Will Forte Says Not Competing Alongside Val Kilmer In ‘The Amazing Race' Is His Career's 'Biggest Regret'
Forte initially characterized himself as a 'huge fan' of the Top Gun actor's, saying that the idea of casting him in the eventual role of the villainous Dieter Von Cunth was originally a long shot. When he eventually signed on, Forte and his co-star became fast friends, paving the way for them to become roommates for three months after Kilmer was looking to move out of his Malibu home.
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While they lived together, Forte would typically watch The Amazing Race, the popular CBS reality show in which pairs traverse the world to complete various tasks and challenges in the quest to win $1 million. Initially, Kilmer dismissed the series as 'garbage' before getting 'really into it.'
'Then, at a certain point, he said, 'Will, you and I have to go do The Amazing Race. We have to. Let's do The Amazing Race.' I'm like, 'I am so fully in.' We got really excited about it, and then we called our respective agents and managers, and they were like, 'There's no way you guys are doing that.' That is, maybe to this day, the biggest regret of my whole career — that I never did The Amazing Race with Val. I think we would've gotten out very quickly, but it just would've been the experience of a lifetime,' the comedian wrote.
In closing his essay, Forte added, 'I wish I had more time to remember the old stories. There are so many memories I'm leaving out … Somehow, we lucked into getting him to do MacGruber, but I didn't know if I was going to get that lucky to get to work with him again. I settled for being his roommate.'
The Juilliard-trained Kilmer, beloved for his versatility as both a comedic and dramatic performer, as well as his genuine personality, died earlier this week at the age of 65 of pneumonia. Kilmer had previously been diagnosed with throat cancer, which permanently altered his voice, but later recovered. He was known for his leading turns in films like The Doors, The Saint, Kiss Kiss Bang Bang, Batman Forever, Tombstone, Thunderheart, Willow and his last credit, Top Gun: Maverick.
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Buzz Feed
5 hours ago
- Buzz Feed
Pete Davidson Embarrassed By BDE Discourse
Pete Davidson is reflecting on the public obsession with his 'Big Dick Energy.' If you're out of the loop, Pete's so-called 'BDE' became a huge talking point online while he was linked* to singer Ariana Grande in 2018. At one point during their relationship, Ariana replied to a fan on X who asked 'how long Pete is' — referring to her song called 'Pete Davidson' — with a joke about the size of his penis. 'like 10 inches? …oh fuck…i mean…like a lil over a minute.' Now, Pete has opened up further about the discourse around his 'BDE,' admitting during a new appearance on The Breakfast Club podcast that he was 'embarrassed' and 'hurt' by it. 'I was embarrassed by it,' Pete said, explaining, 'No one talked about any work I was doing. They were just like, 'Oh, that's the fuck stick.' And that hurt so much." 'I think after a year or two, everyone saw how sad I was about it — and embarrassed,' he said as he recalled working on Saturday Night Live at the time. 'I was never on Instagram flexing that lifestyle at all; I was very embarrassed by it,' he said before adding, "No one was outrightly mean by any means.' Podcast host Charlamagne tha God noted that he was confused by Pete's discomfort, saying, 'You was banging a lot of hot chicks and you had a 10-inch penis.' In response, Pete said, "You know, on paper, that sounds great… It's embarrassing, 'cause, you know... It's Hollywood. Everybody fucks everyone. Why are they focusing on me?' Pete went on, 'I don't want to victimize myself in any way because I'm cool, but the sexualization of me — if that was a girl, there would be a march for it... Seriously. You're just talking about my dick all day.' When asked exactly where the 'BDE' discourse began, Pete said, 'I think it was like the New York Times or something, when I started dating someone that I guess they considered out of my league… They were like, 'This guy must have big dick energy.'' He added, 'And then someone confirmed it,' seemingly referring to Ariana's aforementioned tweet. You can find Pete's full appearance on The Breakfast Club podcast here.
