Peek behind the scenes of Clueless the Musical with lead Emma Flynn
The Standard is taking viewers on a video tour behind the scenes with Emma Flynn, who plays the lead role of Cher Horowitz. She has previously had parts in Little Shop of Horrors and Beautiful: The Carole King Musical.
The tour starts off on stage with Flynn walking you through some of her favourite props and pieces from Cher's faux bedroom. The exploration doesn't stop there as it visits the depths of the Trafalgar Theatre, where Flynn has not yet been, and goes all the way up to her dressing room on the fifth floor. But, fortunately for viewers, they won't need to climb those steep flights.
See also: The Standard launches new video series taking viewers behind the scenes of West End shows
'By the end of this year, my glutes are going to be rock hard!' joked Flynn as she climbs higher and higher through the theatre.
Some fascinating details from the stage show that you can expect to see include Cher's costumes, like the red outfit that refers to the original movie, and the stunning Calvin Klein dress she wore on her date with Christian.
Plus, get the inside scoop on how Flynn is fitted for wigs and how quick-change looks can still include hairstyling updates.
There is even a wig for a character only portrayed as a portrait, as an extra peek behind the theatre magic that goes into creating a play for the West End.
Clueless the Musical is directed by Rachel Kavanaugh and was written by Amy Heckerling, who wrote and directed the original Nineties chick-flick.
Tickets are available for shows until September 27 via cluelessonstage.com.
Future videos diving into the backstage areas of London theatre shows will explore the magical world of My Neighbour Totoro at the Gillian Lynne Theatre. The production is based on Hayao Miyazaki's 1988 Studio Ghibli film and was adapted by Tom Morton-Smith, who wrote the 2015 play Oppenheimer, and directed by Phelim McDermott.
Plus, catch up on the first from the series, Stranger Things: The First Shadow here.
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Margaret Qualley says she has 2 phones to avoid being online all the time — and one doesn't even have cell service
Margaret Qualley, 30, has a simple trick for staying present. In an interview with Cosmopolitan published on Monday, the actor spoke about keeping two phones and how it helps her stay unplugged. "Cell phones are like cigarettes. I'm a big fan of airplane mode. Because opening your phone is also like going to work, you know? I don't have any apps on my phone except Uber, texting, and Maps," Qualley told Cosmopolitan. That way, she feels less inclined to scroll while going about her day —like when in line at the grocery store — and more likely to stay present, she said. "I'm just there, listening to people's conversations. And I feel more immersed in my life," Qualley added. "The Substance" star keeps a second phone at home solely for checking social media. "I have another phone at home that doesn't have cellphone service — it just has WiFi, and I can look at Instagram. We are all definitely too plugged in," she said. In a May 2023 interview with The Standard, Qualley said she isn't a big fan of social media. "I don't have Instagram. I'm not really in that game. It's kind of a lose-lose situation," she said. The actor has since created an Instagram profile. A representative for Qualley did not immediately respond to a request for comment sent by Business Insider outside regular hours. Qualley is far from the only celebrity rethinking screen time and social media. Actor Mia Threapleton, 24, said in May that her mother, Kate Winslet, made her write a pros and cons list for joining Instagram when she was 14. "The cons completely outweighed the pros for me. That was quite a clarifying moment. Since then, the more time I spend in this world, the more I'm really happy that I don't have it," Threapleton said. Some celebrities have chosen to forgo smartphones and other digital devices entirely. In 2023, Christopher Nolan said that he finds modern technology distracting, so he doesn't carry a smartphone. "If I'm generating my material and writing my own scripts, being on a smartphone all day wouldn't be very useful for me," Nolan, 55, said. Michael Cera, who acted in Greta Gerwig's "Barbie," said in 2023 that he wasn't added to the group chat for the Barbie and Ken actors because he didn't use a smartphone. "I don't have an iPhone myself. … I have a flip phone," Cera said.
