George Clooney reveals he's done with romantic films
George Clooney has revealed he won't do romantic films anymore.
The Ocean's Eleven star used to be one of the most sought-after screen heartthrobs, starring as the romantic lead in films such as One Fine Day, Intolerable Cruelty and Out of Sight.
Clooney, 63, most recently played a romantic role in the 2022 rom-com Ticket to Paradise alongside Julia Roberts, and he has now indicated that it was his last.
In an interview with 60 Minutes on Sunday, the star insisted that he was too old to be taking on romantic parts.
"Look, I'm 63 years old," the actor stated. "I'm not trying to compete with 25-year-old leading men. That's not my job. I'm not doing romantic films anymore."
But on the flip side, Clooney feels like he can play characters with more "gravitas" thanks to his age and life experience.
For instance, he is about to make his Broadway debut as journalist Edward R. Murrow in the upcoming stage adaptation of his 2005 film Good Night, and Good Luck.
The Ides of March actor explained that he wasn't ready to play Murrow in the film, which he directed, so he cast David Strathairn as Murrow and played a supporting character.
"Murrow had a gravitas to him that at 42 years old I didn't - I wasn't able to pull off," he shared. "I don't know that I could've (done it before). I wasn't - I didn't do the work required to get there."
Good Night, and Good Luck is currently in previews at New York's Winter Garden Theatre. It will officially open on 3 April and run until 8 June.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


New York Post
an hour ago
- New York Post
How to watch George Clooney in ‘Good Night, and Good Luck' live for free
New York Post may receive revenue from affiliate and advertising partnerships for sharing this content and/or when you make a purchase. Just one night before the 2025 Tony Awards, George Clooney is set to make Broadway history. A live play direct from Broadway has never been televised before, but tonight, the penultimate performance of 'Good Night, and Good Luck' is set to air live from the Winter Garden Theatre on CNN. Adapted from the 2005 film of the same name (which Clooney directed, co-wrote, and starred in), 'Good Night, and Good Luck' is based on journalist Edward R. Murrow's work on CBS News and his tension with Republican Sen. Joseph McCarthy during the Red Scare. Clooney portrays Murrow in the stage production. Advertisement what to know about 'good night, and good luck' Date and time: June 7, 7 p.m. ET June 7, Venue: Winter Garden Theatre (New York, New York) Winter Garden Theatre (New York, New York) Channel: CNN CNN Streaming: Hulu + Live TV (try it free) In a press release announcing the special broadcast, Clooney said, 'I can't tell you how exciting it is to do something that's never been done. CNN is the perfect place to bring this story of courage to so many more people than we could have ever hoped. Live TV. No net. Buckle up, everyone.' Clooney is making his Broadway debut in the record-breaking production, which received five nominations at tomorrow's Tonys, including a Best Performance by a Leading Actor in a Play nod for Clooney. What time is 'Good Night, and Good Luck' on TV? Advertisement 'Good Night, and Good Luck' will be broadcast live from Broadway tonight, June 7, at 7 p.m. ET. Special pre-show coverage from outside the Winter Garden Theatre will begin on CNN at 6:30 p.m. ET. After the broadcast, CNN's Anderson Cooper will lead a discussion about the state of global journalism and how it relates to the play. How to watch 'Good Night, and Good Luck' for free: If you don't have traditional cable, you'll need a live TV streaming service to catch 'Good Night, and Good Luck' for free. One option we love is Hulu + Live TV, which comes with three days free, includes CNN and starts at $82.99/month after. 'Good Night, and Good Luck' Broadway cast: George Clooney as Edward R. Murrow Ilana Glazer as Shirley Wershba Glenn Fleshler as Fred W. Friendly Clark Gregg as Don Hollenbeck Carter Hudson as Joseph Wershba Paul Gross as William S. Paley Christopher Denham as John Aaron Fran Kranz as Palmer Williams Mac Brandt as Colonel Anderson Will Dagger as Don Hewitt Georgia Heers as Ella / Jazz Singer Why Trust Post Wanted by the New York Post This article was written by Angela Tricarico, Commerce Writer/Reporter for Post Wanted Shopping and New York Post's streaming property, Decider. Angela keeps readers up to date with cord-cutter-friendly deals, and information on how to watch your favorite sports teams, TV shows, and movies on every streaming service. Not only does Angela test and compare the streaming services she writes about to ensure readers are getting the best prices, but she's also a superfan specializing in the intersection of shopping, tech, sports, and pop culture. Prior to joining Decider and The New York Post in 2023, she wrote about streaming and consumer tech at Insider Reviews


