Latest news with #AcademyAward-winner
Daily Record
24-05-2025
- Entertainment
- Daily Record
Netflix's 'utterly addictive' and 'hysterical' new drama tops charts just hours after release
It has already become Netflix's most-watched TV show Netflix fans are utterly captivated by a fresh drama series that has been hailed as "utterly addictive" and lavished with five-star reviews from critics. Sirens landed on the service just this Thursday (May 22) and has rapidly climbed to the summit of Netflix's leaderboard for the UK's most watched telly programmes at the moment, soaring in popularity mere hours after hitting the platform. It has now overtaken other compelling titles such as the gripping true crime series Fred and Rose West: A British Horror Story, Love Rat and American Manhunt: Osama Bin Laden. The series zeroes in on a "bright-but-messy" protagonist, Devon, who embarks on a mission to rescue her sister from her peculiar billionaire boss. The official synopsis reveals: "Devon thinks her sister Simone has a really creepy relationship with her new boss, the enigmatic socialite Michaela Kell. "Michaela's cult-ish life of luxury is like a drug to Simone, and Devon has decided it's time for an intervention, but she has no idea what a formidable opponent Michaela will be. Told over the course of one explosive weekend at The Kells' lavish island estate, Sirens is an incisive, sexy, and darkly funny exploration of women, power, and class." Star-studded performances light up the screen with talents like The White Lotus' Meghann Fahy, House of the Dragon's Milly Alcock, and Academy Award-winner Julianne Moore. The cast is further bolstered by Kevin Bacon (MaXXXine), Glenn Howerton (It's Always Sunny) and Felix Solis (The Forgotten), reports Surrey Live. The limited series has been created by Molly Smith Metzler, who was also the mind behind Netflix's critically acclaimed drama Maid starring Margaret Qualley. The Guardian heaped praise on the "utterly addictive cult drama" rewarding it five stars, adding: "This endlessly entertaining study in class and family is a witty, star-packed treat that zips through five tight episodes. Here's hoping for a second season." Audience reactions to Sirens have been equally enthusiastic, with one viewer dubbing it a "10/10" series, and another penning: "Sirens on Netflix is so addictive, they've got me reeled in already, it's not what you think it is at first. I'm on episode 3 of 5 and might watch the whole series in one binge, I have to see how it ends." Another reviewer described the show as "hysterical and brilliant," while another confessed: "Just finished the new Sirens series on Netflix and I loved it." Meanwhile, Rotten Tomatoes currently pegs Sirens at a respectable 73 per cent from critics, with audience approval not far behind at 65 per cent.
Yahoo
24-05-2025
- Entertainment
- Yahoo
‘Fountain of Youth' Ending Explained: What Happens in the Natalie Portman and John Krasinski Apple Movie?
The new Fountain of Youth movie, now streaming on Apple TV+, is a throwback to the adventure treasure hunt movies that don't often get made anymore. But when it comes to the story, Fountain of Youth fails to deliver a compelling narrative. Directed by Guy Ritchie, with a screenplay written by James Vanderbilt, Fountain of Youth stars John Krasinski as Luke, an adventure-seeking man determined to carry out his father's legacy of, well, adventuring. His younger sister, Charlotte (played by Academy Award-winner Natalie Portman) is out of the game, in favor of a more legal lifestyle as an art curator. But her brother sucks her back into the world of adventure when a wealthy client (Domhnall Gleeson) hires him for a new quest, to find the Fountain of Youth. It's very much like National Treasure or The Da Vinci Code, but unlike those movies, the plot of this treasure hunt movie doesn't really make sense. If you found Fountain of Youth to be confusing, you're not the only one. Don't worry, because Decider is here to help. Read on for a thorough breakdown of the Fountain of Youth movie plot summary and the Fountain of Youth movie ending explained. The movie opens with a high-speed scooter chase in Bangkok. Luke Purdue (John Krasinski) is fleeing from a guy named Kasem (Steve Tram), from whom Luke has just stolen a priceless painting. With the help of his team, Murphy (Laz Alonso) and Deb (Carmen Ejogo), Luke gets away. Luke pays a visit to his estranged younger sister Charlotte (Natalie Portman), who works at an art museum. But his visit has an ulterior motive: Luke steals yet another priceless painting. Charlotte pursues him, and Luke convinces her to join him in his getaway car, insisting that she has missed the adventure lifestyle. He drives them back to his team, and it's revealed Murphy and Deb are the same team that Luke and Charlotte's late father worked with. The movie doesn't clarify what, exactly, Luke and Charlotte's father did, only that he was some sort of vague treasure-hunter who went on adventures, and told his children that 'the journey is more important than the prize.' Luke doesn't find what he's looking for on the stolen painting, so he returns both the painting and Charlotte. Charlotte, now considered an accessory to the art heist, loses her job at the museum. She's also facing a threat from her soon-to-be ex-husband that she is going to lose custody of their son, Thomas (Benjamin Chivers). Charlotte goes to yell at Luke for ruining her life, and discovers that Luke has been hired by a rich benefactor, Owen Carver (Domhnall Gleeson), to search for the Fountain of Youth. Owen is dying of liver cancer, believes the fabled Fountain of Youth is real, and that if he can drink from it, his cancer will be cured. Luke insists this will be the most important archeological discovery in history, and that he wants his family name to get credit for that discovery. Through their research, Owen and Luke believe that the location of the Fountain has been passed down through generations, via people called 'Protectors of the Path,' who protect the secret location of the Fountain. Luke believes that he was attacked by one of the protectors, Esme (Eiza González), while escaping Bangkok on a train. In the 1600s, six artists—Caravaggio, Ruben, Wilden, Velásquez, El Greco, and