Cosmopolitan
2 days ago
- Cosmopolitan
Cher's Iconic 1988 Cosmopolitan Magazine Cover Story
Six decades ago, legendary editor Helen Gurley Brown took a stuffy literary magazine and transformed it into an audacious cultural tome. Cosmopolitan has kept evolving since, leading conversations with a sharp, provocative approach that's helped define entire eras of womanhood. One thing that's remained constant: our iconic cover stories, featuring definitive interviews with the leading stars of the time. Join us in revisiting the most classic ones—with their original headlines and exact wording, for better or worse, intact—for a hit of nostalgia and a deep dive into how celebrity has also evolved over the years. 'Every year I gather and shed,' says the movie star known as Cher, who was born Cherilyn Sarkisian forty-one years ago. 'I feel like a snake, or a tree, because I'm always shedding stuff that either is not important to me anymore or doesn't make any sense, or gathering new things that make more sense or are more interesting. It's not a conscious process till you ask if I'm the same person I was when I left Sonny. Then I remember moments in my life when I thought, I'll never do that again, or I don't need this anymore.' We are talking in the glass-enclosed living room of the duplex penthouse Cher has rented in Manhattan while her house in Greenwich Village is being remodeled. In a room below us, Vuitton luggage covers the floor, and a rack is crammed with Cher's mostly black wardrobe—evidence of yet another transitional time for a lady who has spent most of her life in the express lane. 'Cher is a law unto herself,' People magazine acknowledged recently, finally giving up the effort to peg her as one of the best, or worst, dressed folks in its annual compilation. Cher is Cher, coming or going, rising or falling, gathering or shedding. In show business for twenty-five years, famous for twenty of them, she has consistently been a bellwether of pop times. In her current manifestation, she is Contemporary Woman—fighting for recognition and a new career, raising children alone, flaunting a young lover, building muscles, saying, 'Up yours' and getting away with it. She is also hypervisible again, with two big films (Suspect and Moonstruck) and a music video for her first album in five years, titled simply Cher, all released within a few months of each other. Ambivalent as ever about the press, Cher agreed to an interview reluctantly, but now she talks nonstop into my tape recorder without a single request for 'off the record' or change of subject. 'I wish I hadn't done all the things I've done to make my life so open,' she is saying. 'I would much prefer to be like Jessica [Lange] or Meryl [Streep]. They didn't start with a policy of openness, where everyone feels they have the right to comment directly on what is going on in your life. In a way, I'm a very private person, and I don't think reporters ever get any kind of notion of me. What I don't like is that the public doesn't get a very good idea of who I am. A lot of my quotes are harsh when read. There aren't many grays in my feelings.' We started talking at dusk, Cher sitting at the far end of a gray sofa in the black, white, and gray high-tech room. Behind her looms her sleek, state-of-the-art treadmill. It is always in my peripheral vision and grows, through the hours, to be disproportionately symbolic. She is thin, this Cher. Somewhere I've read she is 5'7", but she doesn't look that tall. Except for her sexy derriere, her body is boyish. She wears narrow gray acid-washed jeans, torn at the knees, a black T-shirt over a white T-shirt, black suede high-heeled boots, and long, silver earrings, with which she occasionally toys. Her fingernails are a normal length and color—as opposed to Dragon Lady or punk. Dense black hair, shoulder-length and permed, hides a third of her ageless face and all of one thick black eyebrow. Her clothes cover the tattoos on her rear, shoulder, forearm, and ankle. You could expect this exotically gened woman (French, Armenian, and Choctaw Indian) to be olive complexioned. She isn't; her skin is snow white and, as far as I can tell, her only makeup is dark eye shadow and light blush. Her demeanor is somber. Sometimes, when she is being funny and knows it, there is a smile in her voice. There is rarely one on her face. She looks like a perfect winter night and exudes the same deep chill. Intense is also an appropriate word here. The wisecracking, laughing, dumb-like-a-fox, born-to-party rocker is never in evidence. The activity in the apartment is kinetic. In residence this evening are pretty Debbie Paull, Cher's assistant for nine years; Rob Camilletti, her twenty-three-year-old beau (more about him later); an Asian housekeeper; and the new