Natalie Portman 'lost' an iconic prop she took from the Star Wars set
Natalie Portman has "lost" one of Anakin Skywalker's braids from 'Star Wars'. The 43-year-old actress - who rose to fame as Padme Amidala in the space saga's prequel trilogy between 1999 and 2005 - has revealed she took a piece of hair belonging to co-star Hayden Christensen when filming wrapped on 'Episode III - Revenge of the Sith' as a souvenir two decades ago, but she has no idea where it is anymore. During an interview on Tuesday (20.05.25) with UK TV show 'This Morning' on ITV, she said: "I took one of the Anakin braids at the end of shooting... "They were all clip-on things, and there were many of them obviously, because they had to do it every day. "So, I took one them - but I don;t have it anymore. I lost it... I shiuldn't even have admitted that!" Natalie also confirmed she would gladly return to the 'Star Wars' - which is still expanding on Disney+ and the big screen - although there have been no talks yet. She added: "Sure! No one's asked me, so I don't wanna start any rumours! I'm open to all of it, yeah!" Natalie - who has son Aleph, 13, and daughter Amalia, eight, with ex-husband Benjamin Millepied - admitted her children are the "main" inspiration behind any projects she takes on at this stage of her career. She said: "Oh, one hundred percent! It's a main, main driver of my decisions." That's true of her latest movie 'Fountain of Youth', and she's excited for her kids to be able to watch one of her films - even if they're not always "interested" in seeing her on screen. She quipped: "They're not actually that interested in seeing stuff that I've made. I think it's a little weird for them to have mom be someone else too. "And also, I haven't had that many experiences because not many of the films I've been in have been appropriate!"
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New York Times
an hour ago
- New York Times
Rodrigo Muniz interview: ‘The perfect centre-back would be a mix of Maguire and Van Dijk'
As The Athletic plays back Rodrigo Muniz's left-footed finish against Chelsea, the 24-year-old turns away for a moment and reaches for his phone. Is he replying to a message? Scrolling social media? Surely he's not bored by his 96th-minute winner against Fulham's west London rivals? 'I think this angle is much better,' he says, revealing a video taken by his wife among the away fans in the Shed End of Stamford Bridge. Limbs. Everywhere. Muniz, 90+5'. — Fulham Football Club (@FulhamFC) December 26, 2024 'My wife goes to all of the games. Carabao Cup, home and away, everything,' he says. She has had good value, seeing her husband score at the Etihad, Anfield, Emirates Stadium, St James' Park and that dramatic goal at Stamford Bridge all in the same season — the first player to do so since Harry Kane in 2015-16. Advertisement 'I think with confidence, these things just happen normally,' he says. 'I think Rodrigo two years ago would have tried to score against Chelsea with a first-time shot and maybe missed it, but with a bit more conviction now, I managed to keep calm because I'm more prepared for these situations.' There is warmth and friendliness to his demeanour, but as we get into the details of the clips — his goals, movement, hold-up play — he becomes focused. Muniz still wants to get better. While his journey to the Premier League is already marked by hard work behind the scenes, both he and Fulham manager Marco Silva demand more. 'I think I have turned into a good attacker, but there are lots of things I need to improve. Playing more, training well, this is going to turn me into a better player,' he says. Muniz also works with video analysts outside of the club, and still talks regularly to former Atletico Madrid full-back and current Flamengo head coach Filipe Luis for advice. 'He was like a godfather to me; he helped me a lot, and we've remained good friends.' The numbers are exceptional, but Muniz remains grounded and eager to keep advancing. From the subtleties of his box movement to his toughest opponents, this is how he has made the step up. Muniz has struggled for consistent game-time this season at Fulham, amid minor injuries and strong competition at the club for the No 9 role, but his goalscoring rate of 0.6 non-penalty goals per 90 minutes since the start of last season places him in elite company. Of players with over 2,000 minutes in that time, only Diogo Jota, Alexander Isak and Erling Haaland have provided goals more regularly from their time on the pitch. A healthy smattering of those efforts have come via headers (37 per cent) — hardly surprising in a Marco Silva side, with Fulham's 17.7 open-play crosses per 90 being more than any other Premier League club last season. 