Rembrandt— made a pact to reveal the location of the Fountain, by hiding a clue in their paintings. Invisible ink on the paintings inscribes the phrase 'six in one,' in Latin. Each painting also has a mark of a different letter: D, C, K, I, E. What could that mean? They don't have the last letter, because the Rembrandt stolen from Charlotte's museum was a copy. Charlotte agrees to help Luke track down the correct Rembrandt, in exchange for Owen using his powerful lawyers to win her back custody of her son. Luke and Charlotte find the Rembrandt in a shipwreck off the coast of Ireland, where a wealthy buyer had kept the painting in a safe, before his ship sunk. After another scuffle with Esme, they get the painting. It reveals the letter 'V,' so now the letters are D, C, K, I, E, V. But as Charlotte points out, 'V' is 'W' in Latin. When rearranged, the letters spell out WICKED. That's not, in fact, a reference to the hit Broadway musical, but a reference to the 'Wicked Bible,' aka the misprint of the King James Bible that was published in 1631 containing the Commandment, 'Thou shalt commit adultery,' rather than 'Thou shalt not commit adultery.' Meanwhile, Owen gets Charlotte her son back by transferring her ex-husband to a job in Japan. So the young Thomas joins the adventure, and they all head to the Austrian National Library to find a copy of the Wicked Bible. After yet another tussle with Esme the protector, they get the Bible. They find a clue in the gilding on the pages, a repeating pattern of numbers using the digits one through seven. Thomas, a young musical prodigy, realizes they are not numbers, but musical notes. The notes play an ancient song called 'Water in the Desert,' which honors the Seven Wonders of the Ancient World. When they lay 'the path from the paintings' on top of the Seven Wonders, only one Wonder doesn't match up: The Pyramids of Giza in Egypt. (The movie brushes over where this 'path' from the paintings comes from, but I guess we're just supposed to go with it.) Our heros deduce that the fountain is at the pyramids. So they go to the pyramids. Meanwhile, in Vatican City, Esme tells her boss (Stanley Tucci, who is in this movie for one scene, perhaps only as a Conclave reference) that Luke is very close to finding the location of the fountain. Stanley Tucci encourages Esme to stop Luke from finding the fountain by any means necessary. He insists the fountain is too powerful and too tempting for humankind. He gives her a special key to help her stop the fountain's discovery. Luke conveniently acquires a 3D scan of the pyramids that shows secret tunnels, passageways, and chambers under the pyramids. They assume those lead to the Fountain. Once inside the pyramids, Owen grows increasingly impatient to find the fountain. He has his men destroy a wall of the pyramid to get to the tunnel, despite Charlotte's protests. When the team gets to a room where a large cylinder 'keystone' needs to be moved, Owen prepares to blow it up with explosives, despite both Charlotte and Luke's objections. Luckily, Thomas once again saves the day by playing that ancient 'Water in the Desert' song on some ancient timpani drums. This song triggers something that makes the keystone magically float in the air into the place where it needs to be. At this point, the movie gives up on logical explanations, and fully embraces magic and mysticism. Meanwhile, both Esme and an Interpol police officer, Inspector Jamal Abbas (Arian Moayed), fight with Owen's security team outside the pyramids. They make their way inside, and follow Luke and Charlotte down the hidden chambers, where they do, in fact, find the Fountain of Youth. Owen insists that Luke get into the Fountain before him. Charlotte realizes that Owen was lying about dying of cancer, and just wants the power and money that will come with the fountain. Owen shoots Luke in the arm, so Luke dutifully wades into the fountain. Luke is surrounded by the fountain's magical water, which heals his arm. Excited, Owen shoots Luke more times, in the chest, to see if it will heal that, too. It does! Luke gazes into the fountain and is very tempted to drink his water. But he sees a vision that shows him that if he drinks, his power will come at the expense of his sister and his nephew. Luke would remain forever young, but Charlotte and Thomas would age rapidly. So, Luke decides not to drink. Owen eagerly comes forward for his turn at the fountain. At the same time, Esme uses her very special key that Stanley Tucci told her to use to shut the fountain down, if the wrong person drinks from it. Tucci explains that if you drink from the fountain, it will give you youthful energy by draining it from your loved ones. However, if you're a narcissist who loves only yourself—like Owen—there will be no exchange, and you'll get a direct connection to infinite power that will drain you of life. Owen drinks from the fountain, withers up, and dies. At the same time, Esme uses the key to shut down the fountain. The pyramid begins to close off all the secret tunnels and chambers. Our heros scramble to escape, and with Esme's help, they manage to get out of there. Esme commends Luke for being able to touch the fountain without drinking from it. Back outside, Charlotte convinces Inspector Abbas to let Owen take the fall for the stolen paintings, which have now been returned. Esme says goodbye to Luke with a kiss on the cheek, and warns him that if he goes back to the Fountain, she will chase him down. Luke reflects that his father was right, in that some things were meant to stay lost. He also offers to get Charlotte a new job. But Charlotte proposes that she and Luke keep treasure hunting together, to 'find something lost.' Luke asks what she has in mind, and her son Thomas replies, 'I've got an idea.' With that, the movie ends. We don't know what his idea is, exactly, but we assume it'll be the sort of child-like treasure hunt this family loves to embark on. Look, Fountain of Youth is one of those movies that would prefer its audience not think very hard about the plot. The filmmakers just want you to come along for the adventure, and not ask too many questions. In the end, it doesn't make much sense. Kinda makes you respect National Treasure a lot more, right?
