
'Severance' put Tramell Tillman on Hollywood's radar. Now Tom Cruise loves him.
'Severance' put Tramell Tillman on Hollywood's radar. Now Tom Cruise loves him.
Show Caption
Hide Caption
Simon Pegg talks Tom Cruise stunt work on 'Mission: Impossible'
Simon Pegg reveals what it's like doing stunts with Tom Cruise in 'Mission: Impossible - The Last Reckoning'
All it took was a photo of Tramell Tillman to hook Tom Cruise.
'Mission: Impossible' franchise director Christopher McQuarrie was an early adopter of the hit Apple TV+ series 'Severance,' which features Tillman as mercurial office boss Seth Milchick. So when casting the new 'Mission' installment 'The Final Reckoning,' McQuarrie called Cruise to tell him 'there's something special' about Tillman and showed the A-lister his picture.
Cruise's response: 'I love him.'
Tillman has never heard this story before, and his reaction is a grin as wide as Mr. Milchick's (sans the semi-sinister undertones). 'That's really cool,' he says. When Cruise shook Tillman's hand and said he was glad Tillman was there, 'I felt that it was genuine but I didn't know that he was a fan,' the 'Severance' breakout adds.
Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox
Tillman has a small but key role in 'Final Reckoning' (in theaters now) as Captain Bledsoe, the commanding officer of a submarine that Cruise's superspy Ethan Hunt hitches a ride on during his mission to foil a villainous AI.
'This is a man of mystery, and I'm not shy (about) playing men of mystery,' Tillman says with a chuckle. To differentiate from the character from Milchick, 'I added a little more humor, a little more joy, a little more suave, and more intention of how he takes care of business.'
One of Hollywood's fastest rising stars, Tillman talks about his 'Mission' debut, that viral "Severance" marching band moment, and his Met Gala finery.
(Edited for length and clarity.)
Q: You have the best line in this movie that you say to Tom: 'Mister, if you want to poke the bear ... Ohhhhh, you have come to the right man.' Is figuring out not only what you say but how you say it important in your process?
Tillman: As actors, our job is to uplift the text to allow it to come alive. And any good piece of writing is going to inform not only the story but the character. I always enjoy leaning into the text. And with Milchick, because he's so specific in speech, his weaponry, his arsenal, are his words.
What's a better day: being on a submarine with a bunch of steely sailors or leading a marching band in an office space?
I mean, marching band, 100%. Now if you said performance review, then that would be something different.
That band scene in the 'Severance' Season 2 finale was instantly iconic. You were in your high school band?
I was. I played the alto saxophone.
I played the tuba.
Oh, I was always afraid of the tubas.
Did you ever want to be drum major? Because you're kind of a natural.
I went to Jackson State University, Sonic Boom of the South is the name of the marching band there. And those drum majors, their endurance, the energy, the showmanship is absolutely incredible. Their athleticism, it's unmatched in my opinion. So this was an opportunity to just give a little taste of that dream and have it realized.
You're still such a new face in Hollywood. Do you feel like you've been shot out of a cannon, or at least that somebody's lit a fuse at this point?
Definitely a fuse has been lit (laughs). What's really rewarding has been the reaction that I'm getting from fellow actors and directors, people that I've watched for years and admired their work, that have embraced me and supported me. I'm honored by that. It's always wonderful to get love from home.
You recently attended the Met Gala and looked great doing it. What was that experience like?
I've wanted to go to the Met Gala ever since I knew about the Met Gala, and it's one of the hardest events to get into. It was important to give a nod to the Black Victorian era, an era that I wasn't even aware of until maybe five or six years ago. So I wanted to pay homage to that and give credence to that story of Black people in a place of elegance and strength and power.
You turn 40 next month. Are you doing anything special to celebrate?
I might be flying across the world doing an event or an interview or something (laughs). But I am definitely excited to enter a new decade, a new era.
Coming into this kind of success now, do you feel that the extra life experience was needed?
