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Tom Cruise: ‘All the Great' Actors Should Know the Technical Elements of Filmmaking

Tom Cruise: ‘All the Great' Actors Should Know the Technical Elements of Filmmaking

Yahoo2 days ago

Tom Cruise is sharing his advice to fellow actors: Become a filmmaker. The 'Mission: Impossible — The Final Reckoning' star and producer said, while receiving the coveted British Film Institute Fellowship (via Times of London), that it is imperative for actors to understand the below the line elements of filmmaking to better their own craft.
Cruise even pointed to how fellow stars such as Marlon Brando worked with the camera. 'I always tell actors: spend time in the editing room, produce a movie, study old movies, recognize what the composition is giving you, know what those lenses are, understand the lighting and how to use it for your benefit,' Cruise said. 'Understand the art form to that degree. Brando absolutely understood lighting; all the greats did.'
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Cruise further pointed to how film schools do not widely teach production tools and filmmaking technology to acting majors.
'It is important to understand the tools around you,' Cruise said. 'There is tech. It is like understanding the stage as an actor but for a lot of artists, it is not taught in film school: How to understand the lens and what it can do, and why there is eye movement and recognize the effect it has.'
Cruise, as his co-star and mentee Glen Powell shared in 2024, has his own six hour film school for colleagues. Powell told GQ UK that Cruise explained how cameras worked in the custom tutorial.
'He said, 'This is just for my friends',' Powell said. '[In the video Cruise] is like: 'Do we all agree that this is what a camera is? This is the difference between a film camera and a digital camera…' The funniest part is on flying. It was like he put together this entire flight school. So he would literally go, 'OK, this is what a plane is. Here's how things fly. Here's how air pressure works.''
Of course, for those who aren't part of Cruise's famous six hour film school, auteur Werner Herzog has another way to encourage aspiring artists to learn about filmmaking. Herzog hosts an 11-day workshop that he deemed a 'film school for rogues,' and recently told CBS that he tells attendees to embrace their rebellious nature to make features. 'You do not become a poet by being in a college. […] You have to go outside of what the norm is,' he said. 'You have to have a certain amount of, I say, good criminal energy [to make a film.] [Filmmaking is] not for the faint-hearted.'
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When Mission: Impossible Had No Mission
When Mission: Impossible Had No Mission

