
Harrison Ford is ‘still happy' he made ‘Indiana Jones 5' despite underwhelming box office
It takes a lot to make Harrison Ford regret doing a project.
This is especially true when it comes to the classic 'Indiana Jones' franchise, in which Ford starred as the titular character, including the franchise's fifth installment, 2023's 'Indiana Jones and the Dial of Destiny.'
The movie grossed $60 million in the US and $70 million internationally, bringing the fifth and final installment of the storied franchise's global box office to $130 million on its 3-day opening – decidedly lackluster numbers at the box office, especially considering the film cost nearly $300 million to make.
Ford shrugged it off this week, telling WSJ Magazine in a new interview published Wednesday simply, 'S**t happens.'
'I was really the one who felt there was another story to tell,' he added. 'When (Indy) had suffered the consequences of the life that he had to live, I wanted one more chance to pick him up and shake the dust off his ass and stick him out there, bereft of some of his vigor, to see what happened.'
At the end of the day, Ford said, 'I'm still happy I made that movie.'
Ford first portrayed Jones in 1981's 'Indiana Jones and the Raiders of the Lost Ark,' and has reprised his role as the whip-cracking archeology professor-adventurer-hero in four sequels total since then. Along with his role of Han Solo in the 'Star Wars' franchise, Indiana Jones is a character forever linked to the Hollywood leading man and one that helped launch his stellar career.
In June, Ford told CNN's Chris Wallace in an interview that he wanted to give fans, and the character, an ending that felt conclusive.
'I wanted it to be character driven and I wanted it to confront the question of age straight on – not to hide my age, but to take advantage of it in the telling of the story,' Ford, now 82, said, adding he felt 'very strongly' that they achieved that goal.
After playing the character for 40 years, Ford admitted that saying goodbye to Indy was the right move. 'It's time for me to grow up,' he joked.
On the big screen, the 'Shrinking' star will next be seen in 'Captain America: Brave New World' later this month.
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Fox News
an hour ago
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DAVID MARCUS: CNN's airing of ‘Good Night And Good Luck" proves it has learned nothing
It takes a lot for me to object to a television program that includes gratuitous smoking and jazz, but CNN found the exception Saturday night with its breathtakingly sanctimonious live telecast of Broadway's "Good Night and Good Luck." This was as shameless as it gets. Many are familiar with the 2005 hit movie that the play, starring George Clooney, is based on, in which brave 1950s CBS newsman Edward R. Murrow takes on the red scare baiting of Sen. Joseph McCarthy. CNN's message was clear, they are the heroic journalists and President Donald Trump is McCarthy. As if this metaphor wasn't already incessantly slamming us in the head like a giant inflatable hammer for two hours, CNN's resident media guru Brian Stelter wrote an entire column comparing McCarthyism to the current lawsuit against CBS News' "60 Minutes," whose extremely friendly (read: dishonest) edit of an interview with Kamala Harris could have tilted the 2024 election, according to Trump. "The real-life drama recounted in the play took place at CBS, the same network that is currently being targeted by President Donald Trump," wrote Stelter. "That's one of the reasons why the play's dialogue feels ripped from recent headlines." CNN's media expert basically left out the whole part about "60 Minutes" editing a Kamala Harris interview to make her incoherent answers seem somewhat sensical, because for Stalter and CNN fighting against Trump is more important than journalistic integrity every day of the week. Even if Stelter, who once championed the absurd Biden White House lie that videos of decrepit Joe Biden were "cheap-fakes," won't say it, "60 Minutes" disgraced itself and lied to the American people. But there was Scott Pelley, the "60 Minutes" anchor on CNN, after the show, with an air of gravity and profound conceit, insisting that, "if you have the courage to speak, we are saved. If you fall silent, the country is doomed." Do these people listen to themselves? Do they own any mirrors? CNN and most of the liberal legacy media spent the entirety of the first Trump presidential term fostering a fake Russian collusion story. They then spent the four years under Biden ignoring the fact that he was demonstrably unfit. Where on earth do these people get off lecturing us about journalism? Then, of course, there is the star of the show, George Clooney himself. This is the same George Clooney who lied about the president of the United States being a zombie until it became politically expedient to be honest. Just like CNN lied about Russiagate, just like "60 Minutes" lied about editing Harris, Clooney lied about Biden's fitness. Because