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Tom Cruise Spotted on Top of London's BFI Imax Cinema as He Prepares to Premiere Next ‘Mission: Impossible' at Cannes

Tom Cruise Spotted on Top of London's BFI Imax Cinema as He Prepares to Premiere Next ‘Mission: Impossible' at Cannes

Yahoo13-05-2025

Tom Cruise was on top of the world in London Sunday night — or at least on top of the BFI Imax cinema.
The Oscar-nominated actor was spotted on the roof of the theater, which currently bears a huge advertisement for his latest spy franchise installment 'Mission: Impossible — The Final Reckoning,' after participating in a wide-ranging discussion about his career at the BFI. Cruise is in London to receive the prestigious BFI Fellowship, which will be presented to him at a dinner on Monday night, and then will head to Cannes Film Festival for the world premiere of 'The Final Reckoning.'
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It's not clear exactly how Cruise got on the roof of the theater, but footage emerged of him standing on top of it on social media Sunday night. Discussing Film reposted a video from X user @tsureil, showing Cruise in a suit looking over London, and the post then went viral. After his talk at the BFI, Cruise was present at the BFI Imax for a screening of 'Mission: Impossible — Fallout,' which he introduced to the audience.
In his BFI discussion, Cruise reflected on the success of the 'Mission: Impossible' franchise and his collaboration with writer and director Christopher McQuarrie, who was in the crowd. He recounted how they first worked together on 'Mission: Impossible — Ghost Protocol,' when Cruise called McQuarrie in during production to help rewrite the script. Cruise said that within minutes of arriving on set, McQuarrie came up with the film's iconic 'blue is glue, red is dead' line.
'I go, 'McQ, I need help with this scene. I'm trying to figure out the gloves.' He goes, 'OK, well how's it work?' I said, 'Well, red light means it won't stick anymore and blue means it sticks and I can go up the wall and climb the whole thing,'' Cruise said. 'Without even a breath, he goes, 'Oh. Blue is glue, red is dead!' And he proceeded to write the rest of the scene. Simon [Pegg] was like, 'Who is that guy?!' I said, 'Oh yeah, that's McQ. He's going to write the rest of the movie.''
'Mission: Impossible — The Final Reckoning' will premiere at Cannes Film Festival on Wednesday.
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Brad Pitt Will Team with Tom Cruise If They Stay Grounded: ‘I'm Not Gonna Hang My Ass Off Airplane S***'
Brad Pitt Will Team with Tom Cruise If They Stay Grounded: ‘I'm Not Gonna Hang My Ass Off Airplane S***'

Yahoo

time44 minutes ago

  • Yahoo

Brad Pitt Will Team with Tom Cruise If They Stay Grounded: ‘I'm Not Gonna Hang My Ass Off Airplane S***'

At the June 9 'F1' premiere in Mexico City, star Brad Pitt spoke with E! News about potentially making a film with fellow box office champ Tom Cruise, an old buddy of Pitt. 'He's sweet,' the 'Ocean's 11' actor said. 'Yeah, we did have our go-cart days back in the '90s,' admitting that Cruise was the superior racer then. Pitt does have stipulations on what would be expected to him if he was ever to appear alongside the ambitious 'Mission: Impossible' stunt performer. More from IndieWire Han Shot First: BFI Screened a 'Miracle' Original 'Star Wars' Print - No Matter How George Lucas Might Feel About It The Sound of 'Ballerina' Asks 'What Would Wick Do?' 'Well, I'm not gonna hang my ass off airplane shit like that,' he said. 'When he does something again that's on the ground.' No matter his stuntman bonafides, 'F1' director Joseph Kosinski, who also directed Cruise in 'Top Gun Maverick,' said that Cruise was not considered to play Pitt's role in the Formula One racing drama.'Tom always pushes it to the limit, but at the same time is super capable and very skilled. They both have the natural talent for driving. But, yeah, I could see Tom maybe scaring us a little bit more,' Kosinski told GQ. Pitt's new movie was first screened for an audience of real Formula One drivers in May ahead of the Monaco Gand Prix. Racer Lando Norris — who also appears in the movie — praised the 'inspirational story,' adding that 'it had a lot of different meanings behind it all. But a cool storyline and a lot of inspiration for young people coming into it.' 'It's going to make people want to watch F1, which is really the goal of it,' driver Oliver Bearman said. 'The onboard shots and the work that they did was actually quite incredible — it was impressive to see the technology that they can use.' Pitt said that, like his 'F1' character, he had precise rituals when preparing for each day of shooting. 'My OCD… before getting in the car, I always have to get in on the left side. I have to put my left shoe on first. I have to put my left glove on first. My belt — the guys knew we had to do left first [before] right. If they didn't we'd have to start over,' he explained. 'F1' hits IMAX theaters on June 25, with its wide release following two days later on June 27. Watch the trailer below: Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See

My 7-year-old interviewed the author of his favorite book. He asked big and small questions with more confidence than I have.
My 7-year-old interviewed the author of his favorite book. He asked big and small questions with more confidence than I have.

