Latest news with #TheThomasCrownAffair
Yahoo
2 days ago
- General
- Yahoo
Opinion - Leland Vittert's War Notes: Fighting = Winning
NewsNation Chief Washington Anchor and On Balance host Leland Vittert was a foreign correspondent for four years in Jerusalem. He gives you an early look at tonight's 9 pm ET show. Subscribe to War Notes here. Ozarks manhunt: The search for the former police chief turned convicted murderer turned prison escapee sounds like something out of a movie — except movie plots have to be believable. The former cop walked out of jail in a guard uniform Now, he's on the run in the rugged mountains of southern Missouri and northwest Arkansas What a story — it's summer, the brush is thick, and the weather's warm. We need Tommy Lee Jones, aka Deputy U.S. Marshal Samuel Gerard in 'The Fugitive.' Watch tonight: Survivalist Dave Canterbury joins us with why the former chief has the upper hand — and how the longer he stays out of jail, the better chance he has. Exclusive: The rest of the world forgot about East Palestine. To be fair: The rest of the world never really cared, but NewsNation did. And we are back — Rich McHugh is on the ground and tonight comes to us with new and exclusive reporting about how the victims still don't have the help they were promised. In the end, Elon Musk chose not to fight. At some point, he left the stage. Officially, he left yesterday, but he faded away from the political field of battle like the proverbial old soldier. I say 'at some point' because I can't remember exactly. It proves he was just the latest bit player in 'The Trump Show' — Trump's words, not mine. I am on a movie kick today — aside from 'The Fugitive' (see above), Rachel and I watched 'The Thomas Crown Affair' last weekend. 'Regret is usually a waste of time,' Crown told a business rival. But boy, would I love to ask Elon Musk, 'Was it worth it? Any regrets?' The world's richest man and business disruptor of our time thought he could change Washington. Washington didn't change him; it spit him out. He didn't fight; he just left. Last night, as news broke that a trade court overturned Trump's tariffs (who knew there even is a trade court?), the Washington and New York establishment rejoiced over a HUGE victory against Trump. In real time, Chris Cillizza and I told you it wouldn't matter. If Trump won an appeal on the right to unilaterally tariff, he wins. For the record, he won at the appeals court today. If Trump loses at the Supreme Court, he still wins because he can call himself a victim fighting against the swamp If Trump uses the court decision as a way out from most of his tariffs, he wins Rule No. 1 of Trump: He always wins. He sets the game up that way. Trump wins when he is fighting — remember what he said after getting shot? The swamp beat Trump in his first term; in his second term, he just won't stop fighting. To be fair: Trump learned he didn't have a choice. He realized early in 2021 he either fought or went to jail. It was and is about survival. 📖 He wrote about this in 'Art of the Comeback' nearly 30 years ago. Musk is the world's richest man. He didn't need to fight, and maybe that is his regret. But boy, it's still interesting Musk is gone but not really out. Stephen Miller's wife is going to work for Musk full-time now. Was it worth it for Musk? To be fair, he tried and then learned all the Republican promises to change Washington are just empty talk. Regrets are usually a waste of time, and Trump seems to understand that. He knows he's winning when he is fighting. Tune into 'On Balance with Leland Vittert' weeknights at 9/8 CT on NewsNation. Find your channel here. The views expressed in this article are those of the author and not necessarily of NewsNation. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Forbes
4 days ago
- Entertainment
- Forbes
Hollywood Cool For Summer—Steve McQueen's Iconic Persol 714 Is Back