to these people, any lie is justifiable as long as it hurts Donald Trump. I really wish that was hyperbole, but it's not. Clooney has no contrition over his lies, and neither does CNN, Jake Tapper, Brian Stelter, or Scott Pelley. They don't think they did anything wrong. If they did, they wouldn't be dressing themselves up as heirs to the courageous journalism of Murrow. After the play, there was an assemblage of journalists, speaking before journalism students about the importance of what they had just witnessed. Of course, the closest thing CNN had to a conservative was Brett Stephens, a nice guy, but widely acknowledged as the Washington Generals of conservative political punditry. Needless to say, they congratulated themselves on being so enlightened and brave and speaking truth to power, while the handful of people watching threw up a little in their own mouths. You almost have to admire the audacity of CNN. Just weeks after bombshell books and reporting finally confirmed the obvious about Biden's incapacity and the liberal media's lies, the network aired a play in which it dressed itself up as brave heroes of the newsroom. It's amazing. It's also informative. This bizarre effort by CNN to paint itself in historical glory is proof positive that the network has learned nothing from its lies over the past eight years, and there is no reason to believe it will start being honest anytime soon. This reckoning by the liberal press regarding their failure to tell the truth about Biden is over. In fact, it never really began, and if they had somehow dragged bag-a-bones Joe over the finish line and gotten him elected, we'd have likely never known a thing about it. There's an old saying, when people tell you who they are, believe them. On Saturday night, CNN showed America exactly what they are: a shameless, unrepentant, and unreliable source for news. And that's the way it is.


CNN
9 hours ago
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‘Journalists have always been under siege': Kara Swisher reflects on state of journalism
Anderson Cooper hosts a panel of journalists, including Abby Phillip, Jorge Ramos, Connie Chung, Walter Isaacson, Bret Stephens, and Kara Swisher, to discuss the state of journalism after CNN's telecast of 'Good Night, and Good Luck.'


Los Angeles Times
10 hours ago
- Los Angeles Times
‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses
Saturday afternoon out west and evening back east, as citizens faced off against ICE agents in the streets of Los Angeles, 'Good Night, and Good Luck,' George Clooney's 2005 dramatic film tribute to CBS newsman Edward R. Murrow, became a Major Television Event, broadcast live from Manhattan's Winter Garden Theater, by CNN and Max. That it was made available free to anyone with an internet connection, via the CNN website, was a nice gesture to theater fans, Clooney stans and anyone interested to see how a movie about television translates into a play about television. The broadcast is being ballyhooed as historic, the first time a play has been aired live from Broadway. And while there is no arguing with that fact, performances of plays have been recorded onstage before, and are being so now. It's a great practice; I wish it were done more often. At the moment, is streaming recent productions of Cole Porter's 'Kiss Me, Kate!,' the Bob Dylan-scored 'Girl From the North Country,' David Henry Hwang's 'Yellow Face' and the Pulitzer Prize-winning mental health rock musical 'Next to Normal.' Britain's National Theater at Home subscription service offers a wealth of classical and modern plays, including Andrew Scott's one-man 'Vanya,' as hot a ticket in New York this spring as Clooney's play. And the archives run deep; that a trip to YouTube can deliver you Richard Burton's 'Hamlet' or 'Sunday in the Park With George' with Mandy Patinkin and Bernadette Peters is a gift not to be overlooked. Clooney, with co-star Anthony Edwards, had earlier been behind a live broadcast of 'Ambush,' the fourth season opener of 'ER' as a throwback to the particular seat-of-your-pants, walking-on-a-wire energy of 1950s television. (It was performed twice, once for the east and once for the west coast.) That it earned an audience of 42.71 million, breaking a couple of records in the bargain, suggests that, from a commercial perspective, it was not at all a bad idea. (Reviews were mixed, but critics don't know everything.) Like that episode, the 'live' element of Saturday's broadcast, was essentially a stunt, though one that ensured, at least, that no post-production editing has been applied, and that if anyone blew a line, or the house was invaded by heckling MAGA hats, or simply disrupted by audience members who regarded the enormous price they paid for a ticket as a license to chatter through the show, it would presumably have been part of the broadcast. None of that happened — but, it could have! (Clooney did stumble over 'simple,' but that's all I caught.) And, it offered the groundlings at home the chance to see