The Hindu
23-05-2025
- Entertainment
- The Hindu
The Montblanc Meisterstuck hits a century
The Montblanc Meisterstuck has, for over a 100 years, been more than just a writing instrument. A pen deemed both sturdy and stylish, it has been used to sign world-altering peace treaties and found a place in the New York Museum of Modern Art and London Design Museum. The Meisterstuck, meaning 'masterpiece' in German, is a star among the galaxy of well-known instruments from the maison. To mark its centenary in 2024, Montblanc launched a global campaign, written and directed by Academy Award-winner, Wes Anderson. Well-known for his eccentric visual narratives and more recently for playing a central role in the six-year-long restoration of Satyajit Ray's Aranyer Din Ratri, starring Sharmila Tagore and Simi Garewal that was recently screened at the Cannes Film Festival 2025, the American director set the Montblanc campaign at its fictional headquarters atop the Mont Blanc mountain in the Alps. It features acclaimed actors Rupert Friend, Jason Schwartzman, Maude Apatow, Indian American actor-designer Waris Ahluwalia and Anderson himself in a log cabin amidst the snow-blown massif showcasing pens, and travel and work accessories from a line launched to mark the hundredth year. Neeraj Walia, Montblanc's India MD and CEO, says over a call, 'The Meisterstuck was launched as a leisure tool of writing. With journalling back in fashion it has found a new, younger audience. There is consistency in functionality, the shapes have evolved, although some of the iconic ones like the 149 cigar-shaped writing instrument have stayed.' While today the Meisterstuck is seen as a symbol of prestige and class, it was first created in 1924 to meet the demand for writing instruments for 'Sunday use', tools that were meant for leisure and not for the everyday. It later resulted in Montblanc Haus opening in Hamburg in 2022, allowing visitors to rediscover the joys of putting pen to paper. Adds Neeraj, 'The brand has been in pursuit of excellence in craftsmanship since it was first established in 1906, revolutionising the culture of writing. It has taken this skill across product categories such as writing instruments, watches, leather goods, new technology and accessories.' The making of a Meisterstuck, whether fountain or rollerball, is a journey of three months with nearly a 100 people involved in creating its vintage shape. The most recognisable is the one with a handcrafted gold nib, cigar-shaped with three gold rings and a piston ink filler inside a barrel. Rarer ones would be the Solitaire Royal, costing thousands of pounds, made for the Sultan of Brunei. The Montblanc website spells out how the 'first Meisterstück range was developed by the Simplo Füllfedergesellschaft (later Montblanc-Simplo) in 1924'. 'The number '4810' referring to the height of the Mont Blanc mountain in metres is engraved on the cap, and since 1930 on the nib,' says Neeraj. In 1928, two gold rings were added to the cap to reduce the chance of it breaking. By the late 1930s when the third ring was introduced, the pen had also acquired a two-tone rhodium and gold-coated nib. Over the next half century, many models were introduced: the 149 'cigar-shaped' model in 1952, the Linie 60 model in the 1960s and the Solitaire model in the 1980s. What stayed common was the Montblanc emblem on the cap top and 4810 engraved on the nib. The anniversary leather capsules — coin case, card holder and wallet — in black, coral red (a colour that featured on the Meisterstuck of the 1920s), blue, and green also showcase the emblem as drawn from the archives over the years. 'The Meisterstuck Traveller and the Origin collection have been successful in India,' says Neeraj, adding, 'Collectors in India track the pieces even before they are launched through boutiques. For instance, Wes Anderson created the Schreiberling Le 1969 as a tribute to his birth year. It comes as a set including a fountain pen that has a Montblanc emblem on the cap top in red, a notebook, ink cartridges and a ruler.' Through wearable technology and Dear Future, Montblanc's initiative for young adults to build a sustainable future through good handwriting, the maison is still in a celebratory mood as it steps into its second century. Available at pen boutiques and online stores. The Montblanc Meisterstuck pen is priced ₹40,000 upwards.
Yahoo
19-05-2025
- Entertainment
- Yahoo
Brooklyn's Finest: Spike Lee on Future of Hollywood, Latest Film, and What Happens if Knicks Win It All
Spike Lee is happy. The legendary director is running around the headquarters of his world-famous production studio, 40 Acres and a Mule Filmworks, getting ready to sit down for this interview and photo shoot. Like most artists whose time is money, he makes quick decisions on the fly — this time involving his wardrobe — and moves with an earnestness and motivation that could come off as brash to the uninitiated. If you didn't know any better, you would think he wasn't having any fun. Then he sits down to start the interview, and as soon as the cameras start rolling, that classic Spike smile emerges, and it becomes clear: His favorite place to be, his happy place, even after all these years, is behind or in front of a camera. Of course, in early May of 2025, Lee has a lot to be happy about. The 68-year-old writer/director/producer/actor who was born in Atlanta, but raised in the Republic of Brooklyn is in full promotion mode, doing the rounds to talk about his 24th film, , a reimagining, as he puts it, of Akira Kurosawa's 1963 Japanese film High and Low. While the film marks a lot of firsts for Lee — his first time working with New York-based indie film studio A24 and his first time distributing a film with Apple TV+ — it also acts as a reunion of two of the best collaborators Hollywood has ever seen. According to Lee, the only reason he agreed to direct the film was because his good friend, Academy Award-winner Denzel Washington, was attached to the script. This will be the dynamic duo's (as he calls them) fifth time working together, with this year marking the 35th anniversary of their first production, 1990's Mo' Betta Blues. The film is set to be screened at Cannes on Monday, May 19th. A day, Lee says, holds a lot of special meanings. It's the day his second joint, Do The Right Thing, the film that made him a star, premiered back in 1989. It's Malcolm X's birthday, with this year marking what would have been his 100th trip around the sun. And, because it's a Monday this year, it means Broadway is dark, which means Denzel is able to fly to Cannes to premiere the film with his longtime friend. 'I believe [in] my heart of hearts, my brother, this is not an accident,' he says. Monday, May 19, is also a rest day for his beloved New York Knicks, who have finally put the pieces together and made it out of the second round of the playoffs with a devastating win over the Boston Celtics. If you don't know Spike Lee, you should know he loves these three things: his family, film, and the Knicks. He's had season tickets since 1985, buying them the day after Patrick Ewing was drafted with the No. 1 pick from Georgetown University. Few people are bigger fans of any sports team than Lee is of the Knicks. A collector at heart, he has some of the rarest, coolest pieces adorning the walls of his office. Such as a real 1973 Championship banner from the Garden. Despite the film and sports memorabilia decorating his headquarters, Lee is happiest looking towards the future. He lights up when he talks about Ryan Coogler's latest film, Sinners. 