solomon Kane. She's also a prolific (and under-appreciated) action director on TV, having helmed 15 episodes of Strike Back at a time in the 2010s when the Cinemax action series and its stablemate, Banshee, were giving most action films a genuine run for their money. Red Sonja and Revenge couldn't be more dissimilar in terms of tone and genre, but Lutz's two incredibly dangerous lead characters share some coincidental overlap, as both Sonja and Jen don bikinis in the middle of all their bloodshed. More specifically, they also experience devastating stomach wounds and thematic rebirths while flipping the male gaze on its head. Looking back, Lutz is grateful that Bassett and Fargeat took good care of her amid such vulnerable filming conditions. 'It gets tough when you have to shoot at 5:00 AM in the freezing cold and you're wearing a chainmail bikini or just a bikini. But I had such amazing directors on both projects,' Lutz says. 'MJ and Coralie are such great talents, and they're just amazing human beings. They were always with me, and they were very protective.' For Lutz, Red Sonja was the more nerve-racking scenario since she had to wear the two-piece armor in front of hundreds of people. Revenge had a cast of only four primary actors, so her character was alone for prolonged stretches in the desert. As a benevolent barbarian warrior in the mythical land of Hyrkania, Sonja is enslaved and imprisoned by the ecocidal emperor known as Draygan (Robert Sheehan). She's then forced to fight her fellow prisoners for the entertainment of Draygan, his haunted bride, Annisia (Wallis Day), and a bloodthirsty crowd. 'Just the fact that I was in a bikini, I was very nervous about it at the beginning. I was like, 'Oh my God, I'm going to have to fight in the middle of an arena with a crowd of 400 extras and 200 crew members, and it's not going to be easy.' I was exposed and I felt exposed,' Lutz admits. 'But I had so much to think about, not just the physical part, but also her emotional arc. So I forgot about it, and I became super comfortable.' Below, during a recent conversation with THR, Lutz also discusses the harrowing day atop her horse during Red Sonja training, as well as her valid reasons for not watching the 1985's Red Sonja starring Brigitte Nielsen and Arnold Schwarzenegger. *** Well, like everybody else, I was a huge fan of when it came out in 2017, and I assumed that it would be the first of many action roles for you. Did more action opportunities come your way before ? Or did you resist that path for a bit? First of all, I love action. I grew up with sports, and I'll take on anything fun. But it's important to me that the roles make sense and that they're with directors I want to work with. So my choices are more based on directors and the people involved in the project than the genre. When you first got the script and you came across the theme of rebirth as well as a couple severe stomach wounds, did you have a laugh to yourself over that familiar territory? (Laughs.) [The stomach wounds] didn't cross my mind until you said it, actually. I still feel like every project is always a new experience. The character or genre might have some similarities, but there's a different crew, different cast and just different situations. Another similarity between Red Sonja and Revenge is that I shot both while wearing a bikini in the cold. Bulgaria for Red Sonja and Morocco for Revenge would either become super cold or super hot, so that part was challenging. This iteration of had been in development for a while, and there were several different creative teams along the way. But once MJ Bassett was hired, the project seemed to find a rhythm. How many hoops did you jump through during casting? I did a lot of self-tapes for Red Sonja. At the time of the audition, I was shooting a show in Italy, and I couldn't make it out to L.A. So, every time I did a self -tape, I would have a conversation with the director, MJ, based on what she wanted. She was very specific on direction in scenes, and I ended up doing three or four self-tapes. She then called me and said, 'I have three or four girls that are in the final, but I'm not going to pick someone unless I see you in person.' But I was shooting every day, and I still couldn't make it to L.A. And then it just so happened that MJ was going to go location scouting in Bulgaria, so she asked me if I could go to Bulgaria for the weekend and test there. So I went there, but I didn't think I got the role. I gave my all, and I really cared about the character and the project, but I never thought, 'Oh, I got this.' I tested Saturday morning [in Bulgaria], and on Sunday, I got a FaceTime call from MJ when I was back in Milan [Italy] with my son. But I was so scared to