Yahoo
13 hours ago
- Yahoo
‘Russians At War' Director & Producer Talk Backlash & Direct-To-Audience Release: 'The Best Counter To The Protests & Hate Is For People To See The Film'
Director Anastasia Trofimova and producer Cornelia Principe are launching a direct-to-audience release this week of the former's controversial documentary Russians at War, in a bid to get it seen after a year of protests and cancellations. The two-hour work gives sobering insight into the futility and carnage of armed conflict through the lives of Russia-aligned soldiers on the front of the country's unprovoked war against Ukraine, with whom Trofimova embedded over a period of seven months. 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At least 250,000 Russian troops have died in the conflict. TIFF canceled the festival screening, instead playing the film in the TIFF Lightbox Theatre on the first Tuesday after its 2024 edition ended, using security staff who were still on site to ensure the safety of Trofimova, her producers and the spectators in the room. 'Anastasia had her very own security detail. I had someone following me around even when I went to the bathroom. When we were on stage for the Q&A, there was a line of security in front of us. People who came had to be security scanned. It was a quite a production, but the festival had to make sure everybody was safe,' recounts Principe. The Oscar-nominated Canadian producer (To Kill A Tiger) produced the documentary under her Raja Pictures banner with Sally Blake and Philippe Levasseur at Paris-based Capa Presse. The fallout would continue throughout the year with Athens and Zurich among festivals which pulled the film due to protests and security concerns. Principe also reveals that the International Film Festival Amsterdam (IDFA) rescinded an invitation issued in August 2024 for its Best of Fests sidebar saying they could not create a constructive dialog around the work. 'That was surprising,' she says of the disinvite, which occurred under the radar before the festival unveiled its lineup. In the meantime, the push back has only strengthened the film team's resolve to get the film seen, with the producers opting for a direct-to-audience strategy. 'The best counter to the protests and the anger is for people to see the film,' says Principe. '99% of the protests came from people who hadn't seen the film… I totally agree that peaceful protest is a great and constructive way to voice one's opinion, but it would be nice also to see the film.' Principe cites documentaries such as Brett Story and Stephen Maing's Union, following Amazon workers as they attempt to unionize, and Oscar-winning documentary No Other Land, which also released direct-to-audience, as inspirations for going down the self-distribution route. 'For films that are potentially controversial for some communities or some groups or corporations, going direct-to-audience seems to be the way to go,' says Principe. 'Getting it out there as far and wide as possible was really our plan and it seemed more and more after things happened in Canada and TIFF, that doing it ourselves was the way to go.' Working with the direct-to-audience platform of tech entertainment company Gathr, the producers have created the website, where spectators will be able to gain paid access to the film from August 12. 'It took months and months to get our website together. It's a very fulsome website with lots of content to give people background on the making of the film, frequently asked questions, criticisms that we address, all that is there,' says Principe. The release is worldwide but excludes Russia, Ukraine and Belarus, with the production planning to make it available in those territories for free at a later date. 'That's going to be a separate release because it will be free and we need to make sure that it can actually be accessed in Russia, says Principe. An experienced TV producer and documentarian, who has also worked in Syria and Iraq, Trofimova knew the film would receive pushback from some quarters for the human light in which it portrayed the Russia-aligned soldiers but was not prepared for the full-out backlash it sparked as it embarked on its festival tour last year. 'I think it was easier to go to the front and to be in the war than to deal with what happened afterwards because it was so unexpected. The documentary community has been very supportive overall and very understanding, but what was a shock to me is, how easy it is to be accused of something that people say you did, not that you actually did or said yourself,' she says. 'Most of the people who have been attacking this film, and the most vicious attacks, of course, have been happening online, have not seen the film… In Toronto, where we were the top news story for at least a week, journalists asked the protesters, 'Have you seen the film?' They would reply, 'No, we have not, and we refuse to.' What was surprising for me was, why this anger directed at the film? Why this anger directed at me? Because it's like I became their personal enemy, or the film became their personal enemy.' The fallout has also raised questions for Trofimova around the power of coordinated deplatforming campaigns. 