Latest news with #onActors
Perth Now
4 days ago
- Entertainment
- Perth Now
Arnie's shock at seeing TV star son's ‘weenie' on screen
He's coined iconic movie lines, put bodybuilding on the map, and proven the American dream is attainable for an immigrant — but Arnold Schwarzenegger was probably not expecting his son Patrick's career to mirror his in one embarrassing way. Appearing together on Variety's Actors on Actors series, the father and son duo spoke candidly about each other's successes, and touched on the 31-year-old's recent rise to fame following his portrayal of Saxon Ratliff on hit TV show The White Lotus. 'I'm watching your show and I'm watching your butt sticking out there, and then I see the weenie,' Arnold cheekily told his son. 'I said to myself, 'What is going on here? I mean, this is crazy'. And then I said to myself, 'Well Arnold, hello, you did the same thing in Conan and The Terminator and all these films! You were naked, so don't complain about it'.' If you'd like to view this content, please adjust your . To find out more about how we use cookies, please see our Cookie Guide. The scene in question takes place in episode one of Season 3, which follows Patrick's character as he saunters naked to the bathroom to watch pornography, with his brother Lochlan — played by Sam Nivola — left with an eyeful of Patrick's bare behind. The focus remains on Patrick, with viewers copping a largely unimpeded view of his genitals in the mirror as he browses for X-rated content to relieve himself. 'It was really like a shock to me that you would follow my footsteps that closely,' the 77-year-old added. Both in hysterics, Patrick appeared a good sport while enduring his father's regrettable recollection of the episode. Arnold and Patrick Schwarzenegger speak candidly on fame and success. Credit: Patrick Schwarzenegger/IG / IG Patrick's co-star Nivola, who famously shared an incestuous sex scene with his brother in a later episode, responded in the clip's comments. 'Hahahaha,' Nivola reacted. Speaking further on the price of fame, Patrick reflected on the public's view of him as a person after the show had premiered. 'The weirdest thing and biggest learning experience for me was how much people associate you, with your character,' the star said. 'People came up to me and told me that they hated me... in the beginning, the first week.' He added, after witnessing his character's transformation from sex-obsessed 'douche' to vulnerable brother, the public response had completely flipped. 'It was a rollercoaster of emotions for me, but also, of people feeling like they knew me,' he said.
New York Post
25-04-2025
- Entertainment
- New York Post
Megyn Kelly rips ‘smug' George Clooney in 11-minute tirade after he criticizes her credentials: He ‘fancies himself a journalist'
Megyn Kelly ripped Hollywood A-lister and Democratic operative George Clooney — who famously called for President Biden to step aside — for his own 'coawardice' and 'naked partisanship' after he criticized her journalistic credentials. Kelly devoted 11-minutes of her podcast to excoriating the 'Michael Clayton' star, after he took a swipe at the former Fox News host's credentials during a sit-down with actress Patti LuPone for Variety's Actors on Actors issue. Clooney, who is currently playing CBS broadcast legend Edward R. Murrow in the Broadway adaptation of 'Good Night, and Good Luck,' told LuPone: 'I've at least been to Darfur and Sudan and the Congo and been shot at to try to get stories out,' Clooney said, adding of Kelly: 'I'm not quite sure what she's done to be a journalist.' 3 Megyn Kelly slammed George Clooney, who criticized her journalistic chops in a recent Variety article, calling out his 'naked partisanship.' YouTube/@MegynKelly Kelly shot back on the Wednesday edition of 'The Megyn Kelly Show' on SiriusXM, saying: 'He's starring in a play about Edward R. Murrow because Clooney fancies himself a journalist, you see,' she scoffed. 'And [he] has lots of thoughts on how journalists need to do journalism.' Kelly also mocked Clooney's 2024 New York Times op-ed calling for former President Biden to step aside, accusing the actor of waiting until after the political damage was done. 3 Clooney, who is playing Edward R. Murrow on Broadway, penned an op-ed in The New York Times, calling for then-President Joe Biden to step down. WireImage Kelly said: 'He does it mainly by stumbling upon the biggest story of the decade, that a sitting president is mentally infirm and ought to be 25th Amendment'ed right out of office, and then burying it, saying absolutely nothing for weeks on end, and then only after that president humiliates himself on the national stage at a presidential debate, and then refuses to step down as the entire Democrat Party watches its electoral chances up and down the ticket go swirling down the toilet.' 3 Kelly called Clooney's op-ed 'cowardice and naked parisanship,' 'not journalism.' Bruce Glikas/FilmMagic 'That's not journalism, George — it's cowardice and naked partisanship. You're not fooling anyone,' she said. Kelly also slammed the actor's pivot to Broadway: 'What's the matter, George? Are the Hollywood roles getting a little hard to come by as you age and get decidedly more smug and self-congratulatory? I'm just asking.' Before ending her tirade, Kelly turned to LuPone, mocking her as 'Broadway's biggest and oldest bully' and, in defense of her own career, the former Fox News host recounted major interviews throughout her career — from President Donald Trump to everyday Americans — as evidence of her journalistic chops.