'I haven't seen a film like this in years. I was jumping up [when it was over].' Lee, a professor at NYU's Tisch School of the Arts, believes that the film industry is in good hands with artists like Coogler and Michael B. Jordan pushing the boundaries. He also believes his own students, who are making films for a world in which young people would rather watch everything on their phones, are going to make a difference. Will one of them be the next Spike Lee? Who knows. What is known is that the real Spike Lee is still able to captivate audiences and command the attention of both fans and the industry. Why wouldn't he be happy? Before Spike flew to Cannes, Boardroom sat down with him at his Fort Greene office for a conversation that spanned his new film, his old films, the Knicks, NYC sports, Mark Jackson, Michael Jackson, Prince, A$AP Rocky, and more. This interview has been edited for length & clarity Rich Kleiman: We are in the People's Republic of Brooklyn, New York, Fort Greene. Fort Greene with the prodigal son and New York's biggest sports fan, my friend Spike Lee. SL: Well, thank you very much. Glad to be here at the world headquarters of Four Acres and a Mule. RK: When you think about the Knicks, there's no bigger Knick fan in the world than you. There are certain periods in Knicks history that are kind of memorialized in my mind. So I look at different eras. I wasn't alive for the 1970 era, but I was alive for Patrick Ewing, Starks, Oakley, Mark Jackson. Mark Jackson was my favorite Knick of all time. SL: Off topic. Why can't he get another job in the NBA? RK: It's been something that's bothered me. It pains me. It's a joke, to be honest with you. I think this is sadly like a version of a narrative that just perpetuated in some ways. SL: Yeah. How many years ago was that? It's still going on. RK: It was 10 years now. 10 years. SL: I mean, he laid the foundation. I love Steve Kerr, peace and love, Steve, I love you. But [Jackson] laid the foundation for that team. RK: And for Steph and Klay and Draymond's confidence is what they talk about a lot. What he was able to instill in them about why not us and Steph playing the way Steph plays, the inflection point. Steph's career happened when Mark was coaching him. I agree with you. A lot of it has to do with narrative. SL: That's a mini-series. RK: That is a mini-series that perpetuated itself. It's like the story was told, and then the story continues to get told. And I think with Mark, there were so many things I once said to Mark as a joke, everyone said he was like this bible thumping preacher. And I said to him, I was like, bro, is it true you took Steph to church to heal his ankles? When you say things like that, everybody is, it was like one little subplot in him. You know what he said to me? 'Did his ankles heal? Didn't his ankles heal?' RK: So as you know, the Mark Jackson era is my favorite Knicks Era, right? This Starks, Oakley, Mark Jackson era. And obviously, you love every era of the Knicks. You're as loyal as they get. But is this era, the era in your mind, that has more of your heart than any other time in Knicks history? SL: Yes, for sure, for sure. I love these guys. Lemme tell a quick story though. Every time I see John Starks, I hug him. Going back. Game 5, Reggie [Miller] went insane. The next day, my face is on the cover. I'm on the front and the back of the Daily News, front and the back of the New York Post, front and the back of Newsday. I was the most hated person in New York City. The next game was Game 6 in Indiana. And people were saying the radio, 'Spike don't go, don't go!' I said, 'I got to go.' Then before the game, I visit Mike Tyson because he was [in prison] in Indiana. The whole prison's against me. So that game, Indiana was up in the fourth quarter, and the ushers put up a court rope to stop like a stampede. And then John Starks got hot. So right now, John is probably tired of getting hugged every time he sees the Spike. But he says, alright, I even know number hugs. And the reason why I hugged them is because the season was extended to game seven, came back to the Garden to tip in by Patrick. RK: Yeah, your safety was extended. Do you also take pride in knowing how much everyone knows you love the Knicks? I feel like there was a period at the Garden that was so quiet and depressing, and your presence was the one consistent light; you stayed down for them, do or die. SL: My father was a Knicks fan. It's who you are. It's in your blood. It's in your blood. And also, we haven't won an NBA championship in over 50 years. That's five decades! RK: I cannot imagine what you'll be like when the Knicks win another championship. Man, I can't even SL: New York mad is going to be insanity. RK: So I just want to clear this up because it seems like you're a New York sports fan of all teams. I even had you in Brooklyn during that little run. But are you Giants or Jets? SL: When I was growing up in Brooklyn, here were my guys: Namath, Mayes, Ali, and Claude Frazier. I was a kid. I idolized these guys, and I got to meet 'em later on. I mean, when you are a kid, these guys are gods, and you get to meet 'em and they know your films. That's a great, great feeling. RK: You are such a fan of other people's greatness. What is it that still gets you so excited about this access you've had for 40 years? SL: Because the people that are my heroes and she-roes. They have a God-given gift, and they maximized it. When you see somebody like that and they're at the top of their craft, at the top of their game, whatever it is, that's Godlike for me. Funny story, me and Prince were tight, and we would see each other maybe once every five years. There's a famous picture of us sitting together at the All-Star Game. People would look it up. The last one was in New York. I said, 'Prince, I need a guitar. I'm a collector.' Prince looked at me like I had three heads. Then, a year later, this big ass guitar case shows up. But another thing is that I did this film, Girl Six, and I had this thing. I said, 'I want to use this song, nothing but Prince's music.' I told him. He read the script. I mean, he didn't just say right away, we read the script, said, 'Spike any song, you want my catalog, you got it.' That's trust. RK: Is the relationship that you and Denzel have unique in that way, where he knows what a fan you are of his in that relationship? SL: It's mutual. But here's the thing though, me and Denzel don't really hang out. Inside Man was 18 years ago. Time flies. So when the Knicks are in LA, yo that's all coming in. We don't hang out. But when we're together, it's like something special. RK: Your newest film together, Highest 2 Lowest, how did this script come to you? SL: Denzel was attached to it, and I said, 'Let's go.' Denzel's range. Othello, Malcolm X. There were many times cast and crew, we were pinching ourselves because to our minds, to our eyes, and to our heart, we were seeing Malcolm, not Denzel Washington. We were seeing Malcolm. I tell the story a lot. But this one scene was a kind of long because the speeches were Malcolm's actual words. And back then, it was film and it runs out. So, 35-millimeter, 10 minutes, it rolls out. So I'm looking at the script while Denzel's going. And as far as the script rules for that scene, it was over. And Denzel kept going. And Ernest Dickerson said to me, 'Spike, we rolled out.' So I went up to Denzel, his eyes was glazed over. I said, 'D, what was that?' He said, 'Spike, I don't know.' And here's the thing with biofilms, a lot of times, they got the hair right, wardrobe, speech. But what Denzel did was he started rehearsing a year before the camera started to roll because he knew to be successful, to be a winner, that this cannot be impersonation. And because of that work that Denzel put in, he knew that if he did the work, the spirit of Malcolm [would take over]. That's why we saw that thing where he was off script, the script, it was done. And he went out for another minute. I'm telling you, you asked him, I was on set. We were like, what the f***? RK: So your mind's still blown by working with him? SL: Let's relate to sports where somebody's hot. Let's say Curry, right? He's 50 feet out many times in the locker room interviews. What happened? And the athlete says, 'I don't know. I was in the zone.' It's in your mind, it's in your heart. Another thing, when that s*** comes, you got to write it down. If you don't write that s*** down, if you are in bed, it's four in the morning, you better