Latest news with #Joaquin
News18
3 hours ago
- Entertainment
- News18
Joaquin Phoenix Says He Isn't A 'Go On Vacation' Person: 'I Have That Fantasy…'
Joaquin Phoenix spent this summer promoting his new movie Eddington. The Joker actor said that both he and his wife Rooney Mara are not 'going on vacation' kind of people. Joaquin Phoenix is not a 'vacation" person. The Hollywood actor has confessed he rarely ever goes on holiday when he's not working and has spent this summer doing promotional work for his new movie Eddington instead of taking time off – and he admits he probably should find more time to relax. During an appearance on the This Past Weekend podcast, host Theo Von asked what he's been doing this summer and Joaquin replied: 'What did I do? When did the summer start? No nothing fun. I have this movie coming out so … I started … press in LA and London. Nothing super-exciting." Joaquin – who is married to actress Rooney Mara – went on to add: 'We're not like those kind of 'go on vacation' people … No … I mean maybe I should. Maybe that's what missing? But no it's not … I mean I have [been on vacation before] but it's not a regular thing. It's definitely not like, here's summer time, let's do that summer experience. I have that like fantasy sometimes. I see myself in slow motion jumping off a pier into a lake … But I haven't done it yet." During the interview, Joaquin was also asked about his career and if he could ever see himself stepping behind the camera to direct a movie in the future. However, Joaquin admitted directing might not be the right job for him. He explained: 'It's probably the hardest job [when making a movie] … I don't like to delegate and I'm really indecisive. Particularly under pressure … You're constantly under pressure as a director so I don't know." He continued, 'What's appealing about it, the idea [of directing], is the collaboration with all the heads of the different departments. As an actor you're collaborating with costume, hair and make-up, props and stuff and the director. But the director is like everybody and that sounds nice and appealing, but I don't know it might be a pain." Joaquin also opened up about an early experience with a director on a film – revealing he was left furious after the moviemaker called him a 'character actor". He said, 'It's kind of code for like: 'You can't really, like, you're never going to really get there [be a star], but you'll work'. And that f****** p***** me off." However, Joaquin admitted the dig actually spurred him on to work harder and make his movie dreams come true. He added, 'I ultimately appreciate it because it made me go like: 'Well, how do I find that way? Like, how do I find more?'" Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Perth Now
5 hours ago
- Entertainment
- Perth Now
Joaquin Phoenix never goes on vacation
Joaquin Phoenix is not a "vacation" person. The Hollywood actor has confessed he rarely ever goes on holiday when he's not working and has spent this summer doing promotional work for his new movie Eddington instead of taking time off - and he admits he probably should find more time to relax. During an appearance on the This Past Weekend podcast, host Theo Von asked what he's been doing this summer and Joaquin replied: "What did I do? When did the summer start? No nothing fun. I have this movie coming out so ... I started ... press in LA and London. Nothing super-exciting." Joaquin - who is married to actress Rooney Mara - went on to add: "We're not like those kind of 'go on vacation' people ... No ... I mean maybe I should "Maybe that's what missing? But no it's not ... I mean I have [been on vacation before] but it's not a regular thing. It's definitely not like, here's summer time, let's do that summer experience. "I have that like fantasy sometimes. I see myself in slow motion jumping off a pier into a lake ... But I haven't done it yet." During the interview, Joaquin was also asked about his career and if he cold ever see himself stepping behind the camera to direct a movie in the future. However, Joaquin admitted directing might not be the right job for him. He explained: "It's probably the hardest job [when making a movie] ... "I don't like to delegate and I'm really indecisive. Particularly under pressure ... You're constantly under pressure as a director so I don't know ... "What's appealing about it, the idea [of directing], is the collaboration with all the heads of the different departments. As an actor you're collaborating with costume, hair and make-up, props and stuff and the director. "But the director is like everybody and that sounds nice and appealing, but I don't know it might be a pain ... " Joaquin also opened up about an early experience with a director on a film - revealing he was left furious after the moviemaker called him a "character actor". He said: "It's kind of code for like: 'You can't really, like, you're never going to really get there [be a star], but you'll work'. And that f****** p***** me off." However, Joaquin admitted the dig actually spurred him on to work harder and make his movie dreams come true. He added: "I ultimately appreciate it because it made me go like: 'Well, how do I find that way? Like, how do I find more?'"