Business Insider

time3 hours ago

  • Business Insider

My 7-year-old interviewed the author of his favorite book. He asked big and small questions with more confidence than I have.

When author and illustrator Peter Brown set out to write "The Wild Robot," he didn't head to a studio or café — he went to the Catskills, Maine, and the Pacific Northwest to find inspiration. When I had the chance to connect with Brown, I knew I had to turn to an expert who truly appreciated the book: my 7-year-old son. "I tried to spend as much time in kind of a wilderness area as I could to feed my imagination, give me little ideas, remind myself of the kind of sounds that you hear when you're out in the woods," Brown told me and my son over a video interview. That juxtaposition — the mechanical and the natural — sits at the heart of "The Wild Robot," Brown's beloved middle-grade novel and now an Oscar-nominated major motion picture from DreamWorks. "The last place you'd expect to find a robot is out in the wilderness," Brown explained. "And so I thought, well, that's kind of interesting." My three children agree. They are such fans of the movie that we ended up not only buying it, but also getting the book to read the original story, which we've already enjoyed multiple times. My son had lots of questions to ask Brown, from whether he liked robots to whether there would be more movies starring his favorite robot, Roz. He wanted readers to care about the robot To prepare for the interview, my son and I talked about our favorite parts of the movie and the book. I asked him what he wanted to ask Brown, and he surprised me with how much he wanted to know, including why the robot doesn't have a mouth but can still talk, and more profound questions that, as a parent, moved me. For those who aren't hardcore fans like we are, "The Wild Robot" follows Rozzum Unit 7134 (a.k.a Roz), a machine that washes ashore on a remote island and must learn to survive — and eventually, thrive — among wildlife. "This is a very extreme fish out of water story," Brown said. "You take that advanced technological character and you put it in the least technological place you can imagine." The book's premise is simple, but the emotional arc is complex. Brown imagined a robot that becomes more "natural and wild than even a person could." Both my husband and I cried at different scenes of the movie because Roz reminded us of different parenting phases we've been through, helping our kids learn how to walk, or learning ourselves how to let them go and become their own person. "That is kind of the main goal of an author — to make sure your readers care," Brown said. Roz is an optimistic vision of AI At a time when most portrayals of artificial intelligence tend toward the dystopian, Brown aimed for something different. "We are very familiar with stories about robots, kind of like a robot uprising," he said. "I thought it was more interesting to show a more optimistic vision of what the future could look like." He backs that vision with research, not just imagination. Brown visited NASA's Jet Propulsion Laboratory and spoke with scientists designing robots to explore other planets. "They're already using robots to communicate with animals," he told my son, who listened with both his eyes and mouth wide open in surprise. Roz, Brown believes, could someday exist. There might be a movie sequel Brown has long loved animation, and the adaptation of the first book from his three-book series into a movie has been a surreal experience. "Before I started writing children's books, I actually worked in animation," he said. So when DreamWorks reached out, saying they wanted to adapt the book into a movie, he was very excited. He hopes for a sequel, which was one of the more important questions my son had because he wants more of Roz. "I'm pretty confident there will be at least one more movie," he said. My son shared with Brown how his twin sisters, who are two years younger than him, often get distracted when my husband reads the original book because it doesn't have illustrations on every page. Brown's latest project, " The Wild Robot on the Island," is a picture book adaptation of the original novel, aimed at an audience like my daughters. He wants readers to learn something from Roz Throughout the interview, Brown answered my son's big questions and little questions with the same enthusiasm and attention to detail. They talked about whether Brown had a Roomba (he doesn't) and whether he had adopted anything like Roz did in the story (he did adopt his dog Pam). My son surprised me by asking one of the more profound questions of the interview — what we, as readers, could learn from Roz. Brown hopes it's empathy and interdependence. "Roz learns that she needs help. She can't do it all by herself," he said. "We all need each other; we should just be good to each other because we're going to need each other at some point or another." It's a message that Brown feels is often forgotten. But through the eyes of a robot (or in my case, during this interview, a 7-year-old) trying to understand the world, it becomes fresh again.