pick up the call. I was just really nervous, and so I didn't pick up the phone. MJ then texted me and was like, 'Hey, before I make my decision, I really need to ask you one last question.' I then got the courage to call her back, and she was like, 'Do you want to be the next Red Sonja?' So that's how I found out, and it was just such a great way to find out. You usually get a call from your agents, not the director, and it was just a very special moment for me. Did MJ and the team ask you to watch the 1985 movie? Yes, I actually haven't watched it yet. But I do know that our Red Sonja is such a completely different film and story. It was clear from the start that what MJ had in mind was different from the character in the 1985 film. In general, I don't like to watch other people's takes on the same character. I want to make it my own, and I don't want to mimic something that I've seen on screen or on stage. So I worked off of the script to achieve the creative vision that MJ had, and I read different issues of the comics. The character has evolved since the '70s, so I, at the end of the day, just wanted to make her my own. I found inspiration, but I ultimately did what I felt was right. Did you have plenty of time to learn horseback riding, swordfighting, climbing and archery? We had about a month, which is not a lot of time. I had seven choreographies to learn for just swordfighting, which were about two or three minutes long. MJ didn't want to do closeups and lots of cutting. She wanted to shoot the whole choreography, and in order to do that on set, you really have to get it down so that you don't have to think about the moves. So I was really committed to rehearsing in prep so I could get on set and have fun with it. I had never done horseback riding and swordfighting. It was all new to me. When I started my first day of training for horseback riding and swordfighting, I thought, 'I'm not going to make it.' It was so complicated. I had been on a horse that walked, but I'd never galloped while doing archery at the same time. There was also a lot of training without a saddle or reins that was meant to establish a connection between me and the horse I shot with in the movie. I had to lie down next to the horse, and he had to be able to follow me. They're big animals, and they're very sensitive, so you need to be calm so that they feel calm as well. There was a lot of learning about how the horse behaves and taking cues from my horse. The first days of swordfighting, I just wasn't used to it. The wrist work was so hard for me, and the sword is heavy. Even the fake sword that I used in prep was about three kilos. So I really struggled, and every day added a new added detail to the choreography. Now, when I watch the behind-the-scenes videos, I'll think, 'Is that me? How did I learn that?' So it's such a slow process, but then you see real growth little by little. Apparently, there was a day when your horse scared you by trying to run out of the stable door. Were you on it at the time? Yeah, when we first started, we trained in a stable because it's a more controlled environment. I was training to shoot arrows while galloping, and I had to start the gallop, leave the reins, shoot the arrow and then grab the reins again to stop the horse. So, one day, I started galloping, and a girl with another horse opened the stable door to come inside. My horse then saw the door open, and he basically started running toward the door because he wanted to go back to his stable to chill and eat. I had already let go of the reins, and I thought I was going to fall off the horse. I then got the reins back and stopped the horse, but because he wanted to leave the stable, he started moving back and forth to throw me off him. Thank God, I didn't fall, but I was so scared after that. I was like, 'Wow, this could have gone a lot differently.' But the stunt team made me feel so safe. They didn't force me, but they were very confident about the fact that I should stay on the horse and calm down on the horse instead of immediately jumping off. They knew that I would probably be too scared to get back on again, so they literally held the horse and caressed the horse while I stayed on him. So they made me feel super safe to where I was able to do it all over again. In the first act of , Coralie Fargeat leaned into the male gaze as a way of mocking it, and your version of Red Sonja's chainmail bikini is also meant to point out how absurd the male gaze can be. The armorer even admitted that Sonja's chainmail bikini was simply for the crowd's enjoyment, not her protection. They're very different films, but as you said, Coralie really wanted to push the male gaze and the objectification of Jen in the beginning of the film. You