Buzz Feed
17-07-2025
- Entertainment
- Buzz Feed
Joaquin Phoenix Apologizes For Letterman Interview
Joaquin Phoenix apologized for his 2009 Late Show with Dave Letterman interview, because why not. In yonder late '00s, Joaquin appeared on the talk show to talk about his 2008 movie Two Lovers and his purported pivot from acting to rap. Seemingly confused, he mumbled his way through the interview, leading some to conclude that he'd had some kind of mental breakdown. Some noted at the time that Joaquin's older brother, River, had died from a drug overdose. After a string of similarly confounding appearances, it was finally revealed that Joaquin was actually in character for the 2010 mockumentary I'm Still Here. "You've interviewed many, many people and I assumed that you would know the difference between a character and a real person," he told Letterman the following year. "I apologize. I hope I didn't offend you in any way." Anyway, last night, Joaquin returned to The Late Show for the first time since the whole debacle — and it didn't take long for Stephen Colbert to bring up the incident. When Stephen asked how long Jaoquin stayed "in character," he replied, "We shot for over a year. I did not anticipate as part of the promotion for a film that I had made, I was coming on this show. And so I was stuck." As for whether people would ever get "mad" or "misunderstand" the bit, Joaquin replied, "That was part of it. I mean, that was the intention. That's what we wanted. When I came on the show with Dave, I originally did the pre-interview in character, and I realized that it was a little silly. So, I called them back and I said, 'Listen, this is what I'm doing. I'm telling you, I'm coming out here and I'm doing this whole thing, and I just want Dave to lacerate me.'" "I just wanted to be really dangerous," he continued. "That was the intention, right? We just always wanted to get this reaction and see how I would respond to that. So, it was beneficial for no one to know, except when needed. It was horrible. It was so uncomfortable. I regret it. I'll never do it again. I'm so was a success, and it was also just one of the worst nights of my life." You can watch the full interview with Joaquin here.
Yahoo
15-07-2025
- Entertainment
- Yahoo
Kelly Ripa Talks Nepo Baby Conversation, Says There's 'Comfort in Knowing' Her Kids Are Graduating Without 'Mountain of Debt'
Kelly Ripa is offering her take on the nepo baby conversation as it relates to her own children On an episode of the Not Skinny But Not Fat podcast, the talk show host shared that she finds "comfort in knowing" her children were able to graduate college without a "mountain of debt" The actress and podcast host is a mother to Joaquin, 22, Lola, 24, and Michael, 28Kelly Ripa is explaining why her now-adult children being nepo babies is not necessarily a bad thing. On an episode of the Not Skinny But Not Fat podcast released Tuesday, July 15, the Live with Kelly and Mark host, 54, responded to the topic of nepo babies by revealing that her children graduating without student loan debt is one result of her and husband Mark Consuelos' wealth that she finds "comfort" in. "I think my kids feel, like, very fortunate in general," she said of Joaquin, 22, Lola, 24, and Michael, 28, noting that "they don't have student loans." Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. Ripa also shared how her children feel knowing they don't have to carry that weight. "There's, like, a comfort in knowing my kids got to graduate knowing that they weren't having to climb out of a mountain of debt," she told host Amanda Hirsch. "They are so appreciative and so grateful." Although the All My Children alum and the Riverdale star are willing to give their children everything, Ripa explained that they kept their kids lives "really normal" as they were growing up. "I also think we kept their worlds really normal when they were young," she said. "They always, from the earliest ages they could, had part time jobs, always. And ... in their friend circle, they were like the only ones to have jobs." Elsewhere on the podcast, Ripa opened up about how the loyal viewers of her talk show are like extended family members, especially when it comes to her three children. "Our children are fully aware. They'll meet people on the street that will come up to them and say, 'I watched you grow up. It is such a pleasure to see you as an adult,' " Ripa said. She explained, "When my kids were little, they had the opportunity to come on and do, like, little segments ... and people got a glimpse into their lives. And then they grew up, and they move on, and they move out, and they move out of the country in some cases, and and people don't get to regularly check in with them." is now available in the Apple App Store! Download it now for the most binge-worthy celeb content, exclusive video clips, astrology updates and more! "And so I feel like, once in a while, it's important to sort of let people in because I feel like they had a group experience. My kids had a group childhood. It was like they had lots of aunties, lots of uncles, lots of grandparents," Ripa continued. The talk show host went on to say that her kids didn't just have their parents and siblings as their village. Instead, they have people all across America and in Canada "raising them in some way." "It wasn't just our parents and our siblings They had, like, America and Canada raising them in some way," Ripa said. "And so and [the viewers] really looked out for them and rooted for them, and they are fully aware of that." Read the original article on People
Time Magazine
10-07-2025
- Entertainment
- Time Magazine
Why Is Reality TV Obsessed With Going 'Back to the Frontier?'