Sharks, survival, and serial killers: Behind the scenes of Dangerous Animals
Sharks, survival, and serial killers: Behind the scenes of Dangerous Animals

News24

time4 hours ago

  • News24

Sharks, survival, and serial killers: Behind the scenes of Dangerous Animals

Hassie Harrison stars alongside Josh Heuston in Dangerous Animals, a genre-blending survival horror set on Australia's Gold Coast. The film follows a troubled surfer's fight for survival after being abducted by a shark-obsessed serial killer. In this Q&A, Harrison and Heuston discuss chemistry, high-stakes stunts, and exploring complex themes in their roles. Yellowstone actor Hassie Harrison stars in the Australian survival horror film Dangerous Animals. Directed by Sean Byrne, the film follows Zephyr (Harrison), a solitary surfer with a troubled past who has come to Australia's Gold Coast to find an escape. Her peaceful existence is disrupted when she meets Moses (Josh Heuston), a local real estate agent and fellow surfer. After a romantic night with him, she flees to the ocean but is abducted by Tucker (Jai Courtney), a shark-obsessed serial killer. The film premiered at the Cannes Film Festival during the Directors' Fortnight section and received various reviews. Courtney was lauded for his performance, with many calling Tucker one of the best new horror villains, while Byrne's direction was praised for blending serial-killer thriller with a 'creature feature,' delivering tension and slick production quality. In this Q&A, Harrison and Heuston discuss their roles in Dangerous Animals. From building instant chemistry to navigating thrilling stunts and blending complex themes, they share behind-the-scenes insights. You both create a believable connection in such a short time, which drives the action for the audience. We understand why these two people now have something to fight for and live for. How did you work with Sean to establish that relationship? Josh Heuston: Sean, first of all, had it all mapped out, every single moment and beat. He had hand-drawn sketches for everything, so every day he comes to set, he already has the entire shot just mapped out for you. So there's that. But then, in terms of building a connection, we just clicked instantly. Hassie Harrison: We did a chemistry read before, and just have always had each other's backs and championed each other. JH: Hassie already booked the role, and I dropped a line in the chemistry read, and then Hassie was like, 'Oh, that was my bad', and pretended that she made a mistake to help me get over the nerves. I messed up the audition for a moment, and she had my back and saved me. HH: I had his back since day one. It's actually kind of funny, too – when we did the movie, our whole first week was just our opening love story. So when we first started the movie, it felt like I was doing a rom-com. It was just so easy, fun and light, and then all of a sudden, we had to switch gears. Courtesy of Independent Film Company and Shudder Dangerous Animals is such a fantastic mash of genres; it's a shark thriller, but it has the serial killer element added. What did you enjoy about having that blend of genres? HH: It's always cool to be able to bend genres because I feel like it's more representative of how complex life is. It's more than just one note. JH: For me, it was my first time stepping into thriller or horror, so it was just exciting. In certain dramas or sci-fi stuff that I've done before, the stakes aren't always 110%, whereas [in this], we're kind of all fighting for our lives. It was very exciting and fun; you're not usually screaming and running away or fighting a bear of a man - you're not doing that in other genres. It was a learning experience, but at the same time, it was just insanely fun. You both get to do stunt, fighting and combat work. What did you enjoy about the practicality of blocking that all out? HH: To be honest, it really inspired me; I want my next job to have a lot more stunts and stuff like that. I'm luckily a very physically capable person, and it adds this whole other fun element of choreography to the acting. It's just fun; you feel that adrenaline, just like you hope the audience does. JH: For me, I came into it being like, I want to do every single stunt I can, and I didn't want to have to use a stuntman too much. I loved it, but if you asked me in 20, 30 years, I'd probably be like, 'Someone else can do it'. It's physically demanding, but at the same time, this movie was just so much fun to make from day one through to the last day. Jai has spoken about how there were moments on set where you've got actors strung up in Tucker's feeding harness and how he felt the intensity and the weight of that in playing the villain. How did you both decompress from the darker elements of the story? JH: To be honest, after the harness scene, I went and got a massage. I was like, 'my body's not working the way it used to'. But I loved having Jai opposite me; he's feeding me the entire time. So it's so easy to fall into that. HH: It took me a little time to shake it, I'll be honest. I started having nightmares and stuff. Honestly, for me, just being on the beach, and we got to shoot on the Gold Coast – I would just go get in the ocean every day and wash it off. Courtesy of Mark Taylor. You're shooting much of the film on a boat, on location – what was that experience like, out on the water? JH: I grew up in Australia, so I'm used to being out