'I feel comfortable going for headers. Ever since I played for Flamengo in Brazil, I have been scoring them for a long time,' Muniz says. Advertisement 'One of the things that Marco Silva talks to me about crossing is that he likes the wingers or full-backs to lift their deliveries. It's an important part of my game and I think particularly at the back post, it's one of the strong points of my game.' Heading can still be perceived as an agricultural part of the game, but to be executed correctly, such an action requires good timing, intelligent movement and a clear understanding of your team-mates' deliveries. For example, against Brighton last season, Lewis Dunk is tracking Muniz's run as Harry Wilson cuts inside on to his stronger left foot. The movement is subtle, but the Brazilian takes a step to his left to create a yard of space to dart to his right. With Dunk flat-footed from the dummy run, a yard is all Muniz needed to attack the cross and head beyond Jason Steele. 'This is the kind of movement that Marco Silva demands from me a lot. Because when I'm looking to attack from the edge of the box I would usually drift to the back post. But here I sell the dummy and I've already attacked the front post,' Muniz reveals. 'Before this game, the guys who help me tactically spoke with me, and said when you get a chance to attack the centre-back, try to mix it up and attack the front post.' One touch is often all Muniz needs to finish, with 72 per cent of his efforts coming from first-time shots since the start of last season. Among Premier League forwards, only Nottingham Forest's Chris Wood has a higher rate (75 per cent) in that period. 'I think it's something that I brought from Brazil,' Muniz says. 'It's something I did a lot. Improving this skill has helped me to score a lot of goals.' Within those first-time finishes, Muniz has a particular penchant for nicking in ahead of a blindsided defender for a simple finish. Against Aston Villa in 2023-24, a lofted ball to Antonee Robinson sees Fulham's left-back chase the ball on the flank before delivering a first-time cross to the near post — with Muniz placing himself out of the peripheral view of centre-back Clement Lenglet. With Lenglet and goalkeeper Emiliano Martinez believing the situation is under control, Muniz darts in, seemingly from nowhere, to get ahead of both of them for yet another first-time finish. For those seeking further examples, run the tape on Newcastle away and Liverpool away in 2024-25, or Tottenham at home and Bournemouth at home in 2023-24. 'I think it's something that comes naturally,' Muniz says. 'Marco says every week, 'Front post! Front post! Front post!'. When it's Jedi (Antonee Robinson), I know the ball is going to come in early and likely to the front post, so that makes it easier when we understand our team-mates.' Advertisement Having these connections with his colleagues is crucial. Robinson's 15 open-play chances created for Muniz are more than any other team-mate since the start of last season. Different movements are required for different team-mates, and it is a part of the game that Muniz is keen to study — allowing him to employ the right movement at the right time. 'Building these relationships is very important,' Muniz says. 'In training, you start to understand all of this — above all, what is good for me is good for the crosser and therefore good for the team. Marco Silva spoke to me and said, 'I need you to have that connection with Emile, or Alex, because it is important for me'. The connection I have with Andreas (Pereira) is very good, but I need to build that with everyone.' Muniz's exceptional goal against Sheffield United is a great example of that understanding of his team-mates. An acrobatic finish into the top corner is undoubtedly the focus but without the appreciation of Adama Traore's crossing preference, such an effort might not have come to fruition. 'When Adama has the ball here, he always tries to cross it the same, he rarely pulls it back,' Muniz reveals. 'Everyone is deeper, so I know if I drop into that space (towards the penalty spot), it will be better. I need strikers and wingers to give me the ball, so I need to understand each one.' Attacking crosses is one thing, but Muniz is keen to outline his versatility as a modern-day forward — one who can run in behind, hold up the ball and link with others, as well as attack the box. 