Yeah, I had to grow into my britches, as they used to say in the South. The timing for me was really important and I don't think I would've been able to hold what I've been given now if I was at a different age. I don't think I would've been able to appreciate it and take care of it.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
32 minutes ago
- Yahoo
Brian Tyree Henry on how ‘Dope Thief' let him ‘reclaim' his name: ‘I was just Paper Boi to people,' and now ‘I became Brian again'
"Dope Thief allowed me to reclaim my name," says Brian Tyree Henry, the star and executive producer of the Apple TV+ limited series. The Oscar, Emmy, and Tony nominee tells Gold Derby, "I was just Paper Boi [from Atlanta] to people for quite a few years. And so with this one, I think that I became Brian again, and that is very special to me." Watch our full interview above. Henry plays Ray Driscoll on Dope Thief, a con artist who, along with his lifelong friend Manny Carvalho (Wagner Moura), robs from drug dealers by posing as DEA agents. Unfortunately, they steal from the wrong people, and mayhem ensues. The program is written by Peter Craig and based on the 2009 novel by Dennis Tafoya. "Everything that happens is absolutely terrible, but in the end, it's a fun ride," the actor recalls. More from GoldDerby Emmy experts debate Comedy Series race: 'Hacks' will compete against 'a bunch of new kids on the block' 2025 Tony Awards highlights: The best, the worst, and the 'Hamilton' mixtape Tonys 2025: Best prediction scores by Gold Derby experts, editors, and users "Wagner Moura is truly one of the best that's ever done it," Henry says of his costar. "Being able to do this show with him was the greatest gift I've ever been given, honestly." On their first day on set, he recalls Moura pulling him aside and revealing that he was "really scared," to which Henry responded, "'Regardless of what goes on, I promise you I won't leave your side. We've got each other.' And from then on, we were just connected and locked in." Henry calls Dope Thief a "love story between these two friends who are more than friends. I don't even think the word 'friend' is appropriate. They've been through so much together. It's very easy to see series where it's a Black and Brown man paired together — violence, drugs, all the yahooey — but you never really get to the core of who they are. But these two men are afraid and vulnerable, and there is grief, there is regret." Apple TV+ Henry sees a connection between his roles as the lead actor and executive producer, and takes both positions seriously. "What I realized by being the star of the show and also the EP, is that there's this phrase that floats around on sets that says, 'It starts from the top.' Whoever is considered the top of the show, their tone dictates the rest of how the show goes and is felt. And so, in this particular project, I felt like being No. 1 on the call sheet meant that I set the tone, and I didn't want anything but joy." The tone of Dope Thief shifts between incredibly dramatic and hilariously light-hearted. "Even if I'm on the ground covered in blood with a hole in my leg, in between takes, we're going to get up, I'm going to play music, we're going to talk," says Henry. "Peter would let us improv all the time, which is my juice. I love it. I just always want to be truthful in where the characters are." Regardless of what happens at upcoming awards shows, Henry is happy that Dope Thief gave him room "to show people my range and that I'm not just one thing." He's already been nominated at the Gotham TV Awards for this project, and the Emmy nominations will be unveiled on July 15. "I don't ever win sh-t," he laughs. "It's cool, but I'm always so wrong about what I think people will recognize. Let me tell you something: I'm honored." Henry opens up about how the sixth episode, in which Ray was in a "delirium" after being shot, came on the heels "of a major loss in my life, when my father died." He explains, "This episode also dealt with Ray and his father [played by Ving Rhames] and all these different things, and I was like, you have got to be kidding. There is no way that you can make this up. It was incredibly cathartic. It is an episode that I truly, truly, truly love. It was incredibly hard to make, but at the end of the day, it was so rewarding." The actor is proud of all of his collaborations and has nothing but thanks for Craig. "I tell Peter all the time, thank you for putting dialogue like this in my mouth," he says, "and for allowing space for me to actually show all these different emotions that they normally just don't let us as Black actors play." What does Henry think his character will be up to five or 10 years in the future? "I hope that Ray is on a farm in a garden that he has procured somewhere in New Hope, Pa.," he says with a smile. "I hope that he makes candles, is in love with his mother [played by Kate Mulgrew], that they're running a shop. I really want him to wear cardigans, but I want him to really feel like he's free," Henry continues. "I think that freedom is the thing that he needs." Dope Thief is now streaming on Apple TV+. SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby 'Say Nothing' star Anthony Boyle on playing IRA activist Brendan Hughes: We 'get to the humanity as opposed to the mythology' The Making of 'The Eyes of the World: From D-Day to VE Day': PBS variety special 'comes from the heart' From 'Hot Rod' to 'Eastbound' to 'Gemstones,' Danny McBride breaks down his most righteous roles: 'It's been an absolute blast' Click here to read the full article.