Atlantic

time3 hours ago

  • Atlantic

When Mission: Impossible Had No Mission

Every major movie franchise has boxes to check. In Jurassic Park, dinosaurs must run amok; in Planet of the Apes, apes have to meditate on intelligence; in The Fast and the Furious, Vin Diesel absolutely has to evangelize the benefits of family, Corona beers, and tricked-out cars. But Mission: Impossible took four films to fully establish its franchise must-have: the ever more blurred lines between its death-defying, stunt-loving star, Tom Cruise, and the superspy he plays. For more than a decade, the series was defined instead by its lack of definition—at least, beyond having Cruise in the lead role as Ethan Hunt, and Ving Rhames recur as Hunt's ally. Each installment felt made by a director with a specific take on the material, and Cruise was their versatile instrument. But the four Mission: Impossible films that followed—culminating in the eighth and purportedly final installment, now in theaters—have taken a different approach. Instead of relying on a select few characters and story beats to link the films together, the movies have abided by a stricter canon. Mission: Impossible—The Final Reckoning, which earned a record-setting $63 million at the box office over its opening weekend, represents the most aggressive pivot away from the saga's more freewheeling origins: It self-seriously inserts supercuts of footage from its predecessors, reveals the purpose of a long-forgotten plot device, and turns a bit player from 1996's Mission: Impossible into a crucial character. In the process, it streamlines those earlier, delightfully unpredictable stories to the point of overlooking their true appeal. That tactic may be familiar to today's audiences, who are used to cinematic universes and intersecting story threads, but the Mission: Impossible franchise initially distinguished itself by eschewing continuity. New cast members came and went. Hunt lacked signature skills and catchphrases. The movies were messy, and didn't seem interested in building toward an overarching plan. Yet in their inconsistency, they prove the value of ignoring the brand-building pressures that have become the norm for big-budget features today. Like the 1960s television show on which they're loosely based, the early Mission: Impossible s were stand-alone stories. The first two movies in particular stuck out for their bold authorial styles. First came Brian De Palma's film, which he drenched in noir-ish flair while also deploying vivid color and Dutch angles. It arrived at a time when blockbusters such as Independence Day and Twister leveled cities and prioritized world-ending spectacle. Without a formula in place, De Palma got to challenge genre conventions—for instance, by mining tension out of mere silence during the central set piece, which saw Hunt's team staging a tricky heist. The second film, 2000's Mission: Impossible II, went maximalist under the direction of John Woo, who punctuated almost every sequence with slow-motion visuals and dizzying snap zooms. The filmmaker also asserted that Hunt himself was malleable: Whereas in the first film, he fights off his enemies without ever firing a gun, in Woo's version, he's a cocksure Casanova mowing down his targets in hails of bullets. Woo also indulged in the action pageantry that De Palma had avoided— Mission: Impossible II seemed to contain twice the amount of explosions necessary for a popcorn film—but the climactic stunt is perhaps the smallest Cruise has ever had to pull off: When the villain stabs at Hunt with a knife, the point stops just before reaching his eye. The two films that followed conveyed a similar sense of unpredictability. For 2006's Mission: Impossible III and 2011's Mission: Impossible—Ghost Protocol, Cruise, who also served as a producer, picked unconventional choices to direct: J. J. Abrams, then best known for creating twisty TV dramas such as Alias and Lost, took on the third entry, while Brad Bird, who'd cut his teeth in animation, handled Ghost Protocol. Like their more accomplished predecessors, both filmmakers were entrusted by Cruise and company to treat Mission: Impossible as a playground where they could demonstrate their own creative strengths. Where De Palma and Woo focused on visual panache, Abrams and Bird stretched the limits of tone—and in doing so, revealed the adaptability of the franchise. Mission: Impossible III is unnervingly sobering amid its shootouts and double crosses; the film features a memorably chilling Philip Seymour Hoffman as the villain, a character's disturbing death, and a subplot about Hunt getting married. Ghost Protocol, meanwhile, is essentially a screwball comedy: Simon Pegg's character, Benji, provides a humorous button to many of the film's biggest scenes, and Bird treats Hunt like a marble caught in a Rube Goldberg machine packed with goofy gadgets, whether he's pinballing through a prison or being launched out of a car in the middle of a sandstorm. (Hunt even declares 'Mission accomplished,' only for the film to play the line for laughs.) In the years since Ghost Protocol, much of big-budget filmmaking has come to feel made by committee. Studios offer fans remakes, legacy sequels, and spin-offs that connect disparate story threads, bending over backwards to ensure that viewers understand they're being shown something related to preexisting media. (Just look at the title of the upcoming John Wick spin-off.) The new Mission: Impossible suffers by making similar moves. It struggles to make sense of Hunt's story as one long saga, yielding an awkwardly paced, lethargic-in-stretches film. The Final Reckoning insists that every assignment Hunt has ever taken, every ally he's ever made, and every enemy he's ever foiled have been connected, forming a neat line of stepping stones that paved the way for him to save the world one more time. Taken together, the first four Mission: Impossible s were compellingly disorganized, a stark contrast with Hollywood's ever more rigid notion of how to construct a franchise. They didn't build consistent lore. Each new installment didn't try to top the previous one—a popular move that's had diminishing returns. Although some observers critique their varying quality, the lack of consensus emphasizes the singularity of each of these efforts. They remind me of the instances of an individual filmmaker's vision found amid major cinematic properties these days, such as Taika Waititi putting his witty stamp on a Thor sequel, Fede Alvarez turning Alien: Romulus into a soundscape of jump scares, and on television, Tony Gilroy ensuring that the Star Wars prequel Andor never included a single Skywalker. If the older Mission: Impossible movies now feel dated and incongruous—whether within the franchise itself or as part of the cinematic landscape writ large—that's to their benefit. They let creative sensibilities, not commercial ones, take the lead.

Why InterContinental Miami Is A Great Place To Spend A Pre-Cruise Night
Why InterContinental Miami Is A Great Place To Spend A Pre-Cruise Night