there. I love the ocean, and I grew up with it - grew up surfing and doing all that sort of stuff. But I'm not a very good surfer, that being said. HH: You're great! That's what everybody says. JH: For me, I'm happiest near the ocean. So it was like a holiday, but just doing something I love at the same time. A lot of the tension and the horror in Dangerous Animals comes from the stillness that Sean Byrne employs, as much as he uses fast-paced moments. How did that manifest on set? JH: He's a very visceral director, so he knows exactly what he wants, and he's in the scene with you. We had a running joke, which was 'gritted teeth'. So a lot of his direction was 'gritted teeth, we need the gritted teeth', and we're all trying to deliver that. But he's heavy breathing and tense and fighting with us while we're in these same scenes. He's acting just as much as we are in the entire process. Which, for me, gave so, so much support. HH: Essentially, he's great at building tension. It's not like there's this overuse of gore just for gore's sake. There are these earned moments, and it builds up and then has a release. And that's what makes the ride so fun. The story contrasts humans as social animals against solitary sharks, but also against Tucker, this man who's isolated himself from the world because of the pain he's experienced. How did those themes resonate for you? JH: Moses' heart is on his sleeve, and he leads with that. For me, it was always trying to find the connection with Hassie, and that's my throughline throughout the entire film. He's just trying to follow this connection. It was a 12-hour experience of them hanging out, but for him, it was such an important moment in his life, and he just followed that. So, in terms of isolation, Moses is not trying to isolate himself at all. He's just trying to follow the love of his life in that moment, and it gave me something to fight for. HH: Zephyr is fighting what she feels and knows is real love, and the fact that she hasn't known a lot of kindness in her life, has her walls built up and has created a life that can match the level of intimacy she can handle. And then there's that mirror; as soon as she meets Josh's character, all of that is brought up to the surface, and she's like: 'Wait'. She's just a scared pup, a hurt pup. Courtesy of Independent Film Company and Shudder. We get some clues as to the reasons she feels isolated from the world. How did you understand Zephyr's mindset coming to Australia? HH: A big part of what informed a lot of my research, and it's not even touched on in the film really, but there's a tattoo that she has on her back that actually is a universal symbol for sexual abuse. And that's a big part of why she has closed up and run away and has become this vagabond. It's a really hard and truthful topic, and doing the research on that was heavy, but that's what was real for her. Australian horror is known for its particular brutality, and that's matched in this film with some fairly brutal moments – like a character biting their own thumb off. As an American, what was your sort of understanding of the Australian horror genre? HH: Australians are so well respected in this space. Between The Loved Ones and The Devil's Candy, Sean knows his stuff when it comes to all things genre. I love my Aussies, but you guys do seem to have a little dark, wicked side. But I was down to come play, and I knew I had big shoes to fill. [To Josh] Was I the only American on set? JH: Yeah, pretty much. Hassie showed up, ready to rock from day one. There were no reservations of jumping into the Australian culture- HH: And ocean. JH: Literally. There was no hesitation; she jumped straight in. I guess Australians are known for a bit of grit, like Wolf Creek, one of our cult classic Australian horror films. Recently, there's Talk to Me, which is amazing. Australia's on a wave right now, I think, with horror, and Hassie came and brought it and drove it as well. It's great seeing Australia kind of rock it in horror. Courtesy of Independent Film Company and Shudder Okay, let's finish on Zephyr biting off her own thumb to escape. What I loved about the thumb is how it wasn't just like this incredible act of bravery, but it matched thematically – the whole idea of a bear gnawing its way out of a trap. What was it like shooting that? HH: I was actually the most nervous about that scene. Of course, they saved it for the very last day, and everybody's trying to have this super cool last day, all partying together; summer camp's over. I think one of the things that was important for me to feel was her vulnerability and how scared she was to do it; you know what I mean? That was a hard scene to shoot. I kind of hyperventilated. JH: She passed out. HH: Yeah, I passed out. JH: The stakes are so high for you, too, like I'm still covered in blood across the room from you and trying to be present as much as possible. But yeah, you if you're like, because you are hyperventilating in a way, to try and get yourself to that emotional state, and Hassie, again, committed 100% and passed the f*** out. HH: I'll never forget. I just started, like, slowly tipping. And our DP was like, 'Hey!' and came and caught me. It's one of those scenes that you just have to commit to, and it looks so rank. I couldn't believe, watching it in the theatre, how everyone was cheering. I was like, 'Yeah, okay, all right!'

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