The actor Steve McQueen — the King of Cool - in a pair of Italian brand Persol's iconic 714 sunglasses. Persol- Mptvimages In 1968, Hollywood actor Steve McQueen stepped onto the set of The Thomas Crown Affair and, with a single accessory, changed the course of eyewear history — a pair of Persol 714 sunglasses. With their foldable design, Light Havana acetate frames, and blue crystal lenses, the glasses weren't just stylish — they became instantly iconic. Founded in 1917 by Giuseppe Ratti in Turin, Italy, Persol — short for per il sole, meaning 'for the sun' — quickly became a respected name across Europe, particularly among aviators, race car drivers, and adventurers. The brand's iconic 649 model , originally introduced in 1957 for Turin tram operators, gained cult status when Marcello Mastroianni wore it in the 1961 film Divorce Italian Style. Building on the 649's success, Persol debuted the 714 in 1960 — the world's first folding sunglasses. Retaining the signature Meflecto temples (engineered for a flexible, comfortable fit) and the distinctive Supreme Arrow hinge (inspired by ancient swords), the 714 could collapse into the size of a single lens, and making it a favorite among style-conscious travelers. The latest iteration of Persol's 714: A leather foldable case, a leather cord with matching pouch and a vintage-style envelope filled with rare archival materials. Persol And then came McQueen. In The Thomas Crown Affair, he played a billionaire playboy orchestrating a daring heist — but it was his Persol 714 sunglasses that stole every scene. Whether racing dune buggies along the Massachusetts coast, piloting a yellow sailplane, or sharing a silent chess match with Faye Dunaway, his shades were always front and center. McQueen wore the 714s in Bullitt (1968), famous for its iconic car chase, Le Mans (1971), a tribute to the 24-hour motor race, and The Getaway (1972), a high-stakes crime thriller. Actor James Franco at the Cannes Film Festival in Steve McQueen's 714 model of Persols. Persol This spring, Persol released its latest edition of the 714 Steve McQueen model — unveiled at the Cannes Film Festival at Casa Persol, the brand's private terrace at La Terrasse by Albane at the JW Marriott. Staying true to its heritage, this special edition features a folding premium acetate pilot frame, Barberini mineral glass lenses, and four bold colorways. A discreet plaque inside the temple bears the year '1968,' honoring McQueen's role in The Thomas Crown Affair. The latest edition preserves Persol's signature elements: a folding pilot frame crafted in premium acetate, Barberini mineral glass lenses, four colorways, and on the inner temple of the limited editions, a discreet plaque bearing the year '1968.' Persol The new minamalist collector's box contains a foldable leather case and a matching leather cord with its own pouch—embossed with the Steve McQueen logo, alongside a vintage-style envelope filled with rare archival treasures honoring the actor's legacy. Over the decades, Persol has graced the faces of cinema royalty including Greta Garbo, Daniel Craig (Casino Royale), George Clooney (Ocean's Thirteen), and Tom Cruise. These days, new-generation icons like James Franco and Australian actor Jacob Elordi — a self-declared McQueen fan — show Persol's staying power. Some accessories fade. Some stay in fashion.
Deccan Herald
16-05-2025
- Entertainment
- Deccan Herald
Happy Birthday Pierce Brosnan: 5 Movies you need to see beyond 007
Mamma Mia! (2008) and Mamma Mia! Here We Go Again (2018).Black Adam (2022).The Thomas Crown Affair (1999).The Matador (2005).The November Man (2014)
New Indian Express
27-04-2025
- Entertainment
- New Indian Express
Michael B Jordan's Thomas Crown Affair locks 2027 release date
Michael B Jordan's upcoming reimagining of The Thomas Crown Affair , the 1968 Steve McQueen-Faye Dunaway-starrer, will be released in theatres on March 5, 2027 by Amazon MGM Studios. The news arrives as Jordan enjoys a box office success with his recently-released original period vampire film Sinners , directed by Ryan Coogler. Thomas Crown Affair is Jordan's second directorial after Creed III . The upcoming film, which follows the original film directed by Norman Jewison, also has Taylor Russell in a prominent role alongside Jordan. The film is based on a Drew Pearce screenplay after previous iterations by Wes Tooke and Justin Britt-Gibson. Marc Toberoff and Patrick McCormick are producers on the film along with Jordan who bankrolls it through his banner Outlier Society and Elizabeth Raposo. Alan Trustman, who wrote the 1968 film serves as the executive producer. This is not the first time The Thomas Crown Affair is being remade. John McTiernan directed the 1999 remake starring Pierce Brosnan, Rene Russo, and Denis Leary. The original film revolved around Vicki Anderson (Dunaway) is hired to investigate the culprits of a multi-million dollar bank heist, orchestrated by Thomas Crown (McQueen). The film earned two Oscar nominations and won The Best Original Song award for ' The Windmills of Your Mind '.
