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Tag: Robert Downey Jr.

  • Sterling K. Brown Predicts He’ll Lose the Oscar to Robert Downey Jr.: “He’s Incredibly Deserving”

    Sterling K. Brown Predicts He’ll Lose the Oscar to Robert Downey Jr.: “He’s Incredibly Deserving”

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    Sterling K. Brown said he isn’t expecting to take home an Oscar this year, but he’s “totally fine” with it.

    The actor, who is up for best supporting actor for his role in American Fiction, recently joked during an appearance on The Graham Norton Show, “There’s no losing yet — it’ll happen in its own due time.”

    Brown proceeded to say that “Colman [Domingo] will probably win,” adding, “I know that I’m not going to win.” Domingo was also a guest on the BBC show, as well as scored a best leading actor Oscar nomination for Rustin.

    Though Graham Norton and the other guests pushed back, telling Brown that he still has a good chance at winning, the This Is Us actor admitted he’s “totally fine” if he doesn’t take home the trophy.

    Robert Downey Jr. is going to win, and he’s incredibly deserving,” Brown said of the Oppenheimer star and his fellow nominee. “He’s an incredible actor. You should give him love. And the fact that I get a chance to be nominated along with him and Mr. [Robert] De Niro and Ryan Gosling and [Mark] Ruffalo, I’m just happy to be in the room.”

    Norton went on to tease Brown on his perspective should he end up winning the Academy Award. “On the night, this will all be very humble,” the host quipped. “’I can’t believe I won!’”

    Brown told The Hollywood Reporter last month that he thought the Cord Jefferson-directed movie, adapted from Percival Everett’s 2001 novel Erasure, “was one of the best scripts I’d ever read.”

    “It was able to make fun of an industry and also challenge it to say there are ways in which you could be better,” he said of American Fiction. “You are narrow in terms of Black life that you are willing to portray for mass consumption. I’m going to tell you that, and at the same time, I’m going to give you an idea of other stories that would be viable for mass consumption.”

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    Carly Thomas

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  • Oscars 2024 Nominations: Documentary To Kill a Tiger on violence against women in India gets a nod at the Academy

    Oscars 2024 Nominations: Documentary To Kill a Tiger on violence against women in India gets a nod at the Academy

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    To Kill a Tiger, a riveting Canadian documentary crafted by Nisha Pahuja, has made its majestic roar at the Oscars by securing a nomination in the Best Documentary Feature Film category of the 96th Academy Awards. With the backdrop set in Jharkhand, India, this sobering story revolves around a family relentlessly seeking justice for their 13-year-old daughter, a victim of a brutal rape crime by three men. The cinematic narration delves deep into the societal and legal obstacles faced by the affected family, shining a spotlight on the culturally embedded issues that turn a blind eye to violence against women. Also Read – Oscars 2024 Nominees: Bradley Cooper, Emma Stone and others nominated; Barbie, Oppenheimer dominate the list

    BollywoodLife brings to you all the latest entertainment news updates. Join us on WhatsApp. Also Read – Oscars 2024: Leonardo DiCaprio out of the race for Best Actor for Killers Of The Flower Moon? Fans pin hope on his next big project

    To Kill a Tiger won hearts

    The documentary first aired its social dilemma to the audience at the Toronto International Film Festival on September 10, 2022, cinching the title of Best Canadian Film. It further racked up laurels such as the Inspiring Voices and Perspectives award at the Cinéfest Sudbury International Film Festival and two Canadian Screen Awards for Best Feature Length Documentary and Best Editing in a Documentary. Praise for To Kill a Tiger echoed from critics at Stir, CityNews, and Northern Stars, while comedian and producer Mindy Kaling hailed it as a “triumph” to be witnessed by all. Also Read – Dunki at Oscars 2024: Shah Rukh Khan, Rajkumar Hirani planning to submit the film for main categories?

    Amongst the group of 15 movies that progressed in the Documentary Feature Film category out of the eligible 167 films at the Oscars, To Kill a Tiger marks its presence. Joining the list are other engaging narratives like American Symphony, Apolonia, Beyond Utopia, Bobi Wine: The People’s President, Desperate Souls, Dark City and the Legend of Midnight Cowboy, and more remarkable documentaries.

    About Oscars 2024

    The Oscars 2024 red carpet will unroll on Sunday, March 10, 2024, at the Dolby Theatre in Hollywood, Los Angeles, California as the 96th Academy Awards unfurls. Telecasted live on ABC and universally across 200+ territories, the event will have comedian Jimmy Kimmel as the host for the fourth time. The production chair occupied by Raj Kapoor and Katy Mullan and directorial reins held by Hamish Hamilton. As actors Zazie Beetz and Jack Quaid reveal the nominees in various categories such as Best Picture and Best Actress on January 23, 2024, “To Kill A Tiger” is set to compete with awaited cinema pieces like Killers of the Flower Moon, and Barbie.

    The societal mirror that To Kill a Tiger is, highlights the deep-seated issue of sexual violence against women, prevalent not just in India but globally. Beyond being a mere film, it’s a call for change and a manifesto challenging the rampant social evil. Lauded, celebrated, and a potential history-maker at the Oscars; To Kill a Tiger is indeed a movie with a mission.

    Stay tuned to BollywoodLife for the latest scoops and updates from Bollywood, Hollywood, South, TV and Web-Series.
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  • The 2024 Golden Globes Does What It Can to Keep Itself on the Train Track

    The 2024 Golden Globes Does What It Can to Keep Itself on the Train Track

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    The Golden Globes is no stranger to being riddled with scandal. Even in the 1950s, when it was still a relatively germinal organization (with the first edition airing in 1944), the awards ceremony was “renowned” for taking what amounted to bribes and payoffs via various “gift-giving” endeavors from studios, production companies and individual stars themselves. By the 60s, the Golden Globes were exposed for determining their winners based on advertiser influence, and that, furthermore, the Hollywood Foreign Press Association (HFPA) put pressure on nominees to attend the ceremony, lest they lose their win to another nominee who actually did attend. The entire thing was such a shitshow—such a complete and blatant display of nepotism and abuse of power—that the ceremony was actually banned from being aired on television between 1969 and 1974. 