Forbes

time13 hours ago

  • Forbes

Why InterContinental Miami Is A Great Place To Spend A Pre-Cruise Night

InterContinental Miami is located close to the port and offers beautiful views. IHG Hotels & Resorts Whether you're leaving from domestic ports like Miami or international ones like Rotterdam, anyone who's almost missed their cruise because of flight delays or other unpredictable travel snafus can tell you how important it is to fly in the day before your ship is set to sail. Having learned that lesson the hard way myself, I now arrive for every cruise at least one day early and have found some great hotels in cities like Vancouver and Southampton that are worth a stay, whether you're sailing away or parking yourself there for a while. My latest discovery was the InterContinental Miami, an IHG Hotel, which turned out to be the ideal place to spend the night before my Virgin Voyages cruise to Barcelona. Not only does this luxury waterfront hotel offer beautiful views of Biscayne Bay — and the cruise ships! — but it's a quick ride to the port so you can stay a little longer and take advantage of all the hotel's features and special programs, which include their infamous salsa nights, yoga classes and cooking demos along with the award-winning mySpa, three top-notch dining venues and a rooftop pool with brand new private, oceanview cabanas. Oceanfront Terrace at InterContinental Miami IHG Hotels & Resorts Because I didn't arrive until late at night, I wasn't able to take advantage of any of those amenities. That was okay, though, because I chose the InterContinental Miami for very specific reasons: location, rooms and Club InterContinental, all of which exceeded my expectations. Nighttime view of InterContinental Miami IHG Hotels & Resorts Hotels, like all real estate, are all about location, location, location — and InterContinental Miami's is prime. It's a short drive from the airport and an even shorter drive to the cruise port. Plus, because I'm partial to a room with a view, I was able to overlook the water, see my ship and fall asleep to the sounds of the sea and the anticipation of two weeks sailing across it. An Executive Suite bedroom at InterContinental Miami IHG Hotels & Resorts I booked a classic room (with a view), which was roomy and comfortable and came with a cozy bathrobe, complimentary bottles of water and luxurious Byredo bath products. The bed was so cozy, I could easily have slept the morning away but my desire to take advantage of all the perks the lounge had to offer won out. The welcoming ClubInterContinental at InterContinental Miami IHG Hotels & Resorts I love a good hotel lounge and ClubInterContinental is a good example why. Recently redesigned, it's warm and inviting and the breakfast buffet, which is curated by the hotel's Executive Chef, had so many excellent choices. The lounge offers afternoon tea time and happy hour, as well, and I'm always happy when I can help myself to bottles of water and Diet Coke any time of day. Access to ClubInterContinental can be obtained in a variety of ways, from booking a suite to selecting a lounge membership through IHG Milestone Rewards or paying a Club rate for your room. One of the best features of ClubInterContinental is that it provides guests with a dedicated concierge who can pretty much help with anything you need. Matheus made everything so easy for us, nabbing us a late checkout and printing out our Kenya visas for our post-cruise trip. I will definitely be returning to InterContinental Miami before my next MSC cruise (MSC World America, here we come) and just may start planning a separate, extended stay because Miami suddenly seems to be calling me.

The Popular Tom Cruise Action Movie Set to Receive Long-Awaited Sequel
The Popular Tom Cruise Action Movie Set to Receive Long-Awaited Sequel

Yahoo

time14 hours ago

  • Yahoo

The Popular Tom Cruise Action Movie Set to Receive Long-Awaited Sequel

Tom Cruise is once again pushing the boundaries of cinema forward with his latest action extravaganza. Scaling to new heights and finding new ways to top themselves, the crew behind Mission: Impossible has once again captured lightening in a bottle with the eighth and final M:I film, Mission: Impossible -- The Final Reckoning. As the shock waves continue to resonate around Cruise's latest venture, many are wondering what other adventures lie in store for the famed star of Top Gun, Jack Reacher and A Few Good Men. Surprisingly, that answer might actually be a continuation of a 1990 cult favorite film from Cruise's early years in the action genre. Released in the summer of 1990, Days of Thunder stars Cruise as a competitive NASCAR driver recovering from a serious racing accident. As he attempts to launch a comeback and compete against a conniving rival racer (Cary Elwes), Cruise's NASCAR star also contends with a newfound romance with a local neurosurgeon (played by Cruise's then-wife, Nicole Kidman). Penned by original Mission: Impossible writer Robert Towne and directed by Top Gun's Tony Scott, Days of Thunder earned largely mixed reviews at the time of its release, although many were quick to point out the strength of the movie's performances and pulse-pounding racing sequences. In the past few years, however, the film has gained more appreciative views from mainstream audiences. More recently, Cruise has confirmed that he's currently working on ideas for a potential sequel to Days of Thunder, alongside a planned third installment in the hit Top Gun series. 'Yeah, we're thinking and talking about many different stories and what could we do and what's possible,' the 62-year-old Hollywood icon said. 'It took me 35 years to figure out Top Gun: Maverick, so all of these things we're working on, we're discussing Days of Thunder and Top Gun: Maverick." The Popular Tom Cruise Action Movie Set to Receive Long-Awaited Sequel first appeared on Parade on May 27, 2025

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