family dog, a four-month-old Akita already the size of a collie. Cher's children, Chastity Bono, eighteen, and Elijah Blue Allman, eleven, are both away at school (they're with Cher weekends), but her manager and press agent drop in, and the phone rings incessantly. No matter. Cher never loses track of my questions and never lets one pass until she has worked through its answer to her complete satisfaction. And my primary question—'Are you the same person you were when you left Sonny?' (in 1974)—is really being answered directly or indirectly throughout the conversation. Her first answer: 'Yeah. I would say l am. I'm a lot more worn-out. I don't necessarily mean that in the negative sense. I mean it like, like a pair of shoes. I've walked since then. I've done an awful lot of things. And yet in some ways, I'm never gonna be different from when I was six years old. When I was six, I was ninety-five. It was very weird.' 'So, I've seen more stuff, but I don't know if the stuff I've seen is more important. I don't think I've learned anything that I didn't know. I think you have all this knowledge in the beginning and what you do is forget it. Like when I was little, my mother was very big on 'You must do this, you must do that.' Now, my mother was a very crazy woman [she was married eight times, three times to Cher's late father, a drug addict], but she had all these rules, you know. I remember growing up and thinking, Well, I'm here and ready to play by these rules and nobody else is doing it.' 'That's what a lot of children learn, but I don't see this at all in my daughter. Chastity is really unbelievable. There were never any reasons to give her boundaries, because she never exceeded the ones I would have given her. My son scares me because he's got two really, really strong sides to his personality, and one is as positive as the other is negative. He has a lot of internal energy, and it makes me nervous for him because he's as good as he is bad.' Cher is talking, of course, about her son by Gregg Allman, member of the rock group the Allman Brothers Band, whom she married in June of 1975, five days after her divorce from Sonny Bono became final. Allman was, at that time, addicted to both drugs and alcohol. Cher filed for a separation nine days later, giving rise to public jokes and private pain. One month later, she dropped the suit. They separated and reconciled repeatedly until late 1977, when she filed for divorce and went through with it. Elijah Blue, she says, has seen his father 'maybe four times in his life.' I imagine Elijah reading what his mother is saying to me, and it makes me uncomfortable. Not Cher. 'It's not something he doesn't know,' she says. 'That's either my biggest failing or biggest attribute: I always say what I think.' She wants to say more: 'I love my child dearly, and it scares me that he's got this very strong negative side that maybe can be whipped into shape. When I was young, everyone was really worried about where I was going because l was the rebellious one in my family, always marching to a different drummer. I had a father, like Elijah has a father, who went the dark side. I chose to do something more enterprising with my energy than my father did, and I hope my son will at least have enough of me in him to pull that dark side around to use as a steady force.' 'I can do my best, but you know, he's his own person. I believe that you could sit home with your children twenty-four hours a day, and they could still go out and be the sniper in the bell tower at that school in Texas. I believe that we're guides, and all we do is our best and then it's their life.' 'Before this last year we spent most of the time together. This year has been, I guess, the worst we've ever had. I went from Witches of Eastwick to Suspect to Moonstruck, all in thirteen months. We did take a month off in Europe. Elijah, Chastity, and I brought friends, and we just hung out together and had a great time.' She pauses and looks toward the staircase with the first softness I've seen in her face. Robert Camilletti is home from a walk with the dog, Lucca. I am instantly struck by how much the lovers resemble each other. He has the nose Cher had until she shortened hers and the smile she had before her teeth were capped. He is tall, black haired, slim, graceful, and wears jeans. Unlike her riveting, almond-shaped eyes, however, his turn down like Sylvester Stallone's. Robert's eyes, Cher has said, were the feature that first attracted her to this young man—a bagel maker, then a doorman, then a bartender studying acting—whom she met at a New York disco. Through no small effort on Cher's part, Robert appears in her video for I Found Someone and, she says, is up for the lead in two movies. She will later tell me 'something my boyfriend said that made me feel really superficial. In the beginning, I had a problem with our age difference, and I said, 'Robert, it's an awful big difference, you know. I look really good now, but if we're together, what's going to happen when I don't look as good?' And he said, 'I thought that when you loved someone you weren't constantly looking at the way they look.'' After a brief exchange about Lucca's preference for California lawns over New York traffic, Rob leaves the room as quietly as he entered it. Cher still owns the house in L.A. she built seven years ago, a house that has seven bedrooms, a living room, a dining room, a kitchen. 