Express Tribune
23-04-2025
- Entertainment
- Express Tribune
George Clooney recalls James Earl Jones pausing Fences over audience disruption
George Clooney recently shared a memorable and humorous moment involving the late theater legend James Earl Jones, recalling the time Jones paused a Broadway performance of Fences due to excessive audience chatter. The story surfaced during Variety's inaugural Broadway edition of 'Actors on Actors,' where Clooney spoke with Patti LuPone. The incident took place during a performance of August Wilson's Pulitzer Prize-winning play Fences, where James Earl Jones originated the role of Troy Maxson. Clooney explained he was seated next to two older audience members who were chatting throughout the show. During one of Jones' powerful soliloquies, the talking continued, prompting the veteran actor to break character and address the disruption directly. "James is just staring into the crowd, and I can tell he's looking right at me — though he couldn't quite see who was talking," Clooney recounted. "And then he goes, 'I don't appreciate that shit.' I was literally pointing at this old lady, like, 'It's not me, it's her!'' Jones' portrayal of Troy Maxson in the 1987 Broadway run earned him a Tony Award for Best Actor. The production went on to win multiple accolades, including the Pulitzer Prize for Drama. The role remains one of his most iconic stage performances. James Earl Jones passed away in September 2024 at the age of 93. A memorial held at the James Earl Jones Theatre in Manhattan earlier this month celebrated his life and career, with attendees including Denzel Washington, Phylicia Rashad, and Courtney B. Vance. Clooney's anecdote adds to the growing list of memorable celebrity encounters with live theater etiquette, echoing similar stories like LuPone's confrontation with a texting audience member during Shows for Days.
CBC
15-03-2025
- Entertainment
- CBC
Why not everyone in Hollywood loves using intimacy co-ordinators
Social Sharing Before it went home with the best picture Oscar, Anora had been courting controversy in Hollywood — not so much for having a sex worker as its title character, but because it didn't have a specialist on set to help with the racier scenes. Such "intimacy co-ordinators" have become more common on film and TV shoots since 2017's #MeToo movement and its widespread accounts of on-set harassment. They're meant, among other tasks, to prevent abuse and coercion. But despite being endorsed by producers, unions and many performers, what is perhaps Hollywood's newest profession is not its most loved. "We're our own intimacy co-ordinators," Anora director Sean Baker said in 2024, responding to the then-swirling controversy, which was largely centred on social media. Baker wasn't alone. Star Mikey Madison earlier told Variety 's Actors on Actors she and others on set requested to work without one. "We decided it would be best to keep it small... to streamline it, shoot it really quickly," she said. WATCH | What Anora's triumph means for sex work: Anora's Oscar wins a positive sign for sex workers' rights, organization says 11 days ago Duration 8:47 Independent film Anora, whose producer is from Vancouver, racked up five wins at the Academy Awards on Sunday. Crystal Laderas from sex worker advocacy group SWAN Vancouver says the director of Anora's call for the decriminalization of sex work is a positive sign for workers in precarious situations. Her reasons echo other concerns voiced by actors, even as the role becomes an established aspect of Hollywood filmmaking. The job also involves co-ordination with actors, costumers, special effects and crew regarding how much skin will be shown. Intimacy co-ordinators discuss, identify and comfort those on set potentially triggered by displays of traumatic sexual activity. They discuss and confirm who touches what — and what remains off-limits — between performers, making sure everyone is prepared and on-board with the director's vision. "The way I describe it, is often in parallel to a stunt co-ordinator," said intimacy co-ordinator Jessica Steinrock. Both make it look like