    Scarcely back on the air for a full ten years after returning post-1974, the next major scandal was Pia Zadora’s “miraculous” win for “New Star of the Year” (another made-up award in the vein of Cinematic and Box Office Achievement) thanks to her performance in Butterfly, a movie that was both unanimously panned and had not even been released yet at the time the awards ceremony aired. Not so hushed whisperings about how Zadora’s husband, Turkish-Israeli financier Meshulam Riklis, bought her the award led to a further degradation in the Golden Globes’ credibility. Yet this has never stopped the show from enduring. In fact, from being second only to the Academy Awards in terms of prestige and well-knownness to the layperson outside of Hollywood. Yet, as Scarlett Johansson once called out, the show was merely used as a tool by the likes of Harvey Weinstein to curry Oscar favor. Hence, the flagrancy of bribery. 

    Some cynics would even argue that it surely can’t be a coincidence that the only time Madonna was ever recognized for her acting ability was thanks to the Golden Globes, as she won the award (in 1997) for Best Actress in a Motion Picture – Musical or Comedy for Evita. The HFPA had a less speculative case of being paid off for the 2011 Golden Globes, when both Burlesque and The Tourist managed to secure nominations in the Best Motion Picture – Musical or Comedy category. This despite Burlesque being a critical laughingstock (though, yes, it is lauded by those who appreciate camp) and the fact that The Tourist was a spy/action-adventure movie. Needless to say, HFPA members were cajoled into nominating these films thanks to getting “flewed out” to Las Vegas to see a Cher concert and a little personal lobbying from Angelina Jolie herself re: The Tourist

    At the end of 2020, amid then-fervent cries about changing Hollywood’s openly discriminatory practices as a result of the overall anti-racist spark ignited by George Floyd’s murder in May of that year, the Golden Globes were once again put on blast for a lack of Black members and generally arcane membership “policies.” So it was that, yet again, the awards ceremony was barred from being aired on television in 2022, with Tom Cruise going so far as to return the Golden Globes he won as a show of “solidarity” the year before. By 2023, the organization had been (theoretically) totally revamped, sold off to Eldridge Industries (also known for buying Dick Clark Productions) and repackaged as a for-profit entity with a larger and more “diverse” membership working behind the scenes to nominate people and the films they’re part of. Not only that, but as Robert Downey Jr. pointed out during his acceptance speech this year, the organization changed its name, doing away with the HFPA altogether. It also transitioned to a new network, swapping NBC out in favor of CBS, billed as the “less fun” of the Big Three broadcast networks (NBC, ABC and CBS). And, indeed, it didn’t seem like much fun for anyone when the last-minute host, Jo Koy (relatively unknown up until this moment), took the stage to deliver a monologue that induced cricket-chirping silence (though Taylor Swift really didn’t need to be so uppity about the harmless “difference between the NFL and Golden Globes” joke that Koy made). 

    Luckily, things picked up slightly as the evening wore on, and viral moments of levity were provided, including Jennifer Lawrence mouthing, “If I don’t win, I’m leaving” and what felt like two minutes of watching Timothée Chalamet (who, mercifully, did not win for Best Actor in Wonka) and Kylie Jenner “canoodling” and saying shit to the effect of, “No, I love you more.” It was pretty nasty (and not nearly as noteworthy as Ali Wong’s show of PDA with Bill Hader), but obviously the stuff of viral and meme gold. Even that “bit” between Kristen Wiig and Will Ferrell presenting the award for Best Actor in a Motion Picture – Musical or Comedy proved to, for whatever reason, endlessly charm audiences. Which proves that the Golden Globes isn’t quite yet the stodgy, irrelevant entity that people would like to make most long-running institutions out to be.

    That said, the presence of Taylor Swift and Billie Eilish (who also won the award for Best Original Song for “What Was I Made For?”) alone served as enough proof that the ceremony has carried on to subsequent generations. Even if only the most blanca and monoculture-oriented. But that didn’t stop the voters from doing their best to promote “inclusivity” in the lone manner they could: by giving the award for Best Actress in a Motion Picture – Drama to Lily Gladstone for her performance as Mollie Burkhart in Killers of the Flower Moon. Even if there were many Native Americans who weren’t quite as moved by the film as some of the white viewers who watched it (a phenomenon that also seemed to occur with 2016’s Moonlight). In truth, Gladstone’s capitulation to the proverbial white male as the teller of an Osage story can be viewed as at Native American version of the Uncle Tom trope. And yet, how else is a girl (or boy) supposed to get representation in mainstream Hollywood without “cozying up” a bit?

    This seemed to be the underlying theme of the night, with audience silence resounding well beyond the Jo Koy monologue in terms of nary a celebrity making any political statement. That’s right: for arguably the first time in history, celebrities at an awards ceremony were not feeling political. Almost as though to do so would be “too much” amid the tinderbox climate (figuratively and literally) of now. Particularly with regard to mentioning anything about Israel and Palestine. Which proves, once again, that Hollywood hypocrisy is alive and well no matter how much its awards ceremonies feign “evolution.” For how can an awards show really evolve if the industry itself hasn’t?

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    Genna Rivieccio

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  • Robert Downey Jr.’s Third Act: ‘Oppenheimer’ Is Just the Beginning

    Robert Downey Jr.’s Third Act: ‘Oppenheimer’ Is Just the Beginning

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    That was the appeal of making Oppenheimer with Nolan and his producing partner Emma Thomas, who, like the Downeys, are another husband-and-wife filmmaking duo prone to taking big swings. “For him, Chris and Emma have just figured that out like nobody else,” Susan says.

    Even their process for casting has a no-nonsense streamline to it. “When you’re doing a Chris Nolan thing, basically you get a phone call: ‘Chris wants you for this. Will you come read the script at his house?’ ” says Susan, who joked that her husband’s curiosity clashed with his, let’s say, more inert tendencies. “Robert’s like, ‘Wait, I have to drive that far east?… Okay.’ Once he was willing to do that, I already knew his mindset was very open.”