'In Brazil, the game is more open and running in behind is important; it's more of a mix. So the day I arrived in the Championship and it was all about getting the ball into the striker and under control — it was very different,' Muniz says. Advertisement 'I think I run in behind a bit less here, but when I first arrived here, there was Mitrovic, so this was the identity of Fulham being a team who could play beautiful, controlled football with a No 9 who can make things stick, and there wasn't much movement in behind. 'Then with the arrival of Raul (Jimenez) and me, we started to attack the space a bit more. I can control the ball and I can attack the space, so for me it's calm.' That versatility is shown in Muniz's running numbers using data from SkillCorner, which outlines a player's off-ball run types as a share of his total runs made. While there is a decent share of cross receiver runs (runs towards goal to receive a possible cross — 44 per cent), many of the Brazilian's runs are in behind the defensive line (30 per cent) or ahead of the ball (16 per cent). A good example of those runs in behind can be seen in Fulham's victory over Wigan Athletic in this year's FA Cup fourth round. With Muniz leading the attack against a high defensive line, note how he already begins his run before team-mate Pereira receives the ball (frame 1). A whipped pass from Pereira lands perfectly at the feet of Muniz — who has broken through Wigan's defence — to volley past Sam Tickle first time. 'Andreas has improved my game a lot,' Muniz says. 'I have a really great understanding with him on the pitch and when he is on the ball, I know that he is going to try to find me, so I have to make a more disruptive move whenever he has the ball.' 'I can trap the ball really well with my back to goal but I can also attack the space in behind because I am quick, so Marco Silva asks me to drop short and receive to feet but also attack the space.' Selfless runs are par for the course for any striker, with Muniz's profile being one that does not often go roaming to receive the ball, but rather stays between the width of the goalposts. Since the start of the 2023-24 season, only Haaland has had fewer touches per shot in the Premier League. 'The No 9 doesn't receive the ball a lot, so it's important to work hard without it to feel involved in the game,' Muniz says. 'When we do receive it and we manage to get it under control, flick it on, and give continuity to the play, you feel good in the game.' Muniz's physical profile means that battling with centre-backs forms a large part of his diet on the pitch. Among forwards with 2,000-plus minutes since the start of the 2023-24 season, only Everton's Beto has contested more aerial duels than his 11.1 per 90. Advertisement Only five forwards have suffered more fouls than Muniz's 2.3 per 90 in this period, which only serves to reinforce his tenacious style of play. Crucially, who has been his toughest opponent? '(Harry) Maguire,' Muniz reveals without hesitation. 'Maguire and Van Dijk would be my top two — Van Dijk gives you a bit more space. The perfect centre-back would be a mix of Maguire and Van Dijk. It's very difficult to play against both of them. Both have so much quality, both in the physicality and the pace.' As luck would have it, The Athletic shows Muniz a short clip of him battling with centre-backs just seconds later. The opponent? Maguire, throwing Muniz to the floor after a sharp pass played around the corner with his back to goal. 'He's always making contact, doesn't leave you in peace, it's constant. You have to be very focused.' Just eight Premier League starts in 2024-25 will be a source of frustration for Muniz, but he does not lack ambition or belief that he is able to perform regularly at the highest level. 'I have a dream to play in the Champions League and above all to be called up for the national team,' Muniz reveals. 'I know that for this to happen, I have to play and keep on doing the work I've done. What depends on me, I'm going to do, and other things that I have no control over — I just have to wait.' Carlo Ancelotti's arrival as the Brazil national team manager comes at a time when the Selecao are in desperate need of some refurbishment — a situation that Muniz could use to his advantage. Given his profile, does the Brazilian feel he has something different to offer his national team? 'I think it's going to depend on the coach. Some prefer this more controlled style, some like to attack the space. We have strikers who can hold the ball up really well — Pedro at Flamengo is a very good player. We also have Richarlison and Joao Pedro who can attack the space really well. 'I think I can do a bit of both and that I'm a different kind of No 9, but we'll see.'