'I'm living history right now,' Stacey Loper proclaims in the premiere episode of Magnolia Network's Back to the Frontier. That's not to say she's thrilled about it. A career woman who cherishes the comforts of her 4.5-bathroom home, Stacey has already teared up several times during her first day on a 1880s-style homestead, over such indignities as having to use a decrepit outhouse and feed her family cold canned ham. The assumption underlying this reality series, which transports three families to swaths of farmland near the Rocky Mountains for a summer-long simulation of life on the American frontier, is that such suffering builds character. Does it, though? Executive produced by Magnolia co-owners and lifestyle gurus Chip and Joanna Gaines, Back to the Frontier (which airs on Thursdays will also stream on HBO Max) is the latest in a long line of historical-living challenges that date back to the Y2K-era reality boom. The series bears a particular resemblance to 2002's Frontier House, a quasi-educational program that marked PBS's if-you-can't-beat-'em-join-'em foray into the genre. But whether it's the gamified, mid-aughts MTV's The '70s House or one of the BBC's many hyperspecific period throwbacks (Edwardian Farm! Victorian Farm! Victorian Pharmacy!), the implication always seems to be that it's inherently noble, enriching, and authentic to adopt the ways of our ancestors. It's as though 'real life' ended with the advent of refrigeration or indoor plumbing or, well, TV. Magnolia's version isn't the most persuasive of these shows. Even if it were, though, I'm not sure I would buy the fundamentally conservative message it's selling. To its credit, and although it could easily have chosen to pander to the reactionary tradwife crowd that embraces all things rural and homespun, Back to the Frontier resists going fully retrograde. The show's casting is, in many ways, diverse. The Lopers are a multigenerational Black family; Stacey and her husband Joaquin have two boys, ages 12 and 14, and are joined on this adventure by Joaquin's mom, Shirley. (Contrary to the nagging-mother-in-law trope, Shirley, who spent much of her life on a farm, seems sweet, and Stacey is grateful for her help.) Like Stacey, Hall family matriarch Lina runs a business. She and her husband, Jereme, have two teenage girls and an 11-year-old boy. The sisters are shocked to discover they have to share a bed with their squirmy kid brother. Rounding out the cast is a two-dad crew: Jason Hanna, Joe Riggs, and their twin 10-year-old sons. Hardcore tech enthusiasts, the Hanna-Riggs men are soon in withdrawal from their video games, smartwatches, and robot vacuums. As different as they are, these families have a few things in common. They're all, for some or perhaps no reason, from the South. They also all appear to be middle- or upper-middle class; while Stacey calls the Lopers' lifestyle 'lavish' and the Hanna-Riggs are homesick for their housekeeper, there's footage of the Halls splashing around in a lushly landscaped private pool. In the three episodes I was able to screen, each family comes across as close and caring. Magnolia did not, it seems, cast the show to maximize intra-household drama. Most of the parents have trouble getting their kids to work hard on the farm, but beyond that, the only real friction that emerges early in the season is between stubbornly independent Jereme and the more community-minded Lopers. (The harmony-loving Hall daughters are mortified by their dad's prickliness, which culminates in a ridiculous bidding war at a mock livestock auction.) As artificial as its setup might have been, Frontier House packed in lots of information about rarely discussed aspects of pioneer life. Participants—and, by extension, viewers—got genuinely illuminating crash courses in, for instance, 19th century contraception and how frontier women handled menstruation. Back to the Frontier has a few experts, historian Dr. Jacob K. Friefeld and 'modern homestead' influencer Melissa K. Norris, on hand to dispense occasional tidbits of relevant info. But, to its detriment, the show isn't as frank or curious as its predecessor. When you consider how