'It has been quite interesting to realize how easy it is for anyone in the documentary community to be attacked and silenced by some sort of interest group, because it didn't take that much to be honest. A lot of the stuff is online. It's quite organized. There's been quite a coordinated defamation deplatforming campaign against this film,' she says. 'It's left quite a bit of damage. I'm not talking about our emotional state, but rather the fact that it started off so well. It was receiving invitations from the world's top festivals and the attacks on it made it so much more difficult for people to program it and to see it. That was the shocking thing.' She also questions the implications of what happened to her for other documentarians who want to tackle controversial and complex topics in the future 'It made me wonder how do we make complex films? It's a question for anyone who wants to take on a big, controversial problem in the world, and we have a lot of them. Now more than ever, documentaries have this huge responsibility to try to explain, to tackle them, to analyze them, to get in there. What do we have to be prepared for as filmmakers next time we go in?,' she says. Trofimova is not certain it is safe for her return to Russia any time soon given the unflattering light in which Russians at War portrays conditions at the front for the country's soldiers, but she hopes to able to return one day to continue a personal mission to capture Russian stories that are told neither in the local media, or internationally. 'The thing about war documentaries is that if you're just faithfully observing and recording this reality, you cannot make anything but an anti -war film, because the longer you stay and the longer you see the futility and how people who are very dear to someone back home, they're just gone. And the same thing goes for both sides… it becomes very, very tragic.' Principe notes how this time last year, she and Trofimova were iin Paris finishing post-production on the work ahead of the Venice premiere. 'A year ago, we were looking forward to Venice. A year later, we're looking forward to releasing the film online, so that people can see it and judge for themselves,' she says. 'They don't have to love the film. They have to don't agree with the film, but watch it and then, we'd love to hear what you think.' Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds A Full Timeline Of Blake Lively & Justin Baldoni's 'It Ends With Us' Feud In Court, Online & In The Media 'The Boys' Season 5: Everything We Know So Far


Los Angeles Times
14 hours ago
- Los Angeles Times
David Ellison's plan to rebuild Paramount: ‘Top Gun 3' and more ‘Star Trek'
Tech scion David Ellison and his leadership team at Paramount sent a message to Hollywood: A new era is underway. Nearly a week after taking the keys to the battered media company, Ellison and his top executives met with reporters at the Paramount Pictures lot Wednesday to show that they mean business. Ellison and his team will be based in Hollywood — not New York — and they plan to view the entertainment industry through a California lens by making big investments, leaning into technology and building on popular franchises, including 'Top Gun,' 'Star Trek' and 'Yellowstone.' Last week, Ellison's Skydance Media and its backer RedBird Capital Partners closed their $8-billion takeover of the firm that includes CBS, Comedy Central, MTV Networks, Showtime and the Melrose Avenue movie studio. 'One of our biggest priorities is actually restoring Paramount as the No. 1 destination for the most talented artists and filmmakers in the world,' Ellison said. 'Very simply, great filmmakers make great movies.' Such a Paramount comeback would be long overdue. The film studio has suffered from decades of under-investment, and was often bypassed by many of Hollywood's biggest filmmakers. The studio plans to release eight films next year, but that's too small an output to sustain a theatrical film business, Paramount executives said. The plan is to nearly double the number of feature films to 15 and, and eventually, 20 movies a year. Ellison, the 42-year-old chairman and chief executive, was eager to bury his days of being a political target, following the lengthy regulatory review of the deal and President Trump's lawsuit against CBS for its edits of a '60 Minutes' interview with Kamala Harris last fall. Paramount settled the lawsuit last month, agreeing to pay $16 million. Days later, CBS notified Stephen Colbert that it was ending his late-night talk show in May — prompting howls among some fans and raising speculation the show was sacrificed to appease Trump. CBS has said the decision was 'purely' based on economics; the show has been losing money. Programming will be created with broad audiences in mind, Ellison and his lieutenants said. Ellison said his goal is to move the company away from political divisions in an effort to reach a wider audience. 