'It has bathrooms to go with all of them,' she says, 'a gym outside, and an office. It's a big house, like fifteen thousand square feet. We've never used the dining room. Everyone gathers in the enormous kitchen or in my bedroom, and then they go to their own bedroom if they want to be alone.' Will she keep the house? 'If I can afford it. I kind of go year by year. You know, changing careers in midlife took a pretty big toll on my money, and I'm just starting to get it back.' According to the New York Times, Cher's salary was more than one million dollars each for Suspect and Moonstruck, but she is still insecure about her income. 'I went from working for three hundred thousand a week in Las Vegas to making five hundred a week in Jimmy Dean. (The play, Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean, marked her serious acting debut.) I got twenty-five thousand dollars for making the film of Jimmy Dean, and then Silkwood wasn't much more than that. The first movie I ever got paid well for was Witches. This is my time now to see if I'm bankable. I'm counting on Moonstruck. It's the best work I've done so far.' 'I've earned a lot, but I've also spent it. I built the house, which was very expensive, and the divorce was really costly. It took me a long time to pay off the money the judge said I owed Sonny. In Los Angeles, you have a much better chance if you don't ever work with someone you're married to. Diana Ross, Dionne Warwick, Goldie—I know a lot of women who ended up being the ones who paid their husbands. And I had a lifestyle I don't choose to pare down.' 'Am I extravagant? Oh yeah. Certainly, yeah. Not as extravagant as I used to be, because I have a better feeling of my work, and I don't have the necessity to try and look as good constantly. But if I live in a house, I want it to be exactly the way I want it to be. I picked out these toilets because they're so beautiful, black, with a wonderful shape. They're Italian, top of the line. I mean, I get up at seven in the morning and go down to the Village to make sure the floor is the exact color I want.' 'I have absolutely two people living in me, and the other person wants to do exactly what she wants to do all the time. That's not to get up at six o'clock in the morning to put on makeup and go to work or to check floor tiles. She wants to be home with the kids thinking about making cookies or to spend five months on the French Riviera and just blow off work and responsibility. She only gets allowed out when the work is done, like between Silkwood and Mask there were two years I didn't work, and the other person really had a great time.' It was between those two films that Cher made her first spa commercial. 'I didn't want to do commercials,' she says. 'I'd been offered all kinds that I just couldn't do. The spa company, Health and Tennis, had really wanted Joan Rivers, but Joan didn't want to get into a leotard, and so they asked me. We have the same manager. Well, I was kind of cold at that time; I didn't get that many scripts, and the ones I did were all real stiffs. I had to reconcile in my mind not wanting to do commercials but really not having any money. I honestly believe working out is a good thing, and the commercial was a stroke of luck for me because exercise is something I would tell people to do anyway. I couldn't get through my life if I didn't exercise. I've done a whole new batch of commercials for them, and I think people pretty much know that I'm not bullshitting. I can no longer go to a gym, because people don't leave me alone to work out, but I exercise about an hour and a half five days a week at home.' 'That machine there,' she says. pointing to the treadmill. 'I think it's the most fabulous machine in the world. I'll never stop exercising as long as I live. Like some people meditate, it gives me a certain quietness that I can't find anywhere else. And I'll tell you, in the video I did, I wore an outfit I hadn't put on in eleven years, and it fit me the same. That made me feel really good. I trade working out for being able to eat what I want, though I know lots of things are really, really bad for you, so I stay away from them. It's like the way I feel people should be about drugs. You might like them, but if you know the effect and you're an adult, you have to say, 'I just can't do this.' I love to smoke; I used to smoke a lot. And then when I got pregnant I never started again.' I wondered aloud if any of Cher's disciplines had been directed by a psychiatrist. 