    The Oppenheimer team was surprised to meet a movie star who was willing to cast off his armor. “Honestly, he kind of subverted all my expectations of him,” Thomas says. “We’ve often talked about how amazing it’d be to work with him, but we work in a very specific, fairly stripped-down way. I wasn’t sure how he was going to adjust to that way of working because, when you’re a big movie star like Robert, that isn’t necessarily the way you’re used to working.”

    But his Avengers experience had also prepared him for being part of Oppenheimer’s gargantuan ensemble, one of 79 speaking roles in a cast that includes three best actor Oscar winners. Downey’s Strauss clashes repeatedly with Murphy’s Oppenheimer but also with his own aide (played by Alden Ehrenreich) and even with Albert Einstein (Tom Conti). Fueled by a potent mix of sincere conviction and petty grievance, he commands scene after scene of crowded public hearings, strategy sessions, and backroom machinations, but without the bemused pizzazz of his Marvel alter ego. Strauss may be a politically savvy survivor, but he’s also a black hole of personality who doesn’t so much fill a room as draw everyone into his own.

    As he had on his Marvel films, Downey relished the opportunity to stray from best-laid plans, carefully mapping out a scene with filmmakers and crew only to go rogue. “From a creative point of view, he came extraordinarily well prepared,” Nolan says. “It’s a very complicated part, and he had it absolutely down. And he also had a number of, I wouldn’t call them improvisations because a lot of it was very carefully planned, but he had a number of embellishments, things that he wanted to bring to the character, things that he wanted to try out.”

    Nolan and cinematographer Hoyte van Hoytema would follow Downey in a room as he delivered monologues that stretched multiple pages.

    “I think he loved that freedom to move around the room and present himself with whatever energy he felt like: ‘Let’s try it again! Let’s try it a different way!’ ” Nolan says. “However heavy the 70-millimeter camera was, Hoyte would never get too tired. In a way, Robert was probably waiting for him to get tired, but he didn’t. So he was able to really thrash it out, really reach for something and stretch himself.”

    Joe and Anthony Russo, who directed Downey in three Marvel movies, describe the Downey method in similar terms: “When he’ll come back to set, Robert is famous for throwing the plan out the window and climbing on top of the couch and whatever, sort of going off-book,” Joe says. “He does this because he likes to surprise himself. He likes to keep things fresh. He lights up for that.”

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    Anthony Breznican

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  • Alden Ehrenreich Is Back in the Spotlight—For Now

    Alden Ehrenreich Is Back in the Spotlight—For Now

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    While preparing to play a prequelized Han Solo in the biggest film of his life, Alden Ehrenreich came across an interview from the late ’70s with Harrison Ford, following the release of the original Star Wars. Ford was asked what it felt like to come off of such a massive cultural hit and responded with relief that he didn’t feel much. Ehrenreich could relate. “We all live under this mythology that success in a certain way is salvational and changes everything,” the Solo star says now over Zoom. “The actual back end of success or failure ends up revealing itself to be not nearly as meaningful as you think on the front end. I’ve had that experience so many times. A movie comes out and you want to go like, ‘Yes!’—and you just don’t.”

    Ehrenreich thinks back to that Ford interview after I ask him a similar kind of question. In terms of his own career, 2023 has been major—and not just because it’s the first year in which he’s appeared in a film since 2018, when Solo flopped at the box office. Ehrenreich is the fiery colead of this past Sundance’s smash premiere, Fair Play, which launched to No. 1 on Netflix’s movies chart last month. He’s a key supporting figure in both Cocaine Bear, the hit B movie comedy from Elizabeth Banks, and Oppenheimer, Christopher Nolan’s Oscar-front-running epic that’s grossed close to $1 billion globally (with no signs of stopping). His directorial debut, the short film Shadow Brother Sunday, has played festivals and picked up prizes around the world, a concrete step forward in his filmmaking ambitions.

    So, a natural inquiry: How does it all feel? No short way to answer that. For starters, SAG-AFTRA’s strike rules prevented Ehrenreich from talking about most of these projects as they were released. Their buzz existed on text threads with family and friends and in the occasional headline he’d failed to avoid. “It didn’t feel nearly as real,” he says. As we chat, he’s been allowed to publicly discuss the films for about 48 hours. Then there’s the broader reality. At just 33 years old, the young actor has already hit Hollywood highs and lows, been forced to learn the transitory nature of any level of standing in this industry. He wonders if he’s built for it at all. “You just try to navigate, as we all do, caring too much about what other people think of you, and you try to listen to something that’s more important,” he says. “It’s very, very hard to do.” Especially, perhaps, when the feedback is as good as it’s been lately.

    Ehrenreich is big on quoting. Titans of Hollywood, like Harrison Ford, have articulated ways of surviving through showbusiness that he’s not only absorbed, but adopted as a kind of philosophy. “Are you ready for a pretentious reference?” he asks me knowingly, as he works through one of many long, candid answers. “I go back to an AFI speech that Orson Welles gave where he said, ‘Maybe my films would’ve been better, but they wouldn’t have been mine.’”

    Before turning 20, Ehrenreich made his feature-acting debut in Francis Ford Coppola’s noir drama Tetro, and was promptly compared to a young Leonardo DiCaprio by Roger Ebert. He went on to work with Woody Allen, Park Chan-wook, and most auspiciously, the Coen brothers in their old-Hollywood pastiche Hail, Caesar! His deadpan tour-de-force there, as a Gene Autry-esque dimwit singing cowboy, drew raves, and his profile skyrocketed. The film was released in February of 2016. In March, reports surfaced that Ehrenreich had been shortlisted to play Han Solo in the mega-budgeted eponymous prequel to be directed by Phil Lord and Christopher Miller; his casting was confirmed by May. After the film’s box office disappointment—relative to its $275-plus million budget anyway, as it grossed nearly $400 million worldwide—the actor took time off, given the process’s length from pre-production prep to post-release promotion. (One reason it took so long: Lord and Miller were replaced by Ron Howard mid-shoot.) More recently, he’s reflected on what that time gave him.

    “I loved the original spirit of how they wanted to make [Solo], and I did it because it was this great platform from which I could do my own thing,” he says. “But what I realized at that point is: I hadn’t built my own thing enough to be able to do it…. I knew that I didn’t know myself in that way yet, and that takes a certain amount of time and effort and failure in its own kind of enclosed way. That’s what I spent that time doing.”