Yahoo
32 minutes ago
- Yahoo
Grammys EP Ben Winston on the risks of producing live TV: ‘I always never know quite why we do it'
If you've enjoyed a live TV music special in recent years, chances are Ben Winston produced it. Since signing off The Late Late Show with James Corden in 2023, which he executive produced, he's more than had his hands full with his company Fulwell Entertainment, bringing a slew of music specials to the screen — with Dua Lipa, Elton John, and Brandi Carlile this year alone — along with Carpool Karaoke Christmas, Ellen DeGeneres: For Your Approval, The Kardashians, to name a few. More from GoldDerby 'Ballerina' stumbles at the box office while 'Lilo & Stitch' surfs to another $32.5M Brian Tyree Henry on how 'Dope Thief' let him 'reclaim' his name: 'I was just Paper Boi to people,' and now 'I became Brian again' Emmy experts debate Comedy Series race: 'Hacks' will compete against 'a bunch of new kids on the block' He also took on his own Mission: Impossible when he orchestrated Tom Cruise's jump off the stadium roof as part of the Olympic torch handoff from Paris to L.A. as part of the closing ceremony. And then there was this year's Grammy Awards — held in the wake of the devastating fires that ravaged Los Angeles. Here, Winston opens up to Gold Derby about his life as a producer: Yes, he still gets nervous before going live; no, he doesn't want to tackle the Oscars — and as for the 2028 Olympics, he's waiting for the phone to ring. Gold Derby: Do you miss the late-night days? Ben Winston: Oh, I miss it so much. But it's given us the opportunity to do other things, and we never wanted to overstay our welcome. We never wanted to be irrelevant. We always wanted to be in the zeitgeist. So I think that we left the stage at the right time, as much as I miss it. What does it take for content to break through these days? I think really compelling storytelling is always the way. Whether we're making an episode of The Kardashians or whether we're launching the LA28 games, I think it's about how do you make something that surprises and delights and gets people talking. I think in this environment where there is so much out there that it's hard to find your audience, I think if we can do something, whether that be Benson Boone and Doechii at the Grammys or whether it be Tom Cruise jumping off a plane or jumping off the roof at the Paris Stadium or whether it be Kim and Kourtney going to India for an episode of The Kardashians, if we can create real big moments of content that get people talking and discussing and sharing, then I think we're winning. But it's harder and harder. So when a project lands on your desk like the Grammys or the Olympics, how do you approach it? I think, 'What's the idea? What do I want to say?' The biggest one I would say of this last year would have been the LA28 special. Because usually the handover is kind of a nothing moment in a closing ceremony. I remember in London, I was at the closing ceremony. I think the next Olympics was Brazil. It was just some Brazilian dancers and a musician. So when I sat down with Casey Wasserman and the LA28 team, literally two years before we did it, it was like, what can we do for ten minutes in the closing ceremony that really grabs attention and makes a statement about L.A.? I was really keen to do something big that embraced the Hollywood of L.A., that embraced music because I think music is a huge part of the culture here. I wanted to show off the city because, yes, we don't have the Eiffel Tower and the Seine and the Notre Dame, but we do have beautiful beaches. We have really iconic symbols, whether it be the Griffith Park Observatory or the Hollywood Sign. But more than that, what I had to think about with L.A. was the theme. What is the Olympics? The Olympics is a thing that people from all over the world go to, and they try and achieve their dreams there. And Los Angeles is a city where people from all over the world come to, and they try and achieve their dreams here. Linking all of those things together suddenly got me thinking. I'd worked with Tom Cruise quite a bit over The Late Late Show days. We've done lots of sketches with James [Corden], whether it would him being Pumbaa and Timon in Lion King or jumping out of a plane or flying those Top Gun planes with James, and I've gotten to know Tom well. And I had this idea that maybe he jumps off the roof, shocks everybody, grabs the flag, and then takes that flag out of the stadium and drives from Paris to his airplane, jumps out of the airplane, lands in Hollywood and takes over the sign. And then we showcase some real sporting icons of L.A. who then take that flag and land at the beach, and then we just do a huge beach concert. I love how you start with a really small idea. Gotta think big! It was difficult to do. But it was such a fun, bold, ambitious idea. And everyone was in. So in the end, it became a one-hour special that encompassed all of those ideas that was a real celebration of L.A. What was beautiful about it for L.A. and for me is that the next day of the closing ceremony, the image that was around the globe was Dre and Snoop in front of the LA28 sign and Tom jumping off the roof. So we'd achieved our goal of announcing and launching LA28 in a really great way. So going back to the other question, how do you get attention? That is a great example where I think