Los Angeles Times
27-04-2025
- Entertainment
- Los Angeles Times
Pierce Brosnan, a bad guy? In ‘MobLand,' he finds joy in playing a brute
Playing a gangster suits Pierce Brosnan. The actor, 71, is often best remembered for heroic characters like James Bond, but ruthless crime boss Conrad Harrigan on 'MobLand' is quickly becoming a fan-favorite role. The series, created by Ronan Bennett and written with Jez Butterworth, follows Conrad and his fixer Harry Da Souza (Tom Hardy) as the Harrigan family becomes embroiled in a violent feud with the rival Stevensons. The first two episodes were directed by Guy Ritchie, who set the irreverent, fast-paced tone for the series. 'I read the first five episodes and just enjoyed it,' Brosnan says, speaking over Zoom from his home in Malibu. 'I basically said, 'I'm in.' It was that easy.' In the most recent episode, the clans form a temporary détente at the funeral of Tommy Stevenson (Felix Edwards), with Conrad's devious wife Maeve (Helen Mirren) scheming to draw blood behind his back. Brosnan describes the tense scenes at the wake as 'beautifully done,' both in the writing and the staging. 'The whole piece has a theatricality — it was like doing a play,' he says. 'Helen made the choice of channeling Lady Macbeth, which was very appropriate. It has those Shakespearean undertones. But we had no idea where it was really going because the scripts were coming in at the 11th hour.' Brosnan is already anticipating a second season of 'MobLand' (it has yet to be greenlit) and finds it miraculous that he's been given such a memorable part this late in his career. 'It's been remarkable to see the impact it's had on the audience,' he says. 'People know me as James Bond and that will never go away, which is fine. But now it's 'MobLand.' A long time ago, Sydney Pollack greeted me after a screening of 'The Thomas Crown Affair.' He said, 'Congratulations. Enjoy it. They don't come around that often.' I've had a career and I've always managed to work and to enjoy the work. But every now and then you get a gift of gold dust like Conrad.' Here, in a conversation edited for length and clarity, Brosnan discusses developing Conrad, returning to the spy genre in the Steven Soderbergh film 'Black Bag' and why acting still thrills him. What did you initially find attractive about Conrad as a character? I love gangster movies. When I read [the script,] it wasn't the Conrad we now see. But I enjoyed the writing and I enjoyed the family aspect of it, and it had meat on the bone. Then when Jez Butterworth came onboard, it transformed even into something more spectacular and it had a cohesion of characters that was very exciting. Conrad became more fleshed out when Jez began writing this outrageous character. Was he written as Irish? The Irish aspect of him happened on the day. I was going for a North London or South London accent. But on the very first day of shooting with Tom and myself, Guy said, 'Go Irish.' I called up my dialect coach, Brendan Gunn, who I've worked with many, many times. I said, 'Brendan, I've got 15 minutes. Give me a Kerry accent.' Brendan gave me a man who I based the voice on — he's from Kerry and he's a politician — and I jumped in with both feet. My own Irish accent is so diminished as an Englishman and a Californian. I wanted something that had a bite to it. I wanted something where you could take someone's head off with the words. Were you familiar with Guy Ritchie's improvisational style before this show? I'd heard about his style of working and it is very impromptu. You have to come prepared on any show. My teachers taught me you will never be directed, so you better come prepared knowing what to do and play it. Guy's style is very loose, but he knows what he wants and he gives you great freedom. He gave me great freedom in finding Conrad in that he trusted me enormously with just my finding the character. Did you know the complete arc of your character going in? No, I was flying blind. Jez and I only had one conversation, really. I never spoke with Guy about the character — he just said, 'Go Irish.' But I found it very exhilarating. It gave me freedom. And it was really fast. On that first day, it was a three-page scene outside my [character's] country home, somewhat expositional, but also with great character nuance. We rehearsed it once and we shot it maybe two or three times. That's how it started and that's how it continued. What did you discover about Conrad as you went along? There's a vulnerability to the character that I like. And there's a great sense of humor to Conrad. He's so brash and so bold and what he does is so audacious and he is quite terrifying and unhinged. He comes from