'I've been to a couple of therapists, but I just got bored. I have a doctor in Los Angeles named Robert Lorenz, and if I have a problem that I can't solve, he's the first person I go to. But lately, I haven't had any problems I couldn't solve, even if they haven't been solved well. I think he would tell me the same things I tell myself, 'cause I learned so much from him about what you can change and what you have to live with.' One of the toughest things to change, Cher feels, is a strong image. She has given the subject a lot of thought. 'A major myth in our country—and one I was sucked into—is that you can be the greatest whatever-you-are, and if it's not in the right package, people will never have the insight to pick it up and look at it. If everything came in a brown paper bag, then it would be easy to go, 'Well, we have to see what's inside.' But people and products don't come in paper bags; they come in images. That's why it's so hard to get a good President. If Robert Redford decided to run for President, I think he'd make it, because people are so image oriented.' 'People want a thing to hold on to, so they hold on to something that looks like Vanna White or Cheryl Tiegs. But then all the other people are walking down the street not feeling their best or most worthwhile—people who don't come from the best backgrounds or from a healthy American two-parent family, who don't have the greatest education or a cherubic face with blue eyes. Now, at least for women, there are some new images to hold on to, like Barbra Streisand or maybe me, and we're another kind of extreme, so maybe if enough extremes are acceptable, then everybody can fit in someplace.' 'Like now people have children out of wedlock and nobody blinks. My mother told me that when Ingrid Bergman did that, she was finished in Hollywood for a long time. I don't approve of it or disapprove of it; maybe that's another one of my failings. Being liberal means, in essence, not condemning people for what they want, while the other people, who are very opinionated, are out there making a stand.' 'I think I'm tolerant of what people are going through. If a woman wants an abortion, well then, that's what she has to do. And if a woman wants a baby and doesn't feel like she wants to get married, know what? I think if I did it, it would be like a big deal. Farrah could do it, and Goldie did it, but they look cuter, you know what I mean? I think if I did it, that would be another reason for people to be a bit bristly. I mean, I just about s---when I read in the New York Times that my recognizability is huge and my likability is small.' Cher talks on about her anger at the writer of that article, looking pretty bristly herself. She removes one of her earrings and holds on to it tightly. The sight of her hands, which she doesn't use much when speaking, is suddenly startling. They are so white, with not a blemish on them. They look like a child's hands. It's time for a change of subject, so I ask Cher if she covets an Academy Award. 'I wanted one a lot more at one time than I want one now,' she says. 'I'll tell you why. Because when I did Mask, all the Las Vegas bet takers had me neck and neck with Meryl to win. I thought, If I don't get nominated, I'll die. And I didn't get nominated, and I didn't die. A certain value is taken off of something when you place too high a price on it. The price I had placed on it was unrealistic and unhealthy for me.' Actually, Geraldine Page won the best-actress Oscar for that year, 1985, for The Trip to Bountiful, but the real showstopper on Awards night in March 1986 was Cher. To present an Oscar, she wore a black Bob Mackie creation that was part outer space and part Ziegfeld Follies. Neither part covered her navel. Some people called it Cher's ultimate F-U outfit, which she agreed it was—sort of. 'Not in an angry kind of way. It was, This is the person I am and have to remain in order to do things like Mask. If I can't be the person I am, then I'll never be able to do the work people appreciate. I wore that outfit because I thought it was absolutely great looking. I also thought: I want you to remember the reasons that you don't like me, and this is one of them. I am serious about my work, and there is no way five hundred people are going to make me change who I am because of a statue.' 