EXCLUSIVE Lip reader reveals EXACTLY what Pedro Pascal said to Joaquin Phoenix while inadvertently doing offensive salute
A lip reader has revealed what Pedro Pascal told Joaquin Phoenix after he pulled down the actor's waving hand during the 2025 Cannes Film Festival.
NJ Hickling broke down the interaction to DailyMail.com after video captured the interaction at the Cannes premiere of their film Eddington on Friday.
In the video, which is now circulating online, Pascal stops Phoenix from waving to onlookers before the duo briefly speak.
Netizens suspected The Last Of Us actor was concerned Phoenix's wave could have inadvertently resembled the Nazi salute.
But according to Hickling, Pascal, 50, told Phoenix he was 'affecting the cred' before advising him to 'act cool.'
Grabbing Phoenix's arm and pulling it down, Pascal told Joaquin: 'Argh, don't do that, you're affecting the cred, try and act cool like you're about to score mate.'
Hickling added that Phoenix, 50, digested the information before replying, 'Alright mate.'
Fans sounded off with their theories about the interaction on social media, with various tweeting about it and others sharing their musings in the comments section of the video posted to Instagram.
One wrote on X, 'Joaquin was really enjoying that wave until he got told he looked like a Nazi.'
'The way Pedro Pascal pulled down Joaquin Phoenix's arm before an accidental salute has me fried,' another wrote.
Another Instagram user remarked in the comments section of the video: 'A decade ago, no one would have mistaken a simple wave for a Nazi salute. But in today's heightened political climate, such misinterpretations have become not only plausible but, unfortunately, unsurprising,' one mused.
'Guys, he's trying to save him from being misinterpreted. Or being purposefully misinterpreted. It's hilarious how people literally can't do anything anymore,' one posted on Instagram.
'Pedro just saved Joaquin's entire career,' one joked.
'The problem is not that he was waving, but what if the photographers snap a photo at just the wrong time, and then suddenly everyone on the internet thinks he did something bad,' another posted.
'Omg Pedro Pascal is such a character and an awesome actor. They were waving and he turns and pulls the guy's arm down beside him. Pedro was probably like we can't wave like that anymore people gonna say we are nazis,' one posted.
'How could that be misinterpreted? Clearly just waving,' one fan wrote on Instagram,. 873 others were in agreement with this particular comment as they gave it a 'like.'
Another netizen was angered over the hypothetical scenario that the Jewish actor's wave could have been accidentally interpreted as the salute.
This particular X user said Pascal had 'crossed the line'.
'This progressive militant persona that Pedro Pascal has adopted has simply crossed the line. For him to even suggest that Joaquin Phoenix, a descendent of Jews, would be making a gesture that could be mistaken for a Nazi salute is stupidly paranoid,' one said.
Phoenix and Pascal are in France debuting their film Eddington at the Cannes Film Festival.
The western horror movie, which releases July 18, stars Emma, Pedro Pascal, Austin Butler, Joaquin Phoenix, Michael Ward and Luke Grimes.
The film, by Midsommar and Hereditary director Ari Aster, is set during the COVID-19 pandemic, seemingly at the onset of the Black Lives Matter riots.