    He ended his post-Solo hiatus with a role on the ill-fated Peacock series Brave New World, which was in production for eight months. Covid hit immediately thereafter. Suddenly, as the world emerged out of the pandemic, Ehrenreich found himself no longer shortlisted for the most plum roles available to actors his age. “When you go back and want to do something, you realize that there’s other people on the list who have surpassed you, and you have to fight harder for a particular role that you want,” he says. “I’ve lived that over and over again.”

    But Ehrenreich quotes that Welles speech to affirm that he stands by his choices and his selectiveness. “There’s a practical arithmetic as an actor now that, frankly, I just don’t have the stomach for in the long run,” he says. “I don’t want to do projects on the cut. I don’t want to do things I don’t really love if I can avoid it—and with the cadence now, you kind of have to be doing a certain amount of projects.” Case in point: “There are things that I really wanted that I didn’t get. The heartbreaker is when the director goes, ‘You’re who I want, but I can’t cast you because they need to have this guy who came off this thing.’”

    This makes Ehrenreich’s 2023 work stand out all the more. One could argue he’s conformed to the expectation of a hustling rising star. He does not see it that way: “When I hear people say, ‘God, you weren’t in a movie for five years,’ I’m like, ‘Holy shit!’” He made Cocaine Bear to ease back into the routine and had a blast. A few months later, he flew to Serbia to star with Phoebe Dynevor in the taut thriller Fair Play, about an engaged couple working at the same financial firm whose bond unravels when one is promoted over the other. Ehrenreich’s performance in this blazing feature debut from Chloe Domont, which Netflix bought out of Sundance for $20 million, is dark and explosive, in a key he hadn’t hit before. What pushed him to take such a risky, volatile approach? “You have to trust the filmmaker. You live and die on them—and if you’re going to die, you’re already dead at that point.”

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    David Canfield

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  • Gwyneth Paltrow Says Only Robert Downey Jr. Could End Her Break From Acting

    Gwyneth Paltrow Says Only Robert Downey Jr. Could End Her Break From Acting

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    Few have flaunted their acting breaks with as much aplomb as Gwyneth Paltrow, who uses her Oscar as a doorstop and can’t recall which Marvel movies she’s appeared in. But despite her superhero-induced amnesia, it’s her Iron Man costar Robert Downey Jr. whom Paltrow names as the only actor that might be able to end her moviemaking hiatus.

    Between running her lifestyle brand, Goop, and generating memes during her ski accident trial earlier this year, Paltrow’s focus is no longer on acting, she confirmed in a recent interview with Entertainment Tonight. “Well, it would be very hard for me to do any acting right at the moment, just because of my job,” Paltrow said. “But, I guess, Robert Downey Jr. could probably always get me back. You know, to some degree.”

    The pair played power couple Tony Stark and Pepper Potts in several films, starting with 2008’s Iron Man. They reunited for the last time in 2019’s Avengers: Endgame. Since then, Paltrow has appeared in her husband Brad Falchuk’s Netflix series The Politician, which released its second season in June 2020, and performed voice roles on American Horror Stories and She Said. During an interview with Marvel alum Scarlett Johansson on The Goop Podcast earlier this year, Paltrow was asked if she’s finished with the Marvel Cinematic Universe. “I think so,” she answered at the time. “I mean, I didn’t die, so they can always ask me.”

    In 2020, Paltrow said that her acting pause came in the wake of her achieving many of her career goals by her mid-20s, when she won the Academy Award for Shakespeare in Love. “I think that when you hit the bullseye when you’re 26 years old, and you’re a metrics-driven person—who, frankly, doesn’t love acting that much, as it turns out,” she told SiriusXM’s Bruce Bozzi, “I sort of felt like, well, now, who am I supposed to be? What am I driving towards?”

    In another recent interview, Paltrow told Call Her Daddy podcast host Alex Cooper that the public turned on her after the Oscar win, and the “big energy shift” taught her to be “less openhearted and much more protective of myself and filter people out better.… I felt a real pivot on that night because I felt, like, up until that moment, everybody was kind of rooting for me in a way. And then, when I won, it was, like, too much, and I could feel a real turn.”

    But Paltrow previously said that she’s not permanently uncoupled from the big screen. “I’ve never said that I am quitting acting,” Paltrow told Today’s Savannah Guthrie in 2019. “Goop is my full-time passion…occasionally, when [an acting job] is the right thing and it works out around my children and my Goop life, I’m able to participate. I think I’m just not focused on full-time acting right now.”

    Last year, Paltrow told Willie Geist, “It’s funny, I don’t daydream about the movie business at all. But, you know, I did promise my mother [Blythe Danner] that at some point before I die, I told her that I would go and do a play. So I’m going to deliver on that promise at some point.” Your move, RDJ.

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    Savannah Walsh

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  • Gwyneth Paltrow Says Only Robert Downey Jr. Could Probably ‘Get Me Back’ Into Acting, but ‘It’s Very Hard’ to Do That Right Now

    Gwyneth Paltrow Says Only Robert Downey Jr. Could Probably ‘Get Me Back’ Into Acting, but ‘It’s Very Hard’ to Do That Right Now

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    Outside of recent voice roles on “American Horror Stories” and “She Said,” Oscar winner Gwyneth Paltrow has not acted on camera in a few years. Her last film was in 2019 courtesy of “Avengers: Endgame,” in which she reprised her fan favorite Marvel role of Pepper Potts, while she also appeared in the Netflix series “The Politician,” which dropped its second season in June 2020.

    In a recent interview with Entertainment Tonight, Paltrow suggested that she currently has no plans to get back in front of the camera as an actor given all of her business responsibilities with Goop. However, there is one A-list actor she thinks could end her current acting hiatus. That would be Iron Man himself, Robert Downey Jr.

    “Well, it would be very hard for me to do any acting right at the moment, just because of my job,” Paltrow said. “But, I guess Robert Downey Jr. could probably always get me back. You know, to some degree.”