then have two characters by the end. This woman takes revenge and becomes a completely different creature. In Red Sonja, [the male gaze] is used in a different way, meaning she's never objectified [to that degree]. In the comics, Sonja uses the chainmail bikini as a distraction, but we're using it in a different way. Characters evolve, especially ones that were first written with different intent in the '70s. We're now in 2025, and it's a good thing to shift perspectives on certain things. It's still such an iconic costume that it was important to have it, and her enemy Draygan uses it as a form of possession and power. But when Sonja has to wear the bikini, she owns it, and she's able to defeat soldiers with full armor. So the fact that she's in a bikini is kind of empowering in a way since she's still super badass. Sonja does upgrade the first chainmail bikini for another two-piece suit with more armor, but did you ever truly feel comfortable in her costume? It was uncomfortable when doing stunts because the armor of the other soldiers was hard and not too comfy to fight against. But just the fact that I was in a bikini, I was very nervous about it at the beginning, especially when I did my first costume fitting. I was like, 'Oh my God, I'm going to have to fight in the middle of an arena with a crowd of 400 extras and 200 crew members, and it's not going to be easy.' I was exposed and I felt exposed, but I was so focused on the choreography that I had to craft. I had so much to think about, not just the physical part, but also her emotional arc. So I forgot about it, and I became super comfortable. In fact, we had these big coats because it was cold, and I remember asking for the coat as soon as I was done with the first take. But by the second take, I didn't need it anymore. So I did feel more comfortable as we went along. As you touched on moments ago, must've been a very tough shoot out in the Moroccan desert. Thus, when you had a difficult day on , did you always know in the back of your mind that you could handle it because of that previous crucible? Yeah, but I'm pretty tough in general. (Laughs.) I like anything that challenges me. But I won't lie, it gets tough at times, especially if you're shooting long hours and you have a lot of physical and emotional scenes. It gets tough when you have to shoot at 5:00 AM in the freezing cold and you're wearing a chainmail bikini or just a bikini. But I had such amazing directors on both projects. MJ and Coralie are such great talents, and they're just amazing human beings. They were always with me, and they were very protective, giving me energy that I needed. On Revenge, I was mostly by myself, but Red Sonja had such a great cast around me. They gave me energy whenever I was lacking it. I'm quite fond of , and I've had a couple chats with Daisy Ridley about the inspiration for it, as well as how it originally began with your character, Alicia, as the protagonist. Yeah, I was so excited to be a part of Magpie because I'm a big fan of Daisy. When I heard that her husband [Tom Bateman] wrote this personal project based on her idea, I envisioned what I want to do in the long run. I would love to direct one day, and I'm actually writing something at the moment. So I was so happy to see Daisy working on set and bringing her own project to life. I really loved the script, and it reminded me a bit of Gone Girl. I love thrillers. So everything about the project was really exciting to me. That movie also comments on the male gaze like the other two movies we've discussed today. I realize Daisy's character shielded your movie star character from a lot of it, but prior to the film's climactic dinner, could Alicia still sense that Ben (Shazad Latif) was infatuated with her? There's a degree of Ben that is delusional, and he's created his own thoughts about Alicia. Famous movie stars are usually portrayed [on screen] as very reserved. They'll only have their team around them, and they can be kind of bitchy and not very nice. So I talked about this with [director] Sam Yates and Daisy during prep, but I wanted Alicia to be nice in general. It would then become an element to confuse Ben. She was only being nice to him as she was also going through the backlash of an intimate video being released online. There's one scene where the set's security guards are watching the video and commenting on it. So she's alone in a foreign country during a difficult moment, and she sees Ben as a nice guy that she can vent to. She's also having a great time working with his young daughter Matilda, and she feels like she has to protect her. But Ben is then confused by her personality and her attitude. It's a film where you never know what's true and what's not. You keep