a much-discussed, well-reviewed production only a relatively few were able to see in person — which I applaud on principal and enjoyed in practice — and which will very probably not come again, not counting the next day's final performance. The film, directed by Clooney and co-written with Grant Heslov (who co-wrote the stage version as well), featured the actor as producer and ally Fred W. Friendly to David Strathairn's memorable Murrow. Here, a more aggressive Clooney takes the Murrow role, while Glenn Fleshler plays Friendly. Released during the second term of the Bush administration, the movie was a meditation on the state of things through the prism of 1954 (and a famous framing speech from 1958 about the possibilities and potential failures of television), the fear-fueled demagoguery of Wisconsin Sen. Joseph McCarthy, and Murrow's determination to take him on. (The 1954 'See It Now' episode, 'A Report on Sen. Joseph McCarthy,' helped bring about his end.) As in the film, McCarthy is represented entirely through projected film clips, echoing the way that Murrow impeached the senator with his own words. It's a combination of political and backstage drama — with a soupcon of office romance, represented by the secretly married Wershbas (Ilana Glazer and Carter Hudson) — even more hermetically set within the confines of CBS News than was the film. It felt relevant in 2005, before the influence of network news was dissolved in the acid of the internet and an administration began assaulting the legitimate press with threats and lawsuits; but the play's discussions of habeas corpus, due process, self-censoring media and the both-sides-ism that seems increasingly to afflict modern media feel queasily contemporary. 'I simply cannot accept that there are, on every story two equal and logical sides to an argument,' says Clooney's Murrow to his boss, William F. Paley (an excellent Paul Gross, from the great 'Slings & Arrows'). As was shown here, Murrow offered McCarthy equal time on 'See It Now' — which he hosted alongside the celebrity-focused 'Person to Person,' represented by an interview with Liberace — but it proved largely a rope for the senator to hang himself. Though modern stage productions, with their computer-controlled modular parts, can replicate the rhythms and scene changes of a film, there are obvious differences between a movie, where camera angles and editing drive the story. It's an illusion of life, stitched together from bits and pieces. A stage play proceeds in real time and offers a single view (differing, of course, depending on where one sits), within which you direct your attention as you will. What illusions it offers are, as it were, stage magic. It's choreographed, like a dance, which actors must repeat night after night, putting feeling into lines they may speak to one another, but send out to the farthest corners of the theater. Clooney, whose furrowed brow is a good match for Murrow's, did not attempt to imitate him, or perhaps did within the limits of theatrical delivery; he was serious and effective in the role if not achieving the quiet perfection of Strathairn's performance. Scott Pask's set was an ingenious moving modular arrangement of office spaces, backed by a control room, highlighted or darkened as needs be; a raised platform stage left supported the jazz group and vocalist, which, as in the movie, performed songs whose lyrics at times commented slyly on the action. Though television squashed the production into two dimensions, the broadcast nevertheless felt real and exciting; director David Comer let the camera play on the players, rather than trying for a cinematic effect through an excess of close-ups and cutaways. While the play generally followed the lines of the film, there was some rearrangement of scenes, reassignment of dialogue — it was a streamlined cast — and interpolations to make a point, or more directly pitch to 2025. New York news anchor Don Hollenbeck (Clark Gregg, very moving in the only role with an emotional arc) described feeling 'hijacked … as if all the reasonable people went to Europe and left us behind,' getting a big reaction. One character wondered about opening 'the door to news with a dash of commentary — what happens when it isn't Edward R. Murrow minding the store?' A rapid montage of clips tracking the decay of TV news and politics — including Obama's tan suit kerfuffle and the barring of AP for not bowing to Trump's Gulf of America edit and ending with Elon Musk's notorious straight-arm gesture, looking like nothing so much as a Nazi salute — was flown into Clooney's final speech. Last but not least, there is the audience, your stand-ins at the Winter Garden Theatre, which laughed at the jokes and applauded the big speeches, transcribed from Murrow's own. And then, the curtain call, to remind you that whatever came before, the actors are fine, drinking in your appreciation and sending you out happy and exhilarated and perhaps full of hope. A CNN roundtable followed to bring you back to Earth.