    The two actors’ careers became inextricably linked when they landed the roles of Tony Stark and Pepper Potts in 2008’s “Iron Man,” which launched the Marvel Cinematic Universe. The two would reprise their roles in two “Iron Man” sequels and various other Marvel movies, including the record-breaking “Endgame.” The latter title featured the death of Tony Stark, which is one reason Paltrow has no desire to return to the MCU.

    During a Q&A with fans on Instagram, one follower wrote to Paltrow: “I’m asking this every time answer the question why did you stop with Marvel and do you miss [Robert Downey Jr.?]”

    “Oh my god, stop yelling at me!” Paltrow humorously responded. “We just stopped doing it because Iron Man died. And, why do you need Pepper Potts without Iron Man? I don’t know. Call up Marvel and yell at them, not me. I’m just sitting here.”

    During an interview earlier this year with fellow Marvel alum Scarlett Johansson on “The Goop Podcast,” Paltrow was asked if she is done for good with the MCU. “I think so,” she answered at the time. “I mean, I didn’t die so they can always ask me.”

    Should Downey Jr. and Paltrow reunite on screen, it might be in their first non-Marvel movie project. Although Variety did recently report that Marvel Studios has been thinking about a plan in which Downey Jr.’s Iron Man would return to the screen despite his “Endgame” death.

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  • With its Kang Phase in Peril, Marvel (Reportedly) Considers an Outside-the-Box Idea: Robert Downey, Jr. As Iron Man

    With its Kang Phase in Peril, Marvel (Reportedly) Considers an Outside-the-Box Idea: Robert Downey, Jr. As Iron Man

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    The days of Total Marvel Hegemony are long gone. While the MCU’s footprint in pop culture remains enormous, Kevin Feige and co. appear to be at a crossroads about the future of their still-expansive superhero slate. A new reported feature by Variety’s Tatiana Siegel unpacks the behind-the-scenes turmoil at the until-recently-Teflon studio. According to Siegel, when Feige and Marvel’s creative brain trust gathered for a creative retreat in Palm Springs this past September, the “most pressing issue” on the table was the problem of Jonathan Majors, who was tapped to play the franchise’s new central villain across multiple films before he was accused of domestic violence earlier this year.

    But the idea that Marvel might be on the hunt for a new actor to play Kang the Conqueror—or a retooled story that doesn’t involve him—isn’t the most eyebrow-raising nugget in Variety’s piece. According to Siegel’s sources, “there have been talks to bring back the original gang for an Avengers movie,” meaning Iron Man (Downey, Jr.) and Black Widow (Johansson) could return to the fold despite dying valiantly in 2019’s Endgame. Downey has played things close to the vest when asked about a possible Marvel return, while Johnson told Gwyneth Paltrow, in reference to the Black Widow character, “[That] chapter is over. I did all that I had to do.” (She will be producing a project at Marvel, though details about it are scant.)

    But what Marvel does about Majors is most critical, and clearly a cloud hanging over the studio. When Marvel selected Majors to join the universe in 2020, he was an ascendant young star fresh off well-received performances in The Last Black Man in San Francisco and Lovecraft Country. Majors debuted as Kang in the Loki series, and played the character in Ant-Man and the Wasp: Quantumania, but was clearly positioned as the new Thanos for 2026’s Avengers: The Kang Dynasty and 2027’s Avengers: Secret Wars. Everything changed with his arrest, in late March, on assault and harassment charges, which he has denied. On October 25, a judge denied his appeal to have the case dismissed; the controversy has led to Majors being dropped by his management and losing several lucrative brand deals, as well as at least one starring film role.

    Back in April, Deadline reported that there was “zero conversation in the Marvel camp to drop Majors from the MCU,” and he appears as a nerdy Kang variant, “Victor Timely,” in the second season of Loki, whose finale airs November 9th and will reportedly feed directly into Avengers: The Kang Dynasty. An industry insider told Variety, “Marvel is truly fucked with the whole Kang angle. And they haven’t had an opportunity to rewrite until very recently [because of the WGA strike]. But I don’t see a path to how they move forward with him.” In the Variety piece, Siegel wrote that Marvel has considered switching from Kang to “another comic book adversary, like Dr. Doom.”

    Despite the success of recent films like Guardians of the Galaxy, Vol. 3 and Black Panther: Wakanda Forever, the MCU is no longer the critical and commercial juggernaut it was throughout the 2010s. Criticism of both visual effects quality and the working conditions for their VFX artists have led to public scrutiny. In a unanimous September vote, Marvel’s effects team will be unionizing with IATSE, a move that could signal a paradigm shift in the industry.

    Apart from the actual quality, the torrent of Disney+ TV shows led to a high level of viewer fatigue. Eight new Marvel shows launched between January 2021 and August 2022 as part of the MCU’s “Phase Four,” while more recent programs like She-Hulk and Secret Invasion received more mixed reviews. Variety’s story includes a quote from Bob Iger saying that the gold rush of Marvel series “diluted focus and attention” from the universe at large. The uncertainty at Marvel also comes while rival DC is revamping its approach to film and television under Guardians of the Galaxy mastermind James Gunn and Peter Safran.

    The next Marvel project to hit theaters is The Marvels, which features a terrific director in Nia DaCosta and an appealing cast headlined by Brie Larson, Teyonah Parris, and Iman Vellani, though Variety noted that the film earned “middling reviews” at a June public screening.

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  • Iron Man’s influence: The Scarlet Witch’s journey to villainy

    Iron Man’s influence: The Scarlet Witch’s journey to villainy

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    The Scarlet Witch’s transformation into a villain in the MCU’s Phase 4 holds deeper origins than meets the eye, intricately woven by none other than Tony Stark’s Iron Man. As we delve into key moments from the MCU’s past, a captivating narrative unfolds, shedding light on the unforeseen influence that set Wanda Maximoff on her path towards becoming the enigmatic Scarlet Witch.

    Stark’s unintended Role: Avengers: Age of Ultron

    Back in 2015’s Avengers: Age of Ultron, Elizabeth Olsen’s portrayal of Wanda Maximoff, alongside her brother Pietro, introduced a simmering resentment towards the Avengers. Unveiled in “Previously On,” a poignant episode of WandaVision, the Maximoffs’ tragic backstory emerges. Stark’s Stark-branded missile held them captive for days during a war, pushing them into the arms of HYDRA. This choice ultimately unlocked their superhuman abilities through the Mind Stone, with Stark inadvertently triggering the creation of the Scarlet Witch.