unscripted television really gripped the world and made an impact. You had to have been worried about pulling all of that off. What was your biggest concern? There were so many. The fact that the biggest movie star in the world is standing on a roof and about to jump off it, that is always a concern. We lost our beach with about four weeks to go, for various reasons. And then it's just all those elements coming together. I was really excited when NBC loved the idea so much that they gave us a special for it, though that meant that what was a 16 minute idea that was live could then become like an hour's special with more music and more Tom could breathe a little bit more in prime time. But that was a very nerve wracking on the day because although it was pre-taped it was live in the ceremony. That was the most nervous I think I've ever been, of anything I've done. You still get nervous? Live television is always nerve-wracking. I always never quite know why we do it. As it gets towards 5 p.m. on Grammy Sunday, I have this sort of sick feeling in my stomach where I'm always like, why on earth did I agree to do this again? We only have six weeks to make that show because the nominations come out around Thanksgiving. Nobody will do anything before they're nominated. You can't even pick up the phone to ask them. And this year with the fires, most of our team were evacuated. Some of our team lost their homes. And suddenly, we were making a show for Feb. 2 with all of that going on as well. The way I always think about it is you're climbing this mountain, you get to the top of that mountain at 5 on Grammy Sunday, and you jump off. And you just hope the parachute opens and you have a really nice flight. But you also know that it's live television. Anything could happen, and you could smack your head on the way down. Luckily, I think this year was probably the show I'm most proud of. Why is that? Because I think that the fact that we were making it around the time of the fires, the fact that there were murmurs of people saying you shouldn't be doing the Grammys a month after the fires have broken out, the fact that I had a real passion to do it and was really feeling that we could actually do something really beautiful for the city of L.A. I worked out that 6,000 people earn a living in some way from the Grammys happening. Now that doesn't mean I employ 6,000 people. That means florists or local car companies or staging companies or removal vans or venue security — 6,000 people earn a living from the Grammys, and they live in Los Angeles. And the worst thing you could possibly say to 6,000 people is because of our concern for you right now, we're not going to employ you at the Grammys. I just thought it was such a ridiculous mentality. I was very passionate as an LA guy that we wanted the show to happen, but I also felt like we could do good. We raised nearly $30 million that night. What changes did you make to the show to address the fires? Every ad break, we gave a commercial to a local business. It was a local florist, and we had Doja Cat doing a commercial for them. Or we had Charlie Puth at the local karate den that got burned down or Avril Lavigne at the skate park in the Palisades. And I just thought it was a really lovely idea of showcasing local businesses who had lost so much in the fires and partnering them with a Grammys artist. And then there was also the question of who starts the show. I was having a conversation with Brandi Carlisle, and we were talking about the song 'I Love L.A.' And interestingly, I was playing that in my car as I was driving from my hotel into the office, because I was evacuated. I thought, well, actually, that's a really beautiful way of starting the show, but then who plays it? And then Brandi said to me, do you know the band Dawes? They lost their homes and their studio in the fires. Allowing them to open the Grammys with a supergroup of artists, John Legend and Brittany Howard and all these incredible artists, Sheryl Crow, Brad Paisley — that could be an amazing way to open the show. Everything from the way we reacted to the fires all the way to featuring the best new artists for the time in the history of the Grammys. We didn't stop the music. It just went one after the other after the other after the other. And I love the way we did that in that Trevor went in the audience. He walked through and he introduced each one of them, and you just thought he was going to throw to the package. And he says, oh, let's take a look at the music from these best new artists. And then Benson Boone gets out his microphone and the suit rips off, and that started that was the trigger, and then all the other artists run to their corners, Shaboozey and Doechii and Raye, bringing down the house. And so that was a really lovely moment that was technically incredibly hard. Hamish Hamilton did an amazing job directing that, but staging it where the music never stopped. I love the idea of music never stopping. You also had the added pressure as the first award show back to make it OK for there to be award shows again. Whether it be the commercials for the local businesses, whether it be the fire department presenting the Grammy award for album of the year to Beyoncé, whether it be Dawes opening, which I thought was really powerful. We love this show, and we love music, and we love television. Yes, the