wake your ass up and start writing that s*** down. RK: One thing that has changed in 18 years is the film business. You did your last film on Netflix. You just did this film with A24 and Apple. A24 is like the premier brand right now in Hollywood. What makes them such an incredible organization? SL: They're here in New York. I think that's a lot to do with it. It's different than LA. You go to LA, you get in the car, drive to the studio, you have no interaction with people. Not New York. It is a different vibe. I'm not hating on LA, but there's an energy. You could be away for a long time, you get off of that plane at LaGuardia or JFK, and energy, it hits you in the face. RK: So, you think that's at the core of what makes A24? SL: They got smart people. But I'm just saying New York is [something different]. RK: With the state of Hollywood, a frequently discussed topic centers on the theater-going experience. I assume Highest to Lowest will be in theaters. First, you're going to go to Cannes for the premiere, then it'll be in theaters, and then it'll stream on Apple. Does the state of Hollywood impact you now? SL: The theater experience will always be important to me. When you're in a theater, man, I remember waiting in line in freezing weather to see The Exorcist. I remember waiting in line to see Jaws in the summer. I remember wanting to see Alien and The Godfather, and I mean, where the theater's packed, that feeling when a film is hitting on levels, I don't care how big your TV is in your living room. When you're in the theater, it's just like you are all vibing on what we're saying. [Takes out a cell phone] Can you imagine people looking at The Godfather? I mean like this [Points at his phone] and then it's not even like this. They're looking at it like this. It's not how it's meant to be. RK: Amidst all these changes, what do you tell a young filmmaker? SL: You know what I'm glad you brought up. So I can say this. I'm a tenured professor of film at NYU. I've been teaching there 30 years. And Ernest Dickers, who shot all my films, Ang Lee, we were all in the same class. And Jim Jamus was two years ahead of us. But not to sound like an old fuddy-duddy. Lemme see the phone again. The reason why I went to film school, because you can get access to the equipment. [Brings the phone back out]. This has brought access to young filmmakers. So I can't hate on that. RK: Sinners was incredible. SL: Yeah, let me tell a story. So I was in LA, the phone rings. It was Ryan. He said, 'Spike, you in LA?' 'Yeah, I'm here.' He said, 'We're testing the final IMAX thing of Sinners. Can you get here in an hour?' I haven't seen a film like this in years. I was jumping up [when it was over]. I'm sitting next to Ryan, and I wrote, I'm jumping up and down. It's like I'm at the Garden and we're kicking the Celtics ass. Here's the thing that I put on Instagram again because people like trying to start some s***. The love that Denzel and I have for Ryan and Michael [B. Jordan] is nothing but love. And it's mutual! You will never see no s*** like, we're beefing. That ain't never going to happen. I want to squash that s*** before it starts. This is the year of Black cinema and Highest 2 Lowest. It is love, it's admiration, where you want people to be the best they could be. There ain't no f****** competition. There's room enough for everybody to thrive. For you to thrive doesn't mean that you're hating on somebody else. That s*** got to go. View this post on Instagram A post shared by Spike Lee (@officialspikelee) RK: Those are probably the same people that are making a big deal about the deal that Ryan Coogler got for himself when this kid, here's the thing, SL: This is not the first time in history where an actor who has the power has sent my contract after specific time, the motherf****** film reverts back to me. It's not the first time this f****** hatred on a brother doing this. Oh, now that's the crime. That s***'s so obvious where that critique's coming from. When people called you something, now it's a crime. But you been doing this s*** ever from the get go. Get the f*** out of here. Straight up. RK: Let me ask you about someone else. Hip-hop has been so aligned and intertwined throughout your career, and your projects, and just who you are. How do you see the state of hip-hop, and how important is someone like Kendrick? SL: Kendrick? I think he's revitalized hip-hop and that halftime show. People will be talking about that for a decade. I mean, people still asking – we're in May? People still saying, did you see the Super Bowl show? That was the beginning of February, right? Black History Month. Something like that where it's like a cultural moment it's just like, it's like a tornado. It's like just coming through. RK: You have a relationship with him? SL: I've never met him before. I'd like to. RK: You've lived a billion lives, Spike, and it feels like your exposure to all of this talent has allowed you maybe this gift to be able to pluck people from outside the world of film to be in your movies, right? You did it with Ray Allen, and in this new film, you did it with A$AP Rocky? SL: Before Ray Allen in He Got Game. Let's go to Do the Right Thing, that was Rosie Perez's first film. Lawrence [Fishburn's] first film. ASAP, he was in a film, Monster, my wife Tanya produced. It was him and [Denzel's son] John David Washington playing opposite each other. Denzel is a beast. I mean, when you see a championship fight, you want to see somebody who's going to test them. So in a movie, if you had two characters, they're like, going head to head. You got to cast somebody who's going to hold his ground with Denzel and ASAP's Harlem. So he held his ground. They go toe to toe. And that's what makes it exciting. And Denzel is so intimidating. RK: Before we wrap up, tell me about the film from the [perspective of the] excited director, Spike Lee. SL: I know I've used this word a million times in this interview, but I cannot just belittle the word blessing. What do you want to make it? A religious connotation, whatever you want to do. But when you were given gifts, it's not like these things happen every day. For Denzel to think of me to work with one of his last films, and for us to work together on [a reimagination] of the great films ever made by one of the great filmmakers, Akira Kurosawa, a Japanese filmmaker whom I got to meet. Here's the thing, I believe in the spirit. May 19, 1989, was the world premiere of Do the Right Thing. May 19, 2025, will be the world premiere of Highest 2 Lowest. May 19, 2025, will be Malcolm X's 100th birthday. May 19 is a Monday, and that's the only day Broadway is dark. May 19 is a Monday, and Denzel will be in Cannes. And this will be the first time that Denzel's been to Cannes with the film. Denzel in 1992 brought the, brought Malcolm X to us. I believe it in my heart of hearts, my brother, this is not an accident. This is not like some lucky s***. No, this s*** lined up. I can't wait to see this movie, bro. Whatever you want to call it. Kismit, pick your choice. That's not an accident. May 19, what happens if so out of nowhere, May 19, 2025, is on a Monday. The only day that Broadway is dark. The only day you won't see Denzel on stage. That was not just some happenstance s***. Hell no. Hell to the nah. RK: Do you know your place in history? SL: It's not something I've thought about. No one's ever asked me that question. In two years, I'm going to be 70. Not like I'm packing it up, I got to keep building my body of work and keep teaching and really share my knowledge and yes, wisdom, but also with the mishaps and the falls and still of my students that you got to make your motherf****** films do or die. RK: So let me ask you again, do you know your place in history? Do you understand what you've meant to so many people? What your films have meant? The walls you've kicked down? SL: You know what, I got an answer for you. Not in Boston! [laughs hysterically] RK: You are a one of one, my friend. Thank you. Thank you. I appreciate you.