Eddington stars Joaquin as a small-town sheriff in New Mexico and Pedro as the local mayor, locked in a battle of wills that drags in the people around them.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Sun
12 minutes ago
- The Sun
Love Island villa's most iconic snogging spot gets makeover – and it'll cause SO many rows
LOVE Island's boss has explained why this iconic spot in the villa has had a makeover for this year's series. Over the course of the show's run, the terrace has become notorious for naughty moments as islanders sneak away for one-on-one chats and private time. 6 6 6 It's also known for being the perfect spot for sneaky kisses – not always with who they are coupled up with. But as the series returns on Monday, this year's islanders will have nowhere to hide. Show boss Mike Spencer-Hayter revealed: "The walls for the terrace are lower and more see-through so not as secret as before." "I think we just felt like it was a bit too covered up," he added. "You can't see it fully, it's still private. But I think lowering it and the kind of fretwork turns out good. Extra gossip." Previously, the terrace was connected through the girls' changing area, had high walls which were made taller thanks to decorative flower walls. However, those have been stripped back in this year's series, with a long terrace now in place, with lower walling and no extra decoration. It makes the view of the terrace that more clearer from the garden, where most of the islanders tend to spend their days. Over the course of the show, the terrace has delivered iconic moments, including Ekin-Su crawling across the floor in order to be completely obscured as she made her move on Jay Younger. The terrace is not the only part of Love Island that's getting a switch-up – with the team aiming for twists bigger and better than ever before, starting in the first week. Top 10 funniest Love Island moments Mike told The Sun: "Something big is coming in week one. We've got a really big week one planned. It's hard to say what we're doing without saying it. "It's not a celebrity. We've not seen it before.' He added that changes will be noticeable from the very start of the series. He said: 'There will be things happening for the first couple of days we've not done before and certainly in week one. During that week, there's something incredibly big we've never done before. 'Hopefully we can do it. It's quite experimental. I just think you can't rest on your laurels, being like, 'This is really popular.' 'We have to keep it exciting and tear up the rule book a bit.' Love Island starts Monday at 9pm on ITV, ITV2 and ITVX. 6 6 6
Daily Mail
20 minutes ago
- Daily Mail
Jodie Comer is the epitome of chic in a black dress as she joins her 28 Years Later co-star Aaron Taylor-Johnson for a photocall in Madrid
Jodie Comer was the epitome of chic in a black dress as she joined her 28 Years Later co-star Aaron Taylor-Johnson for a photocall in Madrid on Friday. The actress, 28, who plays Isla in the upcoming zombie flick, stepped out to the Rosewood Villa Magna hotel in a black silk parachute midi dress which is worth £1,190. Adding inches to her statuesque physique, Jodie slipped into a pair of Lamaire grey ballerina heels, worth £510. To accessorise, the Killing Eve star kept it simple and elegant with a pair of dangly pearl earrings. Meanwhile Aaron, 34, who portrays Jamie in the new production, looked handsome in a pair of white cotton trousers which he paired with a knitted vest. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new Showbiz newsletter to stay in the loop. He layered his top under a brown suede blazer and finished his look with a pair of leather loafers and two gold necklaces. This is the second photocall of the week as the pair were also spotted at Publicis Champs Elysees in Paris on Wednesday. Jodie oozed effortless glamour in a black draped dress with gold detailing and an asymmetric neckline that showcased her svelte waist. The actress boosted her height with a coordinating pair of strappy heels and accessorised with silver earrings and a pair of cateye sunglasses. While Aaron looked typically handsome in a bright red V-neck jumper, which allowed a glimpse of his hairy chest underneath. The British star added a trendy white barn jacket over the top, paired with black tailored trousers and shiny dress shoes. He completed the look with flashy Omega watch, after signing a deal with the brand which provide timepieces to the James Bond franchise - in what fans believes was a hint he would soon be announced as the new 007. Sporting a bushy beard, Aaron hid his eyes behind a pair of tinted shades and was seen breaking into laughter with Jodie as they posed together. The stars were joined by their film director Danny Boyle, who opted for a more casual look of jeans and a blue zip-up jumper. The much-anticipated release of 28 Years Later is just weeks away, with fans left waiting two decades to discover the next instalment in the film series. And with the nation devastated by the Rage virus nearly three decades ago, this new film - released June 19 - will show insight into the vastly different ways humanity has adapted to survive. For one such community, this means complete isolation from the outside world, and in a new clip ahead of the film's premiere, Aaron shares insight into this new addition to the 28 Days Later universe for the first time. In this new land, known as The Holy Island, humans are entirely self-sufficient, and only leave the community to hunt on the mainland, when the tide is low. Aaron plays Jamie a scavenger who is tasked with training his Spike to survive in the wilderness, before they embark on a deadly mission to the mainland. The Killing Eve star wore her long blonde hair in windswept waves and sported a light palette of makeup to show off her stunning good looks In an exclusive featurette, the actor offered a glimpse at this new Holy Island, explaining: 'My character is part of this community that survived 20-odd years because they live on the Holy Island, disconnected from the mainland. 