'One of the things I think is important is I don't want to politicize this company,' Ellison said. 'We're an entertainment company first, and I genuinely believe if you're breathing, you're our audience. We want to be in the business of speaking to everybody.' For Ellison, movies have been a lifelong interest. He recounted his days growing up when he, his mother and sister would go to the cinema or pick from their extensive home library of video cassette tapes. He intends to 'significantly scale' the amount of content the studio produces and has entrusted his longtime deputy Dana Goldberg and Josh Greenstein, a former Sony executive, as co-chairs of Paramount Pictures. The studio plans to concentrate on key intellectual property such as 'Star Trek,' 'World War Z' and 'Transformers,' with Goldberg saying that 'Star Trek' is a priority across the company. Paramount executives are also interested in filmmaker-driven original films. Late last week, Paramount said it landed an original project called 'High Side,' helmed by 'A Complete Unknown' director James Mangold, which reunites him with actor Timothée Chalamet. In addition, Paramount Pictures plans to greenlight family films, with classic movies like 'The Goonies,' 'Gremlins' and 'Night at the Museum' as touchstones, Goldberg said. There's also interest in R-rated comedies, horror and stories that appeal to Middle America. Paramount has no plans to crank out low-cost films for its Paramount+ streaming platform, said Cindy Holland, the new head of streaming for Paramount. 'The movies that we make will be made for theatrical,' Ellison said, adding that there is cultural significance to making films for the big screen. Ellison also praised actor Tom Cruise, whom he met when he founded his Skydance Media company in 2010. Skydance co-produced 'Top Gun: Maverick' and recent 'Mission: Impossible' installments. Goldberg recounted how she and Greenstein called Cruise after Paramount unveiled its new leadership structure. 'It was to thank him for, frankly, the huge piece he's been in Paramount's history, Paramount's present and how important he is for Paramount's future,' Goldberg said. ''Top Gun 3' is a massive priority for us.' The new corporate ownership structure gives the family of Larry Ellison (David's billionaire father) and RedBird the ability to build the company for the future, rather than manage for quarter-by-quarter earnings. The Ellison family now owns 50% of the company, and RedBird holds 20% — a dominant position. Regular shareholders have 30% of the stock in the new company. Shares soared more than 36% on Wednesday to $15. The event included Ellison's co-investor, RedBird founder Gerry Cardinale, who stressed his confidence in Paramount's prospects. Cardinale noted that he dispatched two of his top executives to join the company — Andy Gordon, a former Goldman Sachs banker is now Paramount's chief operating officer and chief strategy officer, and Jeff Shell, the former NBCUniversal executive who's now Paramount's president — to signify the importance of rebuilding. 'I'm betting my firm and my career on this deal,' Cardinale said. On Wednesday, longtime Paramount shareholder Mario Gabelli sued Redstone and Paramount, alleging the deal structure disadvantaged shareholders other than Redstone, who received a premium for her stock. As part of the deal, the Redstone family was paid $2.4 billion for their National Amusements Inc. firm, which held the controlling shares. After their considerable debts are paid, the family should come away with $1.75 billion. Paramount's B-class shareholders received $15 a share. Skydance and RedBird have promised investors that it will find $2 billion in cost savings, which means further belt-tightening and layoffs. Shell said he didn't want Paramount to become a company that had perpetual layoffs, saying the plan was to have one restructuring and 'then be done with it.' The executives also showed no interest in cleaving off the cable channels, unlike Comcast or Warner Bros. Discovery, which are preparing for spinoffs. Shell said the diminished status of the channels gives the company opportunities to rebuild those brands. In their first week, Ellison and RedBird have made big bets. On Monday, the company said it would spend $7.7 billion over seven years to lock up U.S. streaming and television rights to UFC mixed-martial arts fights for the Paramount+ streaming service and CBS. In addition, Paramount in July agreed to pay $1.25 billion over five years to the creators of Comedy Central's 'South Park.' A separate deal with Trey Parker and Matt Stone allows the cartoon to run exclusively on Paramount+. When asked what Paramount assets were underappreciated, Ellison talked about the broad reach of CBS, which just ended the regular television season in first place in prime-time among broadcast networks for the 17th consecutive year. He also mentioned CBS' relationship with the NFL, Masters golf tournament and NCAA March Madness. Gordon added, 'I actually think every asset is underappreciated here.'