New York Post
7 hours ago
- New York Post
These Broadway portraits were stolen from Sardi's restaurant
It's not easy being green. Of the nearly 1,000 celebrity caricatures on the walls of iconic theater-district institution Sardi's, the one pilfered the most, oddly, is Kermit the Frog. 'Kermit was stolen three times. And then we screwed him up to the wall,' Johnny Felidi, longtime maître d' at the 100-year-old eatery, told The Post ahead of Sunday's Tony Awards. Advertisement Another celebrity who had to be screwed at the beloved West 44th Street eatery: Barbra Streisand. After her original 1963 portrait was purloined, it took the 'Funny Girl' 55 years to agree to another caricature. 8 Kermit the Frog, who filmed a scene at Sardi's for 'The Muppets Take Manhattan,' had his caricature stolen three times. J.C. Rice Advertisement 'And you're gonna love what she wrote on it — 'Don't steal this one,'' said Felidi, who has worked at Sardi's for 26 years. 'Julie Andrews was another one that went missing for a long time and then it was allegedly found at an auction,' added receptionist Lydia DeLuca, who spent last summer updating the binder that lists every celeb's name and their location on three floors of the four-story restaurant. 8 Barbra Streisand also had her caricature taken off the wall, so she wrote 'Don't steal this one!' on her second portrait. Jeremy Wagner Bob Hope's was looted as well — and his thief, who was drinking at the bar, was captured on their security cameras. Advertisement 'So we got their credit card information, called them up . . . and of course they get belligerent. And we said, 'We don't want to have law enforcement involved, so just return the caricature.' And they did,' recalled Felidi, a native of Parma, Italy, who grew up in the Bronx. 8 Maître d Johnny Felidi has been at Sardi's for 26 years. J.C. Rice Due to all the star-snatching, the priceless portraits adorning the walls of Sardi's — where the idea for the Tonys was conceived over lunch — are now duplicates of the originals, which are stored in a safe. It wasn't until 1986, after the death of James Cagney, that founder Vincent Sardi decided to start using dupes. Advertisement 'The night he died, they stole his caricature, never to be seen again,' said Felidi. 8 George Clooney, who made his Broadway debut this year in 'Good Night, and Good Luck' had his Sardi's portrait unveiled in April. J.C. Rice The time-honored tradition started when Sardi hired Russian immigrant Alex Gard to create the portraits in the fledgling restaurant in exchange for meals in an attempt to 'drum up business.' Brooklyn native Richard Baratz, a former engraver for the treasury department, is now the artist behind the boldfaced names. 'That's why now you see tiny little lines in his work,' Felidi noted. 8 Denzel Washington, pictured here with his 'Othello' co-star Jake Gyllenhaal, had his Sardi's portrait revealed right before the Tony Awards. Getty Images This season, Baratz sketched the portraits of Broadway A-listers Nick Jonas, Jake Gyllenhaal, Denzel Washington and George Clooney — nominated for a Tony for his debut on the Great White Way in 'Good Night, and Good Luck.' Legendary composer Andrew Lloyd Webber, who has six Tonys and is nominated for another for 'Sunset Boulevard,' also went up this year, after a decade-long wait. Advertisement 'We've had his caricature ready and drawn. It was scheduling conflicts and so we never had our paths crossed enough to do it until recently,' DeLuca explained. 