something powerfully physical is happening, "like a fist is coming into contact with someone's face." Likewise for an intimacy co-ordinator, she said. "Those titles are paralleled for this reason." Some producers, like HBO, require intimacy co-ordinators for all productions with intimate or sexual scenes, while Netflix made them part of its series Bridgerton and The Witcher. In SAG-AFTRA's standards and protocols, the acting union states it "believes" intimacy co-ordinators should be used in scenes involving nudity or simulated sex, or when actors request one. In its most recent contract, the union stated producers must put in their "best efforts" to work with one, and "consider in good faith" actors' requests to have an intimacy co-ordinator. And many performers who have worked with them have come to think of intimacy co-ordinators as vital to their craft — allowing them to express intimate feelings without being affected by potentially associated trauma. "The feeling that we're trying to give in a real way without feeling, you know, invaded upon," said actor L.A. Sweeney. She has worked with intimacy co-ordinators since 2022, when she appeared in ABC's Last Resort. There, and since, she says, co-ordinators were vital to protect a potentially difficult process of expressing intimacy in front of a camera. "Because it's not about harming ourselves. It's just about doing the story justice in whatever breadth that we can," she said. Still, the position isn't mandatory industry-wide — and has its critics. Pros and cons Hereditary 's Toni Collette has said intimacy co-ordinators make her anxious as they interrupt the trust she builds with her cast and crew, and has asked them to leave set in the past. Sean Bean (Game of Thrones) said they "spoil the spontaneity" of sex scenes, and Michael Douglas said intimacy co-ordinators are an unnecessary barrier between actors and directors that "take control away from filmmakers." But some some professionals say the decision of whether to use an intimacy co-ordinator should rest with more people. Speaking to Variety, a handful of intimacy co-ordinators said that misses concerns that others on the set may hold. They said background actors and crew members should also be taken into consideration. "These actors felt comfortable with their director — that's great," intimacy co-ordinator Kiele DeLeon told the trade magazine, referring to the stars of Anora. "But I think we leave out a lot of other people when we focus on the people who have the most power." Steinrock echoes that sentiment. She says intimacy co-ordinators should be as baked into the fabric of filmmaking and actor protection as stunt co-ordination is — a position that SAG-AFTRA mandates for films with hazardous stunts. By now, stunt co-ordination is "deeply ingrained" in the industry because people "recognize the real safety benefits," she says. And if an actor doesn't like working with a particular stunt person, they suggest getting a better one — not that the job shouldn't exist. From a director's standpoint, the issue can be nuanced. Canadian filmmaker Sook-Yin Lee has been working in the industry for years and her films (Shortbus, Year of the Carnivore and more) often deal with sexually charged content. But her most recent movie — Paying For It, about a man who employs sex workers — was her first to employ intimacy co-ordinators. Though they are still new, she says they've quickly become vital for her. "The way I see it is, they're part of the team," she said. "They're as important as the boom op, as the cinematographer — as any of the key people on set." That said, given the option, she wouldn't have wanted an intimacy co-ordinator in her earlier work. "I can stand by all of the work that I've done, and I can stand by the good camaraderie and goodwill on set," she said. The small sets and interpersonal connection governed how intimacy was depicted and choreographed, and she can't imagine "retroactively imagine plunking" in "another professional." Her outlook has and will continue to change, she says. But the industry's adoption of intimacy co-ordinators isn't so simple.