    READ MORE: The Marvels: From logo twist to planetary mysteries, did you spot these easter eggs in new trailer?

    Wanda’s imprisonment: From Civil War to WandaVision

    Stark’s impact on Wanda continued to unfold in Captain America: Civil War, as he confined her to the Avengers Compound after a tragic incident in Lagos. This seemingly well-intentioned move, meant to control her potentially-dangerous powers, bore striking similarities to events in WandaVision. The series depicted Wanda’s inadvertent control over the town of Westview, mirroring her own confinement by Stark. The parallel between Iron Man’s decisions and Wanda’s actions adds layers to her character’s complex evolution.

    Iron Man’s Dual Role

    Tony Stark’s decisions inadvertently laid the groundwork for Wanda Maximoff’s dual transformation into the Scarlet Witch. His past actions, born out of good intentions yet morally questionable, mirrored in her own choices. Stark’s inadvertent role in creating and confining Wanda casts a new light on her journey, underscoring the intricate tapestry that connects these two characters.

    As audiences explore the symbiotic relationship between Iron Man and the Scarlet Witch, fans uncover a narrative that adds depth to both characters, enriching the Marvel Cinematic Universe’s intricate storytelling.

    ALSO READ: Brie Larson AKA Captain Marvel opens up about superhero’s absence since Avengers: Endgame; DEETS here

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  • Robert Downey Jr. On Remaking ‘Vertigo’: ‘We Can Do Better’

    Robert Downey Jr. On Remaking ‘Vertigo’: ‘We Can Do Better’

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    Alfred Hitchcock is one of the most respected directors ever. That’s why remakes of his material don’t usually do well. Robert Downey Jr. hopes to change that. While not all of Hitchcock’s films were the most received at their time, and some of his later works never really took off, he’s now considered one of the best. From Psycho to Rebecca, he’s responsible for some of the most iconic thrillers ever made. Psycho is especially notable because it makes the decision to kill off the top-billed star very quickly. That kind of thing simply wasn’t done at the time of the film’s release.

    One of Hithcock’s undisputed masterpieces is Vertigo. A tale about an ex-police detective turned private eye, with a crippling fear of heights. That’s the one Robert Downey Jr. wants to remake for some reason.

    Downey recently spoke with The New York Times and explained this thinking behind trying to remake an all-time classic…

    Not even risky. Advisably ridiculous to even consider [remaking Vertigo]. Great, let’s look into it! First of all, who would our partners be in it? Love them, respect them. Second of all, let me reread the original synopsis. I think we can do better. [Laughs.]

     

    Alfred J. Hitchcock Productions
    Alfred J. Hitchcock Productions

    READ MORE: The Worst Remakes In Movie History

    Downey added that he has “been rock climbing before and gotten stuck in that panic freeze, and if not for the sheer embarrassment, I would have asked to have been hoisted off that rock.” The experience made him “think there are cinematic devices that have yet to be fully utilized that I think would provide an experience.”

    There’s no real news about when exactly we can look forward to such a remake, but hopefully, it proves more successful than other attempts at Hitchcock adaptations.

    The Worst Remakes Ever

    Remakes get a bad rap — and these terrible examples are the reason why.

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    Cody Mcintosh

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  • Oppenheimer: Cillian Murphy calls Robert Downey Jr ‘electrifying’; reveals acting with him was ‘extraordinary’

    Oppenheimer: Cillian Murphy calls Robert Downey Jr ‘electrifying’; reveals acting with him was ‘extraordinary’

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    Oppenheimer is one of the biggest movies of the year. With a star-studded cast, the movie has earned rave reviews from critics and fans alike. The star of the movie Cillian Murphy recently talked about his experience working with Iron Man actor Robert Downy Jr. and the fun they had working with the film’s script.

    Cillian Murphy praises Oppenheimer co-star Robert Downey Jr.

    In a recent interview with GQ, Cillian Murphy spoke about the Oppenheimer script being incredibly dense, to the point where the actor made an exception by reading his lines before he got to the set. 

    Murphy said, “You have to be completely prepared. I knew the script more or less before we went into work, which isn’t so not something I’ve ever done before. Only in theatre, because there was so much text, and it was quite dense. I wanted to not be worried about the text when I went on the floor.”

    One respite the Inception actor had was working with Robert Downey Jr. He explained, “But then, a lot of the scenes I have with Downey, it was quite loose and quite improvisational.”

    Murphy heaped praise on the Iron Man actor, calling his talent extraordinary. He said, “I mean, acting with him was just extraordinary. He’s just electrifying, the most available engaged, present, unpredictably brilliant actor I’ve ever worked with.”

    ALSO READ: Oppenheimer: Is Christopher Nolan’s movie based on a true story? Everything to know about Robert Oppenheimer

    Cillian Murphy’s views on Oppenheimer

    During the interview, Murphy was asked if he is “able to judge him [Oppenheimer] just a little bit?” In his response, the actor diplomatically said, “I’m really not going to give you an opinion on that. I really strongly believe that the film should ask the questions of the audience.”

    He explained that his motive is not to “prejudice anybody’s point of view, when they go into the movie theatre, about what how they feel and Oppenheimer.”

    Although, the actor did reveal Christopher Nolan’s view of the man the world came to know as the father of the atomic bomb. Murphy shared, “What I will say, is that Oppenheimer – Chris called him the most important man that ever lived, whatever you think about that. That’s up to you. But we are living in a world that was changed by Oppenheimer. We’re living in a nuclear age because of what Oppenheimer did.”

    Meanwhile, Oppenheimer has been racking in amazing box-office numbers since its release on July 21. With its controversies and praises, Nolan has added another blockbuster to his list of iconic movies.