'I think that Ronald Reagan looks very smart in his suit, you know? And Jim Bakker looks really nice and clean in his suit, and I'm sure that Nixon looked real tight in his suit, and I'm much more trustworthy than any two of them with my belly button showing. I also thought it was great,' she adds with a grin, 'because I hadn't shown my belly button for so long—everyone was so nervous about me being a serious actress—that people got a chance to see it's still alive and kicking.' 'I'm a child of the sixties, and I have this rebellious streak, and I don't want to buckle under to people who have these ideas about what is acceptable. The academy is not my mother. Telling the truth, helping people, being forthright—those are still the important values, and I don't lack in those places.' 'I'll tell you, it was very difficult for me to go to the Academy Awards that year. I just wanted to sit home in my room and shut the door. I know, from being in this business a long time, that it isn't easy to change people's minds about you. And yet you can't let that stop you from doing the things you want to do.' I suggest to Cher that as a survivor who flies in the face of adversity, in her own way, she is becoming a role model to many women. She pales at the idea. 'I don't want to be a role model,' she insists. 'I don't even like the words.' She pauses, processing her thoughts, then speaks carefully. 'This is what I think it's important for women to know: They're not alone. As a group, we're basically in this together. Women have got to know there's a lot of them out there getting up in the morning and going to work and doing things they don't want to do. We all have problems, and they may be different, but the same emotions arise.' Cher then relates in great detail the struggle she had getting her video done the way she wanted it—as director of her own crew and with Rob Camilletti. First it took her months to convince herself and others she could sing again. Months of gathering people and ideas followed, and then she ran into a stone wall. 'Everyone loved the concept we presented, and I started to really perk, and in the middle of it, the head of my record company called [David Geffen of Geffen Records, an ex-lover of Cher's]. He said, 'You can't direct it, and your boyfriend can't be in it.' I said, 'David, if it didn't work, Billy Joel wouldn't have used Christie Brinkley, Belinda Carlyle wouldn't have used her boyfriend…' and I started to name off a million people who used the people they live with. He said, 'It will work for everyone, but it won't work for you, and we won't give you the money, and you can't do the video. So make up your mind.'' 'I was sitting in my kitchen window where my phone is on the wall, the tears were streaming down my face, and I was real pissed. It was either do a video with a director I didn't want to work with; say 'F--k it, I won't do a video'; or come up with an alternative. I stewed about it for a couple of hours. Then I decided, I'm going ahead like I have this money, and when the bills need to be paid, I will have this money. I will do it.' 'I went to Health and Tennis and said, 'I need a certain amount of money to make a video, and when it's finished, I can't promise you a hit record, but you'll have the most interesting commercial you ever had.' Thank God for Don Wildman, who happens to be one of the hippest old guys I've ever met and is one of the owners of Health and Tennis. He said, 'Okay, great. You've got the money.'' 'Women have to harness their power—it's absolutely true. It's just learning not to take the first no. And if you can't go straight ahead, you go around the corner. That's what I would like women to get from me, nothing else. You absolutely have the power to change your life. I found that out when I left Sonny. That's still the hardest thing I ever had to do in my life. I spent eleven years with Sonny, from age sixteen to twenty-seven, and a lot of them were Wonder Bread years. You know, a very formative time.' Sonny and Cher, Cher and Sonny. Apart forevermore, together again, most recently singing their wistful old 'I Got You Babe' on the David Letterman show. Will it ever end for her? 'He is the most interesting person I've ever met. I've never met anyone that even comes close. It's like a train wreck too; interesting, but you wouldn't want to be involved in it. He does have that prestigious place in my life, and I have to work it out if it takes all my life.' 'I don't believe in relationships going right or wrong. I believe they just go. And however they work out, they're supposed to work out. I've been very happy, and I'm still friendly with all the men that I've been with. On my birthday, every man I've been with calls me, sends me flowers and presents—David Geffen, who can be a real p---k; Gene Simmons, I adore him; Joshua Donen, I adore him; Val Kilmer, I adore him. 