fires were brutal for all of us, but they actually made us they made us sharpen our lens. They made us go, OK. How do we make this OK, and how do we pay tribute this city, and how do we make a love letter to this city? And in a way, I think it was an advantage going first because everyone could follow our lead. You've done so many kinds of live TV. What's on your wish list? What do you still want to do? We've been really lucky. We've done a few really wonderful music specials. I love working with artists. I love the challenge of live television. There's a big thing happening in three years in this city, so hopefully, I'll be a little bit involved in that. I'm not after doing more award shows. I really like the one that I make. I love the Grammys. I'm proud of the Grammys. It's become part of me. I don't have a burning desire to suddenly start running other award shows. So no Oscars for you? Nope. Definitely not. I think Raj [Kapoor] does a great job on that, and that's one for him, not me. We're developing a reality show right now in Calabasas, to partner with our Kardashian show, and I'm really enjoying the casting process of that. I'm looking at doing a kids' show with a streaming platform right now, which I've never done before, but it could be quite impactful. As a dad of a 5-year-old and an 8-year-old, if you'd asked me 10 years ago about a kids' show, I'd be like, what are you on about? (Laughs.) I think about what could I be doing at the World Cup next year? I love working with Trevor Noah — what is the next form of variety show that we could do together? I'm really excited about the opportunities that we have over here at Fulwell, and just really want to make things that I'm proud of and I love and I'm passionate about. So what do you have up your sleeve for the 2028 Olympics in LA? I don't know right now, because nothing's been announced. But if I had the opportunity of being involved in LA28, I would love that. I think it's going to be a phenomenal Olympics, and I'd be honored to be involved. I hope they call me! Best of GoldDerby Marlon Wayans on laughing through tragedy in 'Good Grief' and why social media has made comedy 'toxic' Minha Kim 'confronted all new emotions that I had never anticipated' in Season 2 of 'Pachinko' 'Étoile': Exclusive 4-part conversation with creators, star Luke Kirby, cinematographer, and choreographer Click here to read the full article.


Geek Tyrant
39 minutes ago
- Geek Tyrant
Ben Stiller and Leonardo DiCaprio Are Rebooting THE TWILIGHT ZONE as a Feature Film — GeekTyrant
It looks like Ben Stiller is reprotedly stepping back behind the camera and into The Twilight Zone . According to TheInsneider, Stiller is in talks to direct a new feature-length reboot of Rod Serling's iconic sci-fi anthology series for Warner Bros., with Leonardo DiCaprio producing through his Appian Way banner. The guy who gave us Tropic Thunder and Zoolander , and more recently, the unsettling brilliance of Severance , may end up directing a Twilight Zone movie. This might've been surprising news before Stiller made Severance , but his work on that show proves he's more than capable of blending surrealism and paranoia. It's very much in the spirit of Serling's world. DiCaprio, meanwhile, has been attached to a Twilight Zone reboot for over a decade. His company Appian Way, known for backing prestige dramas like The Wolf of Wall Street and Killers of the Flower Moon has been developing a feature based on Serling's scripts since 2008. Warner Bros. was reportedly negotiating with Serling's estate to secure rights to specific episodes with the goal of telling 'one continuing story line based on one or more episodes,' which would distinguish it from the 1983 anthology film. That '80s movie, Twilight Zone: The Movie , was broken into segments directed by Hollywood legends including John Landis, Steven Spielberg, George Miller, and Joe Dante. It adapted several classic episodes such as 'Kick the Can,' 'It's a Good Life,' and the terrifying 'Nightmare at 20,000 Feet.' The new take, if it moves forward, sounds like it will be a single narrative thread instead of a segmented format, which is much more interesting. And this isn't the first attempt at a modern Twilight Zone movie. Over the years, filmmakers like Matt Reeves ( The Batman ) and Joseph Kosinski ( Top Gun: Maverick ) have tried to crack the code. Reeves' version, written by Jason Rothenberg, centered on 'a test pilot who winds up breaking the speed of light; when he puts down his craft, he discovers that he's landed a bit late for supper — 96 years late,' hinting at a possible remake of the 1961 time-travel episode 'The Odyssey of Flight 33.' That version fizzled out, and the franchise instead returned to television with Jordan Peele's CBS All Access reboot, which ran for two seasons before being quietly canceled. With Warner Bros. back in the mix, DiCaprio still onboard, and Stiller possibly directing, this iteration might finally stick. It's too early to say how much of Serling's voice will remain, but I imagine the film will lean into the eerie social commentary that made the original series so influential. But if Stiller brings the same atmospheric tension from Severance and DiCaprio channels his obsession with cerebral, high-concept storytelling, this might actually be the trip to the fifth dimension that fans have been waiting for.