second-guessing and questioning what's really happening. So I wanted to give her [and the audience by extension] that extra amount of second-guessing. Is she nice because she's involved with Ben or wants to be involved with Ben? Or is she nice because that's the way she is and he's misinterpreting her attitude? To close on Sonja, what summed up the character for me is when she referred to the crass armorer by his first name, which was a first for him. She gave everyone and everything a chance, even if they didn't deserve it. Yeah, that's what I love about this film and Red Sonja in general. I knew there was going to be a lot of entertaining action, but I really loved the fact that she has such an emotional character arc. She really cares about people, and even though she has lost everything — her family, her friends and her home — she's still thinking about helping other people. I love that she's always concerned about the well-being of the people and animals around her. ***Red Sonja opens in movie theaters on Aug. 13. Best of The Hollywood Reporter The 25 Best U.S. Film Schools in 2025 The 40 Greatest Needle Drops in Film History The 40 Best Films About the Immigrant Experience
New York Post
5 hours ago
- New York Post
Pete Davidson doesn't mince words about ‘SNL 50' star-studded audience: ‘Terrible'
Tough crowd. Pete Davidson revealed that the star-studded audience during the 'Saturday Night Live' 50th anniversary special was, well, 'terrible.' On Wednesday's episode of 'Late Night With Seth Meyers' Davidson, 31, said, 'It's a terrible audience. It's just famous people, and famous people only like themselves.' 9 Pete Davidson during an interview with host Seth Meyers on August 6, 2025. Lloyd Bishop/NBC 9 Paul Shaffer, Nancy Juvonen, Billy Crystal, David Letterman and Drew Barrymore in the audience at the 'SNL 50' special. Todd Owyoung/NBC 9 Pete Davidson in a sketch during 'SNL 50.' Holland Rainwater/NBC Davidson, who was on 'SNL' for eight seasons, from 2014 to 2022, added that he's 'guilty of this' too. 'SNL50: The Anniversary' aired on Feb. 16, and commemorated a landmark half-century of the iconic New York sketch comedy show with a medley of musical performances and sketches from current and past stars – including Davidson, Andy Samberg, Eddie Murphy, Adam Sandler, Amy Poehler, Kate McKinnon, and Will Ferrell. As Davidson pointed out, the audience was mostly made up of stars, including Robert De Niro, Kim Kardashian, Blake Lively, Ryan Reynolds, Jon Hamm, Alec Baldwin, Drew Barrymore, David Letterman, and Steve Martin. The house was so packed that the production designer told The Post they had to add 200 extra chairs to accommodate all the guests. 9 Pete Davidson during 'SNL 50.' Holland Rainwater/NBC 9 Lin-Manuel Miranda, Jon Hamm and Alec Baldwin in the crowd at the 'SNL 50' special. Todd Owyoung/NBC 9 Ryan Reynolds in the crowd at the 'SNL 50' special. Virginia Sherwood/NBC Jack Nicholson, 88, was also on hand to introduce an Adam Sandler segment — even though he's been spotted in public less frequently in recent years. Davidson, who revealed in July that he's expecting his first child with girlfriend Elsie Hewitt, admitted not all of the guests were bad though. 'Meryl [Streep] rules,' he said of the 76-year-old Oscar winner. 'I get to my seat and I just look and I'm like, 'This can't be right.' And it was Meryl Streep and I just sat down and I was like, 'I'm so sorry that I'm sitting next to you. You're the best.' And she was very nice.' During the special, Davidson appeared in a pre-taped sketch as his Chad character, along with Laraine Newman, 73, who was in the original cast when the show launched in 1975. 9 Laraine Newman and Pete Davidson in a sketch in 'SNL 50.' Holland Rainwater/NBC 9 Paul Shaffer, Scarlett Johansson, Alex Moffat, Emil Wakim, Chloe Fineman, James Austin John, Paul Rudd, Lin-Manuel Miranda, Devon Walker, Taran Killem, Ana Gasteyer, John Mulaney, Kristen Wiig, Kenan Thompson, Pete Davidson, Maya Rudolph, Kate McKinnon as Rudy Giuliani, Sarah Sherman as Michael Bloomberg, Will Forte, Jason Sudeikis, David Spade, Adam Driver, Kyle Mooney, Cecily Strong, Beck Bennett, and Nick Jonas on February 16, 2025. Theo Wargo/NBC 9 Lorne Michaels and the celeb guests at the end of the 'SNL 50' special on February 16, 2025. Theo Wargo/NBC Fellow original cast member Dan Aykroyd, 73, recently said he skipped the special because he wanted to watch it from home. The most 'emotional' moment for him was Newman's sketch with Davidson, which he called, 'beautiful.' 'It's my one character that I got to do. In eight years of 'SNL,' I had one character,' Davidson said. 'But it's not a very flattering character. Everyone was so excited to see Laraine, and then I just have my shirt off.'