much mileage it gets out of cast members' disgust at human and animal waste, its avoidance of reproductive-health issues in particular suggests a post-Roe squeamishness about birth control and women's bodies. Magnolia may not be openly courting the trad contingent, but it's certainly taken measures to avoid alienating that audience. Back to the Frontier comes alive in the moments when pioneer problems are met with contemporary flexibility and open-mindedness. While the moms of the cohort often fret about women's limited autonomy in the era, we observe Jason and Joe constantly negotiating, based on skillsets rather than prescribed roles, which of them will take on each traditionally gendered task. More often, though, the focus is on reenacting the past as faithfully as possible. We're frequently reminded, sometimes by folksy-voiced narrator William Hope, that children as young as the Hanna-Riggs boys would do farm chores from sunrise to sunset; that men bore the burden of construction, agriculture, and defense; that a mother who hadn't cooked a delicious meal on her finicky cast-iron stove by the time everyone returned from the fields was a failure. Each new challenge is framed as a test of whether the participants could hack it in what we're supposed to believe is a harder but somehow truer, more rewarding, and—in an assumption about the division of labor that veers disconcertingly close to essentialism—more natural world. It's easy for a show to make this sort of case when, like Back to the Frontier and many of its antecedents, it is transporting cast members not just back in time, but also several rungs down the economic ladder. Class-wise, the 1880s equivalents of the Halls, the Lopers, and the Hanna-Riggs would have been merchants or professionals or, at the very least, yeoman farmers, who owned land and employed laborers and maybe servants. They would not have needed to make the arduous journey west to claim the 160 acres of land guaranteed to them (if they proved they could cultivate it) by the Homestead Act of 1862. Their homes would not have been drafty, one-room shacks. They might even have enjoyed indoor plumbing. It makes you suspect the pioneers' lawyer or shopkeeper contemporaries would have been just as frustrated on the homestead as these present-day families. To look at the situation from a different angle, a person struggling to pay bills in a 21st century United States plagued by soaring prices, stagnant wages, and a death of manufacturing jobs might rejoice at the chance to become a subsistence farmer on land they would eventually own. Which is to say that, while it's always easier to be rich than poor, I'm not convinced that people in the past had inherently tougher—and thus more virtuous—lives than people in the present. Problems change over time. New technology is a curse as often as it's a blessing. Since the 19th century, progress has brought us cures for once-fatal diseases; it has also facilitated new pandemics. Workers have faced a litany of 'labor-saving' innovations that threaten their livelihoods. Teens on the homestead might've harvested corn and mucked out chicken coops, but they didn't lose sleep over the threat of climate apocalypse in their lifetimes. By papering over class divisions and presenting modern life as a breeze, historical reality shows create the illusion of a purer, more honest past, as though it's performing old-fashioned physical labor and traditional gender roles that makes us better people. Watching Back to the Frontier, it occurred to me that the specific tasks these dads, moms, and children were charged with completing, by virtue of their age or sex, were kind of immaterial. What mattered was how much they were required to stretch themselves, as individuals and as families, in order to do them. Because what really builds character is the expanded perspective that comes from inhabiting real (or real-enough) experiences that differ greatly from our own. Plunk down Little House on the Prairie's Ingalls family in New York City ca. 2025 with a studio apartment, an iPhone, and less than $1000 in the bank, and the transformation you'd observe might be just as inspiring.