Yahoo
2 hours ago
- Yahoo
‘Andor' Season 2 Effects Team Did a Wild Number of Things For Real
'Keep it grounded, keep it real' has always been Andor creator Tony Gilroy's mandate to his effects team. For the acclaimed Disney+ Star Wars drama's second season, Gilroy's marching order meant building a massive 'flying' TIE fighter from the ground up, figuring out a fresh way to film a Speeder Bike chase, tweaking the iconic Stormtrooper laser blasts, and solving countless creative challenges (there were 4,140 effects shots). Below, Andor VFX supervisor Mohen Leo (who led the show's digital effects team) and SFX Supervisor Luke Murphy (who tackled the show's practical effects) discuss pulling off the season's biggest visuals — as well as some of the smallest, which often turned out to be the trickiest. More from The Hollywood Reporter 'Wolf Hall' Director on How He Pulled off The Silent Scene That Relayed a Thousand Words Why 'The Handmaid's Tale' Has Become a Feminist Life Raft Tonys: Sarah Paulson on the Truth-Teller Behind the Pulitzer-Winning Play 'Purpose' What was the hardest effect to pull off in season two? MOHEN LEO The most ambitious sequence was the TIE Avenger escape [in the season's first episode]. That was in preparation for months — trying to figure out how to keep this sequence within the language of the show. I didn't want to start the season off with something that was only computer generated. In conversations with Tony and with Luke, we talked about designing a sequence that starts with much more traditional filmmaking — with a practical set where we can use practical effects. And then, over the course of that sequence, transition into digital effects [as the fighter flies out of the hanger]. I'm assuming that TIE fighter was actually built? Because you see it on the ground in multiple settings and I thought it was really there. LUKE MURPHY That thing was [actually built] and it sat on its wings. It was one of the most challenging builds we've ever done. It had a steel core and with materials used in aircraft — loads of aluminum composite panels, carbon fiber. We did everything we could to make that thing as strong as possible without having to rely on other structures that would then get painted out [with CG]. Actors could touch it and walk into it. Then we could literally lift that thing up with a crane and fly it around. Back in the day, George Lucas famously used World War II dogfight footage for creating aerial scenes. What do you use now? LEO I try to avoid referencing other movies. There's almost no excuse not to look at real world references because you can find a fantastic reference for almost anything. There's a shot in episode three when Cassian arrives with the TIE Avenger and he overtakes a troop transporter with the troops sitting in it. The idea for that shot came from looking on YouTube for Apache helicopter shots because we were saying, 'Okay, [the TIE fighter] should behave a little bit like a mix of a jet and an Apache.' And I found that same shot of troops driving through the desert and out of the dust comes an Apache. You also had a speeder bike scene, which has come a long way since . LEO One of the things that always bugs me with Star Wars speeder bikes is you can tell that it's someone on a blue screen with a wind machine, and then we put the background in. Luke ultimately came up with a fantastic solution with the stunts team for the speeder bike chase [through a wheat field] for the shots where you don't see Brasso's (Joplin Sibtain) face. MURPHY The speeder stuff is always tricky. But we managed to get a speeder bike built onto the actual V-8 of a high-speed all-terrain vehicle, and then that was driven by a stunt driver. And I think what really helped there — Oh, the crops! MURPHY Yeah. The speed is supposed to be hundreds of miles an hour, right? That's the reality in the Star Wars world. We were fortunate enough to get some really good shots at a very safe speed that look really dynamic, and then we just [digitally] tidy and clean stuff up. It feels believable because the stunt man is really gunning it and going for it. There was lot of paperwork involved in satisfying [the production's] risk management assessors. What shot or effect are you most proud of this season? MURPHY One of the biggest challenges for us was we had to create a 17-ton electric snowplow for the heist sequence. When that vehicle comes down the street and crashes, it rips up the street for 80 feet. I was nervous that day. It was so cold that the breakaway material we were using in the street was sticking together. So at the last minute, we had to lift up 400 paving slabs and loosen all the material underneath. See, that's a shot I would just assume was digital. LEO When you're in visual effects and see there's going to be a shot like that, you always think, 'We're probably going to have to make a whole lot of [CG changes].' We just had to paint away the camera rail — and that's it. We didn't augment that in any way. It looked fantastic just as it was. MURPHY Another shot I was super happy with was when