8 Sardi's receptionist Lydia DeLuca spent last summer updating the binder that contains every celeb's name and their portrait's location. J.C. Rice To make room for the newcomers, current owner Max Klimavicius chooses which ones to remove and puts them into their storage facility, which contains around 500 portraits. About 230 others have been donated to the New York Public Library. Many of the famous faces are purposefully placed — and celebrity couples such as Tom Hanks and Rita Wilson and Paul Newman and Joanne Woodward are nestled side by side. Advertisement 'We have Hugh Jackman and Sutton Foster together — they're dating,' Felidi said of Broadway's newest it couple. 'When Antonio Banderas and Melanie Griffith got divorced, we separated them. We have Richard Burton up there, we have Liz Taylor down here so they don't fight.' When Tony Danza starred in 'Chicago,' he got his portrait done — but only agreed to it under one condition. 'He said, 'Please put me next to Sammy Davis Jr. And never take me away.'' Advertisement 8 Celebrity couples, like Sutton Foster and Hugh Jackman, are placed side by side. J.C. Rice Two former employees — who worked at Sardi's before they got famous — also had their images drawn. 'Martin Sheen worked here as a busboy in the 1960s,' Felidi said, pointing to the image of Sheen on the back wall of the first-floor dining room. However, Chevy Chase, who worked there as a doorman in the '70s, still hasn't gotten his hung. Advertisement 8 Sardi's, located at 234 West 44th Street, opened in 1927. J.C. Rice 'Every time he comes here he goes, 'Where's my caricature?' And I tell him, 'Chevy, it's in the office, we're waiting for you to sign it.' And he says, 'Okay, after I finish my meal, I'm gonna sign it.' And he always forgets.'
Yahoo
a day ago
- Yahoo
Why ‘Good Night, and Good Luck's' 1950s story of media intimidation is eerily relevant in Trump's America
The historical echoes in 'Good Night, and Good Luck' are extraordinary. Some might even say they're eerie. On Saturday at 7pm ET, viewers around the world can see for themselves when CNN televises the blockbuster hit Broadway play starring George Clooney. The play transports viewers back to the 1950s but feels equally relevant in the 2020s with its themes of unrestrained political power, corporate timidity and journalistic integrity. Add 'Good Night, Good Luck' on CNN to your calendar: Apple / Outlook or Google The real-life drama recounted in the play took place at CBS, the same network that is currently being targeted by President Donald Trump. That's one of the reasons why the play's dialogue feels ripped from recent headlines. Clooney plays Edward R. Murrow, the iconic CBS journalist who was once dubbed 'the man who put a spine in broadcasting.' Murrow helmed 'See It Now,' a program that pioneered the new medium of television by telling in-depth stories, incorporating film clips and interviewing newsmakers at a time when other shows simply relayed the headlines. In the early '50s, Murrow and producing partner Fred Friendly were alarmed by what Friendly called in his 1967 memoir the 'problem of blacklisting and guilt by association.' At the time, the country was gripped by Cold War paranoia, some of it stoked by Senator Joseph McCarthy's trumped-up claims about communist infiltration of the government, Hollywood and other sectors. In a later era, McCarthy would have been accused of spreading misinformation and attacking free speech. Murrow and Friendly thought about devoting an episode to the senator and his investigations, but they wanted a dramatic way to illustrate the subject. They found it with Milo Radulovich, an Air Force reserve officer who was fired over his relatives' alleged communist views. Radulovich was a compelling, sympathetic speaker on camera, and Murrow's report on him not only stunned viewers across the country, but it also led the Air Force to reverse course. 'The Radulovich program was television's first attempt to do something about the contagion of fear that had come to be known as McCarthyism,' Friendly recalled. That's where 'Good Night, and Good Luck' begins — with a journalistic triumph that foreshadowed fierce reports about McCarthy's witch hunts and attempted retaliation by the senator and his allies. Clooney first made the project into a movie in 2005. It was adapted for the stage last year and opened on Broadway in March, this time with Clooney playing Murrow instead of Friendly. Both versions recreate Murrow's actual televised monologues and feature McCarthy's real filmed diatribes. 