a mangled life and he's very cunning and very brutish. And he knows what's going on. He knows what Maeve is doing and he loves her. She is his lifeline to some kind of sanity, but she is so damaged as well and he knows he's been manipulated by her. That's where the humor comes in for me because he doesn't show all his cards. But after 10 episodes, I'm still finding out this man. When you're playing someone who does such bad things do you still need to find a way to humanize him? That's a really hard one to define when you're playing someone this corrupt. You have to let the audience in. You have to do so in such a way that allows the audience to come in to you, to beguile them, to charm them. Then you pull out the stiletto. But that's the joy of it. You played another ambiguous character in 'Black Bag.' What appealed to you about that role? The play within the play — me being the head of the [spy] agency having been a former James Bond. The sheer delight of playing within that theatrical arena, just like when I was James Bond doing 'The Tailor of Panama,' another film in the world of espionage. But it was tough because I was already on another movie called 'Giant,' which is about the boxer Prince Naseem Hamed. I was five weeks into that movie, and I'd already said yes to Steven Soderbergh, so I had to do it. It was overwhelming because I had another week left on the boxer movie and the Soderbergh movie came in. I got on the train down from Leeds on a Friday night and went to work with Steven Soderbergh on Monday morning, straight into a seven-page scene. It was a real shot in the arm and that week went by really fast, and I went back through Leeds and I finished off my boxing movie, and then went into 'The Thursday Murder Club.' I finished that and went off to Munich for a remake of 'Cliffhanger' with Lily James and then did 'MobLand.' That's a lot. It's a lot of work, but it's good. It's exhilarating, especially when you have been on the other end, looking at a horizon which is rather flat and wondering what's going to happen next. But I've always worked. I don't like sitting around. I like to work. Once you commit to a project, you give it 100% and you honor the work no matter what. Were you ever worried that if you returned to the espionage genre, you'd start getting a lot similar roles offered to you? Oh no. That would be wonderful. I haven't turned my back on that genre of work. There's some classical piece I'd like to do. I'm not sure what shape or color that is, but something classical would be rather good to put in there at this point in the career. Do you still feel a rush of excitement when you start a new project at this point in your career? Yes. I love not knowing what's going to happen next and then materializing something. Like with 'MobLand,' it had all of the ingredients and then how do you do it? It gives you something to work on and you get away from yourself. Are you trying to get away from yourself? Not necessarily, but it is a great contentment to have a character to work on, a script under your arm or script by the bed, sleeping with a great character, trying to figure [out how to] play him. Especially when you're in the company of actors like Tom Hardy, Helen Mirren and Paddy Considine, and all the directors that we worked with. It was quite magical every day to see the work and to see the characters develop. That still excites me at 72. It still enthralls me and activates me. But there will be a time when I know enough is enough. Are you someone who always wants to take big risks in your career? 'MobLand' definitely had its own strong sense of danger and required making choices that were shooting from the hip. But every job is always the same. There's that wonderful exhilaration of being invited into a movie with a great director, great cast, great script and the euphoria of being asked to play in the company as an artist. And then the realization that you have do it. Then it becomes a very silent room of expectation within yourself: Can you do it? What form will it take? How do you feel when a project is done? I used to hold on. I now let go and I let go fast and I move on. However, with Conrad, having played him for five months and felt the resonance that it's created, it makes me excited for more. Is there anything you can tease about the rest of the season? There's a fair bit of blood. Not everyone is who they say they are. And there's a particular rat in the pack. There's quite a few surprises. All the scripts were consistent with what you've already seen. If anything, the writing gets stronger. And there's an introduction of a particular character who alters the landscape. But don't trust any of them.