'Yes, I think if I really wanted to be married, I would be. I'm not the kind of woman who would yearn for something that important and not have it.' Is she the kind of single woman whose life has been changed by fear of unsafe sex? 'I was never promiscuous in the beginning. I've been with Robert now for fourteen months and nobody else, and I went from my one boyfriend to Robert. Chastity's not promiscuous, but she knows everything she needs to know, and I know if she did it, she would practice safe sex. We can't turn our backs and pretend problems don't exist. You can't be stupid. It's like walking across the street and not looking for a truck and then being hit by one. But you could also walk across the street and have a plane fall out of the sky. I'm not going to become an insane person.' Her attention shifts once again to the top of the stairs. Her manager is there, clearly feeling she needs to be rescued. 'You can't have me yet,' she says to him, her huge eyes narrowing, a slight smile on her mouth. 'I'm not ready yet.' He disappears—poof!—and we continue talking now on the subject of getting older, a change none of us can control. 'In our country,' she says, 'when men get older, they have character, and when women get older, they're old. And that's another concept I'm really desperately trying to, if not annihilate, at least wound. You don't lose value the older you get, you know? I respect a woman who doesn't mind growing exactly as the clock goes, as much as I respect one who has her face lifted. I feel that any way you want to grow is great. Whatever changes you want to make can work.' 'I had my nose fixed after Mask. It's the same nose, only smaller. On television, I had no problem with it. On the screen, blown up, I had a problem with it. What I want to do in my life is what I want to do. I went to see Glass Menagerie, and I thought how beautiful Joanne Woodward looks. Her hair is gray, that's it. She's got hips, that's it. That's what she wants. And I admire her for doing what she wants. I admire people who aren't pressured into things. That's why I don't want to be a role model in that way. If I don't want to let my hair get gray, I don't want women to be afraid to let their hair get gray. They should have the courage to do what they want.' 'Like I've been really depressed, thinking, I'm killing myself with all this press and doing all these movies and I'm not even sure this is what I want to do for much longer. It works for me right now. I know sometimes it's economically impossible, but people shouldn't do the same thing forever. I'm still serious about acting and still plan to do more, but other things are starting to look much more important to me.' 'When I was with Sonny, I had to ask for things. I don't ask anymore; I don't put myself in a position where something I want is in someone else's control. I believe in destiny, but I don't believe you should sit back and do nothing because of it. Sometimes it's not the time to go forward, so you step to the side. But not backward.' 'At this moment, I'm trying to assess if the talents I have are best suited for just what I'm doing. I'm wondering: Is this my resting place? Is this where I'm meant to stop and perfect—whatever that means—what I'm doing? I feel better about myself now; I like myself better. And I know this: I need a rest. I've been working since a year ago June, with only a month off, and I'm in a place right now where I won't ask myself questions because I won't get the right answers. It's really weird. I just feel like—not that things you go through are unimportant, but it's not important if they're negative or positive. It's what you make out of them.' 'And I don't think, fourteen years ago, it would have even occurred to me to have these kinds of thoughts about anything.' 'And I think I'm talked out.'
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Look: Josh Hartnett begins production on Netflix creature thriller
Aug. 1 (UPI) -- Oppenheimer's Josh Hartnett is leading the cast of a new Netflix series that is filming in Newfoundland. The Pear Harbor actor, 47, will star opposite Speak No Evil's Mackenzie Davis, Stranger Things' Charlie Heaton, The King Tide's Willow Kean, Sunny Dancer's Ruby Stokes, The Monkey's Rohan Campbell and Revival's Kaleb Horn in the untitled limited series. The streamer shared a photograph of the cast taking a selfie as production began. They stood before a large body of water and rolling green hills. "When a mysterious sea creature terrorizes a remote Newfoundland town, a hard-bitten fisherman must fight to protect his family, his community and his vanishing way of life," an official synopsis reads. The Umbrella Academy's Jesse McKeown directs. Solve the daily Crossword