Yahoo
19-05-2025
- Entertainment
- Yahoo
Brooklyn's Finest: Spike Lee on Future of Hollywood, Latest Film, and What Happens if Knicks Win It All
Spike Lee is happy. The legendary director is running around the headquarters of his world-famous production studio, 40 Acres and a Mule Filmworks, getting ready to sit down for this interview and photo shoot. Like most artists whose time is money, he makes quick decisions on the fly — this time involving his wardrobe — and moves with an earnestness and motivation that could come off as brash to the uninitiated. If you didn't know any better, you would think he wasn't having any fun. Then he sits down to start the interview, and as soon as the cameras start rolling, that classic Spike smile emerges, and it becomes clear: His favorite place to be, his happy place, even after all these years, is behind or in front of a camera. Of course, in early May of 2025, Lee has a lot to be happy about. The 68-year-old writer/director/producer/actor who was born in Atlanta, but raised in the Republic of Brooklyn is in full promotion mode, doing the rounds to talk about his 24th film, , a reimagining, as he puts it, of Akira Kurosawa's 1963 Japanese film High and Low. While the film marks a lot of firsts for Lee — his first time working with New York-based indie film studio A24 and his first time distributing a film with Apple TV+ — it also acts as a reunion of two of the best collaborators Hollywood has ever seen. According to Lee, the only reason he agreed to direct the film was because his good friend, Academy Award-winner Denzel Washington, was attached to the script. This will be the dynamic duo's (as he calls them) fifth time working together, with this year marking the 35th anniversary of their first production, 1990's Mo' Betta Blues. The film is set to be screened at Cannes on Monday, May 19th. A day, Lee says, holds a lot of special meanings. It's the day his second joint, Do The Right Thing, the film that made him a star, premiered back in 1989. It's Malcolm X's birthday, with this year marking what would have been his 100th trip around the sun. And, because it's a Monday this year, it means Broadway is dark, which means Denzel is able to fly to Cannes to premiere the film with his longtime friend. 'I believe [in] my heart of hearts, my brother, this is not an accident,' he says. Monday, May 19, is also a rest day for his beloved New York Knicks, who have finally put the pieces together and made it out of the second round of the playoffs with a devastating win over the Boston Celtics. If you don't know Spike Lee, you should know he loves these three things: his family, film, and the Knicks. He's had season tickets since 1985, buying them the day after Patrick Ewing was drafted with the No. 1 pick from Georgetown University. Few people are bigger fans of any sports team than Lee is of the Knicks. A collector at heart, he has some of the rarest, coolest pieces adorning the walls of his office. Such as a real 1973 Championship banner from the Garden. Despite the film and sports memorabilia decorating his headquarters, Lee is happiest looking towards the future. He lights up when he talks about Ryan Coogler's latest film, Sinners. 'I haven't seen a film like this in years. I was jumping up [when it was over].' Lee, a professor at NYU's Tisch School of the Arts, believes that the film industry is in good hands with artists like Coogler and Michael B. Jordan pushing the boundaries. He also believes his own students, who are making films for a world in which young people would rather watch everything on their phones, are going to make a difference. Will one of them be the next Spike Lee? Who knows. What is known is that the real Spike Lee is still able to captivate audiences and command the attention of both fans and the industry. Why wouldn't he be happy? Before Spike flew to Cannes, Boardroom sat down with him at his Fort Greene office for a conversation that spanned his new film, his old films, the Knicks, NYC sports, Mark Jackson, Michael Jackson, Prince, A$AP Rocky, and more. This interview has been edited for length & clarity Rich Kleiman: We are in the People's Republic of Brooklyn, New York, Fort Greene. Fort Greene with the prodigal son and New York's biggest sports fan, my friend Spike Lee. SL: Well, thank you very much. Glad to be here at the world headquarters of Four Acres and a Mule. RK: When you think about the Knicks, there's no bigger Knick fan in the world than you. There are certain periods in Knicks history that are kind of memorialized in my mind. So I look at different eras. I wasn't alive for the 1970 era, but I was alive for Patrick Ewing, Starks, Oakley, Mark Jackson. Mark Jackson was my favorite Knick of all time. SL: Off topic. Why can't he get another job in the NBA? RK: It's been something that's bothered me. It pains me. It's a joke, to be honest with you. I think this is sadly like a version of a narrative that just perpetuated in some ways. SL: Yeah. How many years ago was that? It's still going on. RK: It was 10 years now. 10 years. SL: I mean, he laid the foundation. I love Steve Kerr, peace and love, Steve, I love you. But [Jackson] laid the foundation for that team. RK: And for Steph and Klay and Draymond's confidence is what they talk about a lot. What he was able to instill in them about why not us and Steph playing the way Steph plays, the inflection point. Steph's career happened when Mark was coaching him. I agree with you. A lot of it has to do with narrative. SL: That's a mini-series. RK: That is a mini-series that perpetuated itself. It's like the story was told, and then the story continues to get told. And I think with Mark, there were so many things I once said to Mark as a joke, everyone said he was like this bible thumping preacher. And I said to him, I was like, bro, is it true you took Steph to church to heal his ankles? When you say things like that, everybody is, it was like one little subplot in him. You know what he said to me? 