'They don't have doctors or medicine, can only eat what they can grow, they can go hunt, but they have to go hunt on the mainland.' 'And we have rules, if you leave the island and you don't return, there's no one going out to look for you, they're going to assume you've been infected and you're dead.' Aaron then explained that for his character's son, it's a 'rite of passage' to learn his father's hunting skills, in the hope that they can survive when they leave the island. Meanwhile, Jodie plays Jamie's wife Isla, while Ralph Fiennes also stars in the film as Dr. Kelson, a survivor of the outbreak. The film is set on the real-life island of Lindisfarne, which is only accessible through a causeway during low tide. The original film 28 Days Later starred Cillian Murphy as a bicycle courier who wakes up from a coma to discover the accidental release of a highly contagious, aggression-inducing virus has caused the breakdown of society. But despite frenzied speculation that he would be reprising his role in this sequel, when the trailer came out in December, with one character appearing to resemble a zombified form of Cillian's character Jim from the first film. However, this theory was quickly shut down when a London art dealer and model revealed he was the one playing the zombie character. In the movie Aaron (pictured) plays Jamie a scavenger who is tasked with training his son Spike to survive in the wilderness Danny has since teased that viewers may get to see Cillian, 48, return after all, in one of the later films in the trilogy. Speaking during Sony's presentation at 2025 CinemaCon, the filmmaker hinted: 'Like all good things in life, you may have to wait a little while for [Cillian] to make his appearance'. 28 Years Later was filmed back-to-back with the second film, 28 Years Later: The Bone Temple, by director Nia DaCosta, which is being released in January 2026. Producer Andrew Macdonald previously confirmed that Cillian would not be appearing in 28 Years Later, but also suggested he could return for a future film. He told Empire: '[On] this, we wanted him to be involved and he wanted to be involved. He is not in the first film, but I'm hoping there will be some Jim somewhere along the line.' He added: 'He's involved at the moment as an executive producer, and I would hope we can work with him in some way in the future in the trilogy.' With a budget of $75million, 28 Years Later is the biggest film to be created with an iPhone and follows in the footsteps of a new Apple TV show. 28 Years Later hits UK cinemas on June 19, 2025.
Telegraph
26 minutes ago
- Telegraph
This is still the finest A Midsummer Night's Dream I have ever seen
Back in 2019, I gave five stars to Nicholas Hytner's 'immersive' production of A Midsummer Night's Dream. His achievement was to take Shakespeare's over-familiar comedy of romantic confusion – in which young lovers and bumbling am-dram actors come unstuck in the Athenian forest - and make it fun, funny, beautiful, revelatory and, yes, sexy. His master-stroke: magicking the action amid, and above, standing spectators (the rest seated), employing daring circusy high jinks. The success here is to make a proven delight – the finest Dream I've seen – stir wonder again; even if you're re-encountering the show, it still seems fresh and strange, a shared reverie you never want to end. That's down to the fact that like much of the audience, the superb cast – mainly new but with some old faces (among them David Moorst as the anarchic sprite Puck) – are kept on their toes throughout. The space works like some hallucinogenic kaleidoscope; locations emerge through the floor and then, in the twinkling of an eye, submerge. Some of the actors are more like stunt-artists than others – Moorst bursting up through, and down into, a mattress, say, or sardonically delivering his lines upside down; the fairies flying and tumbling overhead on sheet ropes. But all must rise to the occasion of split-second timing. Wit and lyricism run in tandem with physical prowess. Whether it be an insightful emphasis or a giggle-making ad-lib – not a moment of the evening is slack. Hytner's canny re-framing of the action remains intact. Amid a pre-show display of devout ritual reminiscent of The Handmaid's Tale, we first see the captured Amazonian queen Hippolyta in a glass cabinet, like an exhibit (Susannah Fielding static, defiant and compelling). Her enforced impending marriage to her captor, Theseus, makes her sympathetic towards young Hermia (Nina Cassells), overruled in love by her father – and it's as if she casts a corrective spell over the court. Theseus becomes Oberon as he tosses and turns at night (Bunny Christie's design maximising the use of beds as woody dens and play-pens). Thereafter, as Hippolyta becomes Titania, queen of the fairies, she acquires vengeful agency in a flip of the usual scenario; it's Oberon (not she) who falls, nectar-tainted, for the ass-translated Bottom. The genius of this device is that it turns a planned humiliation into a 'queer' celebration, Emmanuel Akwafo's gloriously funny Bottom and JJ Feild's rippling Oberon are camply trundled round the auditorium in their boudoir to the pumping strains of Beyoncé's Love on Top. At the same time, the play's core question about who we desire, and why, and how that shapes us – is brought exhilaratingly to the fore, in all its complexity and confusion. There's much more, ravingly, to say but let's stick with this: perfect.