'The line between investigating and persecuting is a very fine one,' Murrow said in a pivotal essay about McCarthy, uttering words that could just as easily apply to Trump's campaign of retribution. A moment later, Murrow accused McCarthy of exploiting people's fears. The same charge is leveled against Trump constantly. 'This is no time for men who oppose Senator McCarthy's methods to keep silent, or for those who approve,' Murrow said, sounding just like the activists who are urging outspoken resistance to Trump's methods. In April, Trump issued an executive order directing the Justice Department to investigate Miles Taylor, a former Trump homeland security official who penned an essay and a book, 'Anonymous,' about the president's recklessness. This week Taylor spoke out about being on Trump's 'blacklist,' using the same language that defined the Red Scare of the '50s and destroyed many careers back then. 'People are afraid,' Taylor said on CNN's 'The Arena with Kasie Hunt.' He warned that staying silent, ducking from the fight, only empowers demagogues. Murrow did not duck. Other journalists had excoriated McCarthy earlier, in print and on the radio, but Murrow met the medium and the moment in 1954, demonstrating the senator's smear tactics and stirring a severe public backlash. Afterward, McCarthy targeted not just Murrow, but also the CBS network and Alcoa, the single corporate sponsor of 'See It Now.' McCarthy threatened to investigate the aluminum maker. 'We're in for a helluva fight,' CBS president William Paley told Murrow. The two men were friends and allies, but only to a point. Paley had to juggle the sponsors, CBS-affiliated stations across the country, and government officials who controlled station licenses. In a Paley biography, 'In All His Glory,' Sally Bedell Smith observed that two key commissioners at the FCC, the federal agency in charge of licensing, were 'friends of McCarthy.' The relationship between Paley and Murrow was ultimately fractured for reasons that are portrayed in the play. Looking back at the Murrow years, historian Theodore White wrote that CBS was 'a huge corporation more vulnerable than most to government pressure and Washington reprisal.' Those exact same words could be written today, as CBS parent Paramount waits for the Trump-era FCC to approve its pending merger with Skydance Media. Billions of dollars are on the line. The merger review process has been made much more complicated by Trump's lawsuit against CBS, in which he baselessly accuses '60 Minutes' of trying to tip the scales of the 2024 election against him. While legal experts have said CBS is well-positioned to defeat the suit, Paramount has sought to strike a settlement deal with Trump instead. Inside '60 Minutes,' 'everyone thinks this lawsuit is an act of extortion, everyone,' a network correspondent told CNN. In a crossover of sorts between the '50s and today, Clooney appeared on '60 Minutes' in March to promote the new play. He invoked the parallels between McCarthyism and the present political climate. 'ABC has just settled a lawsuit with the Trump administration,' Clooney said. 'And CBS News is in the process…' There, Jon Wertheim's narration took over, as the correspondent explained Trump's lawsuit. 'We're seeing this idea of using government to scare or fine or use corporations to make journalists smaller,' Clooney said. He called it a fight 'for the ages.' Trump watched the segment, and he belittled Clooney as a 'second-rate movie 'star'.' On stage, Clooney as Murrow challenges theatergoers to consider the roles and responsibilities of both journalists and corporate bosses. Ann M. Sperber, author of a best-selling biography, 'Murrow: His Life and Times,' found that Murrow was asking himself those very questions at the dawn of the TV age. Murrow, she wrote, sketched out an essay for The Atlantic in early 1949 but never completed it. He wrote notes to himself about 'editorial control' over news, about 'Who decides,' and whether the television business will 'regard news as anything more than a saleable commodity?' Murrow wrote to himself that we 'need to argue this out before patterns become set and we all begin to see pictures of our country and the world that just aren't true.' Seventy-six years later, the arguments are as relevant and necessary today.