'Did his ankles heal? Didn't his ankles heal?' RK: So as you know, the Mark Jackson era is my favorite Knicks Era, right? This Starks, Oakley, Mark Jackson era. And obviously, you love every era of the Knicks. You're as loyal as they get. But is this era, the era in your mind, that has more of your heart than any other time in Knicks history? SL: Yes, for sure, for sure. I love these guys. Lemme tell a quick story though. Every time I see John Starks, I hug him. Going back. Game 5, Reggie [Miller] went insane. The next day, my face is on the cover. I'm on the front and the back of the Daily News, front and the back of the New York Post, front and the back of Newsday. I was the most hated person in New York City. The next game was Game 6 in Indiana. And people were saying the radio, 'Spike don't go, don't go!' I said, 'I got to go.' Then before the game, I visit Mike Tyson because he was [in prison] in Indiana. The whole prison's against me. So that game, Indiana was up in the fourth quarter, and the ushers put up a court rope to stop like a stampede. And then John Starks got hot. So right now, John is probably tired of getting hugged every time he sees the Spike. But he says, alright, I even know number hugs. And the reason why I hugged them is because the season was extended to game seven, came back to the Garden to tip in by Patrick. RK: Yeah, your safety was extended. Do you also take pride in knowing how much everyone knows you love the Knicks? I feel like there was a period at the Garden that was so quiet and depressing, and your presence was the one consistent light; you stayed down for them, do or die. SL: My father was a Knicks fan. It's who you are. It's in your blood. It's in your blood. And also, we haven't won an NBA championship in over 50 years. That's five decades! RK: I cannot imagine what you'll be like when the Knicks win another championship. Man, I can't even SL: New York mad is going to be insanity. RK: So I just want to clear this up because it seems like you're a New York sports fan of all teams. I even had you in Brooklyn during that little run. But are you Giants or Jets? SL: When I was growing up in Brooklyn, here were my guys: Namath, Mayes, Ali, and Claude Frazier. I was a kid. I idolized these guys, and I got to meet 'em later on. I mean, when you are a kid, these guys are gods, and you get to meet 'em and they know your films. That's a great, great feeling. RK: You are such a fan of other people's greatness. What is it that still gets you so excited about this access you've had for 40 years? SL: Because the people that are my heroes and she-roes. They have a God-given gift, and they maximized it. When you see somebody like that and they're at the top of their craft, at the top of their game, whatever it is, that's Godlike for me. Funny story, me and Prince were tight, and we would see each other maybe once every five years. There's a famous picture of us sitting together at the All-Star Game. People would look it up. The last one was in New York. I said, 'Prince, I need a guitar. I'm a collector.' Prince looked at me like I had three heads. Then, a year later, this big ass guitar case shows up. But another thing is that I did this film, Girl Six, and I had this thing. I said, 'I want to use this song, nothing but Prince's music.' I told him. He read the script. I mean, he didn't just say right away, we read the script, said, 'Spike any song, you want my catalog, you got it.' That's trust. RK: Is the relationship that you and Denzel have unique in that way, where he knows what a fan you are of his in that relationship? SL: It's mutual. But here's the thing though, me and Denzel don't really hang out. Inside Man was 18 years ago. Time flies. So when the Knicks are in LA, yo that's all coming in. We don't hang out. But when we're together, it's like something special. RK: Your newest film together, Highest 2 Lowest, how did this script come to you? SL: Denzel was attached to it, and I said, 'Let's go.' Denzel's range. Othello, Malcolm X. There were many times cast and crew, we were pinching ourselves because to our minds, to our eyes, and to our heart, we were seeing Malcolm, not Denzel Washington. We were seeing Malcolm. I tell the story a lot. But this one scene was a kind of long because the speeches were Malcolm's actual words. And back then, it was film and it runs out. So, 35-millimeter, 10 minutes, it rolls out. So I'm looking at the script while Denzel's going. And as far as the script rules for that scene, it was over. And Denzel kept going. And Ernest Dickerson said to me, 'Spike, we rolled out.' So I went up to Denzel, his eyes was glazed over. I said, 'D, what was that?' He said, 'Spike, I don't know.' And here's the thing with biofilms, a lot of times, they got the hair right, wardrobe, speech. But what Denzel did was he started rehearsing a year before the camera started to roll because he knew to be successful, to be a winner, that this cannot be impersonation. And because of that work that Denzel put in, he knew that if he did the work, the spirit of Malcolm [would take over]. That's why we saw that thing where he was off script, the script, it was done. And he went out for another minute. I'm telling you, you asked him, I was on set. We were like, what the f***? RK: So your mind's still blown by working with him? SL: Let's relate to sports where somebody's hot. Let's say Curry, right? He's 50 feet out many times in the locker room interviews. What happened? And the athlete says, 'I don't know. I was in the zone.' It's in your mind, it's in your heart. Another thing, when that s*** comes, you got to write it down. If you don't write that s*** down, if you are in bed, it's four in the morning, you better wake your ass up and start writing that s*** down. RK: One thing that has changed in 18 years is the film business. You did your last film on Netflix. You just did this film with A24 and Apple. A24 is like the premier brand right now in Hollywood. What makes them such an incredible organization? SL: They're here in New York. I think that's a lot to do with it. It's different than LA. You go to LA, you get in the car, drive to the studio, you have no interaction with people. Not New York. It is a different vibe. I'm not hating on LA, but there's an energy. You could be away for a long time, you get off of that plane at LaGuardia or JFK, and energy, it hits you in the face. RK: So, you think that's at the core of what makes A24? SL: They got smart people. But I'm just saying New York is [something different]. RK: With the state of Hollywood, a frequently discussed topic centers on the theater-going experience. I assume Highest to Lowest will be in theaters. First, you're going to go to Cannes for the premiere, then it'll be in theaters, and then it'll stream on Apple. Does the state of Hollywood impact you now? SL: The theater experience will always be important to me. When you're in a theater, man, I remember waiting in line in freezing weather to see The Exorcist. I remember waiting in line to see Jaws in the summer. I remember wanting to see Alien and The Godfather, and I mean, where the theater's packed, that feeling when a film is hitting