the grain comes out that silo and hits those stormtroopers. We set up a rig to do that and those guys got wiped out by 16 tons of grain. The shots of K2SO in the cockpit, those are digital? My brain was telling me that has to be in effect, but he's so very there. Also, there's so much subtle expression, with the eyes and head movements. LEO It was so important to have Alan back because he really embodied that character, and for his chemistry with Diego. Something we learned on Rogue One was you have to look at things that Alan might express with his face that you couldn't transfer onto K2SO directly because his face doesn't move — other than the eyes. So you find ways to transfer a facial expression into a little tilt of the head, or a movement of the eyes. Interestingly though, we did have a practical K2SO — like in the sequence where he's [deactivated on the table], he's practical. The moment he wakes up, he's digital. Is there anything from the long line of Star Wars video games that inspired any practical or visual effects the season? LEO There is one Easter Egg, I think in episode four. There are a couple of guards that watching pod racing on a screen. The way it was initially written was that they were watching sports. But there's not really football and stuff like that [in Star Wars]. We were like, 'Can we do pod racing?' Then I went back trying to find aerial footage we could use for those shots. There's a game called Star Wars Episode I: Racer from 1999 and it had a bunch of tracks in it. So it uses the track name from the game. Let's talk a moment about the evolution of the stormtroopers' red laser blasts as seen during the hallway fight scene. I feel like back in the day the lasers looked more chunky, and now they're thinner and more darting? LEO If you look at the original trilogy, because [the lasers] were [painted] manually, there is a larger degree of inconsistency. [The lasers] are not always the same colors and not always the same width. So starting with Rogue One, [ILM Chief Creative Officer] John Knoll said, 'Okay, let's really think about what is the visual language of these carrying forward.' We started doing something that is thinner, and has a pointy diamond shape — like arrow tip — at the front. Another thing John pointed out was that for the bigger laser shots — like from the TIE fighter, for example — is that when a green laser hits something, the first two frames of the explosion are green. When a red laser hits something, the first two frames of the explosion are red. There also needs to be always some wiggle room for the individual director to have a say. It's the same with [a ship going into] hyperspace. It's sometimes much more colorful. In Andor, it's a bit muted because it's a backdrop for intense character drama and you don't want it to be distracting. 'Grounded and real' is probably something that a lot of showrunners walk in asking for. But it's impressive Tony had the heft to do that. And then you guys, obviously, pulled it off. LEO I think it's not just heft. It was this understanding of restraint — from Tony and John Gilroy, his brother, the supervising editor, and even the directors. You didn't want to be flashy when it was inappropriate for the story. So there were a number of big visual effects shots that we ultimately cut or toned down because they just felt like they didn't belong. That's interesting. What's an example of a flashy effect shot that was cut? LEO Like there were a couple directors who said, 'Let's start with a big aerial establishing shot, and then cut into the location.' And Tony and John said, 'We don't need that. It's all about the characters, let's go straight into the drama.' What looked really simple but in reality was very difficult? MURPHY The scene where there's a bubbling liquid poured [onto Luthen's spy network communications panel to destroy it]. Really small stuff like that that you wouldn't think was a big deal when you're breaking down a script. Another challenge was the elevator in the Senate building because it's a cylinder with doors that open and then it all moves diagonally. It was compound curves everywhere and it felt like geometry was against us every step of the way. That was quite a challenging rig [to build]. And again, when you read in the script, 'Mon steps out of an elevator,' you think, 'Okay, fine.' Then you see the drawings. It's always the stuff where you go, 'Oh, that's a just a two-minute job' that turns out to be a total monster. This story first appeared in a May stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
Geek Girl Authority
3 hours ago
- Geek Girl Authority
playdead Archives
Categories Select Category Games GGA Columns Movies Stuff We Like The Daily Bugle TV & Streaming Get Limbo for free this week in the Mobile Epic Games Store. Play as a young boy who must travel through darkness to save his sister. With the decade coming to an end in a few short weeks, we have time to look back at everything ... Today BAFTA announced the nominees for the British Academy Game Awards that will be held on April 9, 2017 at ...