    ALSO READ: Oppenheimer India Box Office Preview: Christopher Nolan directorial runtime, screen count, and opening day

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  • Christopher Nolan praises Robert Downey Jr’s role as Ironman: ‘One of the greatest casting decisions’

    Christopher Nolan praises Robert Downey Jr’s role as Ironman: ‘One of the greatest casting decisions’

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    This weekend marks the release of Christopher Nolan’s Oppenheimer, which boasts a stellar ensemble led by Cillian Murphy. Besides that, Robert Downey Jr. plays a character in the movie for the first time in more than three years. The actor recently proclaimed that Oppenheimer is the best movie he has ever been in. Of course, Downey Jr. is best known to most people for his role as Iron Man/Tony Stark in the Marvel Cinematic Universe. In a recent interview with Josh Horowitz of Happy, Sad, Confused, Nolan referred to the MCU’s choice of Downey Jr. as “one of the greatest casting decisions in film history.”

    Christopher Nolan was gushing about Robert Downey Jr.’s Iron Man performance

    Although Robert Downey Jr. may have second-guessed taking on the role of Iron Man, Christopher Nolan considers Downey Jr.’s Iron Man to be “one of the greatest casting decisions” in film history.

    “One of the best casting choices in film history, in my opinion, was when [Jon] Favreau had the vision to cast him as Iron Man. And you examine what happened and the direction that everything took as a result. And I believe Jon knew exactly how amazing of an actor and how amazing of a promise Downey had. Then the allure of a movie star, that amazing magnetism, enters the picture,” Nolan said.

    Talking about what was great about working with Downey on this project, Nolan said, It “was that you could go to him and say, ‘Okay, set your charisma and movie star fantasies aside for a moment and let yourself become engrossed in this real-life character who is so nuanced and has such an amazing role to play in Oppenheimer’s story. And I think a lot of his fan base is going to be quite shocked to see him sort of revert to that genius as an actor, just finding the truth in another human being and expressing it, and the things he accomplishes in the movie. Being able to flip fully and expand oneself in a way that many people haven’t seen someone who has achieved such greatness as a movie star do is pretty cool.”

    ALSO READ: Oppenheimer: Here’s why you need to watch Christopher Nolan’s film in IMAX; Take a look at theatres in USA

    Robert Downey Jr. questions his role as Iron Man, but Christopher Nolan feels otherwise

    The effects of playing the same part for so long have been questioned by Robert Downey Jr. The actor told The New York Times in an interview that he was concerned that playing Iron Man for such a long time might impair his acting abilities. When asked specifically if playing Iron Man in numerous Marvel movies for more than a decade caused him to worry about his ability, he replied, “Yes, without a doubt, and I was aware that Chris Nolan had supported this idea at one point: let’s exercise those other muscles while depriving you of your go-to resources.” He made reference to his standard acting approach, which he developed while playing Iron Man which is known as “fast-talking.” 

    Nolan, however, seems to have a different opinion of Downey Jr.’s acting abilities, as revealed by his comments in the Happy, Sad, Confused podcast. RDJ is set to appear in an HBO adaptation of The Sympathizer after Oppenheimer.

    ALSO READ: Christopher Nolan has no plans to make another superhero film; criticises studios for THIS reason

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  • ‘Oppenheimer’ Cast Divulges Extreme Lengths Cillian Murphy Went To For Role

    ‘Oppenheimer’ Cast Divulges Extreme Lengths Cillian Murphy Went To For Role

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    Cillian Murphy is already earning rave reviews for his portrayal in “Oppenheimer” of the eponymous physicist who built the first nuclear bomb. Part of the Irish actor’s method was to look as much like the scientist as possible ― and that included extreme tactics, as co-stars Emily Blunt, Robert Downey Jr. and Matt Damon recently shared.

    In an interview with Fandango, Blunt said filming the Los Alamos National Laboratory scenes in New Mexico offered great local cuisine. But Murphy skipped out while portraying J. Robert Oppenheimer, she said.

    “We were all in New Mexico, like, eating quesadillas, and [Murphy] was like, in his room, eating an almond,” Blunt said during a group interview with Fandango posted last week. Damon added: “He declined every dinner invitation for the entire film. We invited him to dinner every night. He never came once.”

    “He had such a monumental undertaking,” Blunt told Extra in an interview last week. “And he could only eat, like, an almond every day. He was so emaciated.”

    Murphy joins many other actors in changing their bodies for a role or feeling pressure to do so. Stars themselves have warned that altering their bodies can be unhealthy physically and mentally ― while others have cautioned that celebrating dramatic weight loss by actors is dangerous for observers as well.

    Murphy recently told The Guardian that “becoming competitive with yourself” in regards to how thin one can get for a role isn’t healthy, and notably declined to discuss details of his “Oppenheimer” diet.

    “I don’t want it to be, ‘Cillian lost x weight for the part,’” he told the outlet.

    The actor explained to The New York Times in May why he wanted to match Oppenheimer’s look.

    “I love acting with my body, and Oppenheimer had a very distinct physicality and silhouette,” Murphy told the Times. “I had to lose quite a bit of weight … he was very slim, almost emaciated, existed on martinis and cigarettes.”

    While Murphy has worked with visionary director Christopher Nolan before — and starred in “Inception” (2010), “Dunkirk” (2017) and the “Dark Knight” trilogy (2005-2012) — “Oppenheimer” marks the first time he’s leading a blockbuster of such scale.

    Oppenheimer spearheaded the Manhattan Project, a secret research and development project to build an atomic bomb during World War II. Testing was carried out at Los Alamos, a desert outpost in New Mexico where the scientists and their families lived.

    For the film, Nolan once again cast digital effects aside in favor of practical filmmaking ― and IMAX cameras. He even used practical effects for the harrowing Trinity test explosion. Nolan is so traditional, in fact, he doesn’t even use a smartphone.

    “The only thing Chris would do by text is [Cillian’s] daily calorie count,” joked Downey Jr. during the Fandango interview.

    “Oppenheimer” hits theaters July 21.

    If you’re struggling with an eating disorder, call or text 988 or chat 988lifeline.org for support.

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  • Cillian Murphy, playing Oppenheimer, finally gets to lead a Christopher Nolan film

    Cillian Murphy, playing Oppenheimer, finally gets to lead a Christopher Nolan film

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    The day Christopher Nolan called Cillian Murphy about his new film, “Oppenheimer,” Murphy hung up the phone in disbelief.