on levels, I don't care how big your TV is in your living room. When you're in the theater, it's just like you are all vibing on what we're saying. [Takes out a cell phone] Can you imagine people looking at The Godfather? I mean like this [Points at his phone] and then it's not even like this. They're looking at it like this. It's not how it's meant to be. RK: Amidst all these changes, what do you tell a young filmmaker? SL: You know what I'm glad you brought up. So I can say this. I'm a tenured professor of film at NYU. I've been teaching there 30 years. And Ernest Dickers, who shot all my films, Ang Lee, we were all in the same class. And Jim Jamus was two years ahead of us. But not to sound like an old fuddy-duddy. Lemme see the phone again. The reason why I went to film school, because you can get access to the equipment. [Brings the phone back out]. This has brought access to young filmmakers. So I can't hate on that. RK: Sinners was incredible. SL: Yeah, let me tell a story. So I was in LA, the phone rings. It was Ryan. He said, 'Spike, you in LA?' 'Yeah, I'm here.' He said, 'We're testing the final IMAX thing of Sinners. Can you get here in an hour?' I haven't seen a film like this in years. I was jumping up [when it was over]. I'm sitting next to Ryan, and I wrote, I'm jumping up and down. It's like I'm at the Garden and we're kicking the Celtics ass. Here's the thing that I put on Instagram again because people like trying to start some s***. The love that Denzel and I have for Ryan and Michael [B. Jordan] is nothing but love. And it's mutual! You will never see no s*** like, we're beefing. That ain't never going to happen. I want to squash that s*** before it starts. This is the year of Black cinema and Highest 2 Lowest. It is love, it's admiration, where you want people to be the best they could be. There ain't no f****** competition. There's room enough for everybody to thrive. For you to thrive doesn't mean that you're hating on somebody else. That s*** got to go. View this post on Instagram A post shared by Spike Lee (@officialspikelee) RK: Those are probably the same people that are making a big deal about the deal that Ryan Coogler got for himself when this kid, here's the thing, SL: This is not the first time in history where an actor who has the power has sent my contract after specific time, the motherf****** film reverts back to me. It's not the first time this f****** hatred on a brother doing this. Oh, now that's the crime. That s***'s so obvious where that critique's coming from. When people called you something, now it's a crime. But you been doing this s*** ever from the get go. Get the f*** out of here. Straight up. RK: Let me ask you about someone else. Hip-hop has been so aligned and intertwined throughout your career, and your projects, and just who you are. How do you see the state of hip-hop, and how important is someone like Kendrick? SL: Kendrick? I think he's revitalized hip-hop and that halftime show. People will be talking about that for a decade. I mean, people still asking – we're in May? People still saying, did you see the Super Bowl show? That was the beginning of February, right? Black History Month. Something like that where it's like a cultural moment it's just like, it's like a tornado. It's like just coming through. RK: You have a relationship with him? SL: I've never met him before. I'd like to. RK: You've lived a billion lives, Spike, and it feels like your exposure to all of this talent has allowed you maybe this gift to be able to pluck people from outside the world of film to be in your movies, right? You did it with Ray Allen, and in this new film, you did it with A$AP Rocky? SL: Before Ray Allen in He Got Game. Let's go to Do the Right Thing, that was Rosie Perez's first film. Lawrence [Fishburn's] first film. ASAP, he was in a film, Monster, my wife Tanya produced. It was him and [Denzel's son] John David Washington playing opposite each other. Denzel is a beast. I mean, when you see a championship fight, you want to see somebody who's going to test them. So in a movie, if you had two characters, they're like, going head to head. You got to cast somebody who's going to hold his ground with Denzel and ASAP's Harlem. So he held his ground. They go toe to toe. And that's what makes it exciting. And Denzel is so intimidating. RK: Before we wrap up, tell me about the film from the [perspective of the] excited director, Spike Lee. SL: I know I've used this word a million times in this interview, but I cannot just belittle the word blessing. What do you want to make it? A religious connotation, whatever you want to do. But when you were given gifts, it's not like these things happen every day. For Denzel to think of me to work with one of his last films, and for us to work together on [a reimagination] of the great films ever made by one of the great filmmakers, Akira Kurosawa, a Japanese filmmaker whom I got to meet. Here's the thing, I believe in the spirit. May 19, 1989, was the world premiere of Do the Right Thing. May 19, 2025, will be the world premiere of Highest 2 Lowest. May 19, 2025, will be Malcolm X's 100th birthday. May 19 is a Monday, and that's the only day Broadway is dark. May 19 is a Monday, and Denzel will be in Cannes. And this will be the first time that Denzel's been to Cannes with the film. Denzel in 1992 brought the, brought Malcolm X to us. I believe it in my heart of hearts, my brother, this is not an accident. This is not like some lucky s***. No, this s*** lined up. I can't wait to see this movie, bro. Whatever you want to call it. Kismit, pick your choice. That's not an accident. May 19, what happens if so out of nowhere, May 19, 2025, is on a Monday. The only day that Broadway is dark. The only day you won't see Denzel on stage. That was not just some happenstance s***. Hell no. Hell to the nah. RK: Do you know your place in history? SL: It's not something I've thought about. No one's ever asked me that question. In two years, I'm going to be 70. Not like I'm packing it up, I got to keep building my body of work and keep teaching and really share my knowledge and yes, wisdom, but also with the mishaps and the falls and still of my students that you got to make your motherf****** films do or die. RK: So let me ask you again, do you know your place in history? Do you understand what you've meant to so many people? What your films have meant? The walls you've kicked down? SL: You know what, I got an answer for you. Not in Boston! [laughs hysterically] RK: You are a one of one, my friend. Thank you. Thank you. I appreciate you.