    The Irish actor, though a regular presence in Nolan films going back almost two decades, had always been a supporting player. This time, Nolan wanted him to lead.

    “He’s so understated and self-deprecating and, in his very English manner, just said, ‘Listen, I’ve written this script, it’s about Oppenheimer. I’d like you to be my Oppenheimer,’” Murphy, 47, told The Associated Press earlier this year. “It was a great day.”

    Three years after the pandemic brought Hollywood to a standstill, the film and TV industry has again ground to a halt.

    After a globe-trotting publicity blitz by star Tom Cruise, “Mission: Impossible – Dead Reckoning Part One” launched with a franchise-best $80 million over five days, though it came in shy of industry expectations with a $56.2 million haul over the three-day weekend.

    The sidewalks of Hollywood and midtown Manhattan teemed with actors joining Hollywood’s writers in protest outside the corporate offices of studios, streamers, and production companies.

    This week’s new entertainment releases include a documentary on Apple TV+ that chronicles the atypical path Stephen Curry took to becoming a basketball legend, new tunes from the rock band Greta Van Fleet and a “Justified” limited series starring Timothy Olyphant.

    For Murphy, it is never not exciting to get a call from Nolan. It’s just hard to predict if he’s going to. He knows there are some movies he’s right for and some movies he isn’t.

    “I have always said publicly and privately, to Chris, that if I’m available and you want me to be in a movie, I’m there. I don’t really care about the size of the part,” he said. “But deep down, secretly, I was desperate to play a lead for him.”

    Murphy first met Nolan in 2003. He was brought in to screen test for Batman — not just the movie, the character. Murphy knew he wasn’t right for the Dark Knight, but he wanted to meet the man who’d directed “Insomnia” and “Memento.” They hit it off and Murphy got to tap into a sinister intensity to play the corrupt psychiatrist Dr. Crane/Scarecrow, who would go on to appear in all three films. Nolan would also call on Murphy to be the conflicted heir to a business empire in “Inception” and a traumatized soldier in “Dunkirk.”

    “We have this long-standing understanding and trust and shorthand and respect,” Murphy said. “It felt like the right time to take on a bigger responsibility. And it just so happened that it was a f—ing huge one.”

    Soon after the phone call, Nolan flew to Dublin to meet Murphy and hand him a physical copy of the script, which he devoured right there in Nolan’s hotel room. It was, he said, the best he’d ever read.

    Then the scale of it started to sink in.

    This would be a film about the charismatic and controversial theoretical physicist who helped create the atomic bomb. Oppenheimer and his peers at Los Alamos would test it on July 16, 1945, not knowing what was going to happen. There was a non-zero chance that the heat from the explosion could set off a chain reaction that would ignite the atmosphere and literally set the world on fire.

    It didn’t, but several weeks later the United States would drop those bombs on the Japanese cities of Hiroshima and Nagasaki, killing tens of thousands of people and leaving many with lifelong injuries. Soon, the United States was at work to strengthen its nuclear arsenal, developing plans to work on an even more catastrophic weapon: the hydrogen bomb.

    As Nolan has said, “Like it or not J. Robert Oppenheimer is the most important person who ever lived.”

    “Oppenheimer,” which opens in theaters on July 21, features a starry cast including Emily Blunt as Oppenheimer’s wife Kitty, Matt Damon as the man who hired Oppenheimer for the job at Los Alamos, Robert Downey Jr. as a founder of the Atomic Energy Commission and many more rounding out the pivotal players in and around this tense moment in history.

    “You realize this is a huge responsibility. He was complicated and contradictory and so iconic,” Murphy said. “But you know you’re with one of the great directors of all time. I felt confident going into it with Chris. He’s had a profound impact on my life, creatively and professionally. He’s offered me very interesting roles over and I’ve found all of them really challenging. And I just love being on his sets.”

    Murphy continued: “Any actor would want to be on a Chris Nolan set, just to see how it works and to witness his command of the language of film and the mechanics of film and how he’s able to use that broad canvas within the mainstream studio system to make these very challenging human stories.”

    Over the years, Murphy has come to appreciate that with Nolan there’s always something deeper to discover than what’s literally on the page. “Dunkirk,” he recalled, was only 70 pages and there wasn’t much to his character, not even a name.

    “He said, ‘Look, let’s figure it out together and you and me can find an emotional journey for the character.’ And we did it. We did it out in the water on that boat. That comes from trust and respect,” Murphy said. “I’m really proud of that performance.”

    As with all Nolan endeavors, secrecy around “Oppenheimer” is vitally important. Murphy loves the “old-fashioned approach” that builds interest and anticipation.

    “There’s an awful lot to talk about when we can talk freely,” Murphy said with a smile.

    The difference from other Nolan originals, even “Dunkirk,” is that “Oppenheimer” is rooted in historical fact and actual transcripts. You can read the book it’s based on, Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer.” You can watch the 1981 documentary “The Day After Trinity” on The Criterion Channel.

    And you can try to parse Nolan’s words for clues. He’s talked about recreating the Trinity test, the fascinating paradoxes, the twists, turns and ethical dilemmas; for him, the story is cinematic and both dream and nightmare. But ultimately, it’s something that just needs to be seen.

    “The question will be how Chris presents it,” Murphy said. “I think people will be very surprised and wowed by what he does. Anything I say will just seem a bit lame as compared to seeing this in an IMAX theater.”

    The time for discussions will be after the movie comes out. But Murphy did offer up that they worked hard to get Oppenheimer’s look right, from the narrow silhouette to the pipe and the porkpie hat. Oppenheimer, he said, “seemed aware of his own potential mythology.” But, again, those conversations will have to wait.

    “I’m really proud of the movie and I’m really proud of what Chris has achieved. This was, for sure, a special one, certainly because of the history with me and Chris. We were not walking around the set high-fiving, but it did feel special.” Murphy said. “It’s an event every time he releases a film, and rightly so. Whether I’m in them or not, I always go to see his movies.”

    ___

    A version of this story first moved on May 3, 2023. It’s being sent again in advance of the film’s release next week.

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  • John Krasinski “Photo Bombs” Robert Downey Jr.’s “Oppenheimer” Cast Photo

    John Krasinski “Photo Bombs” Robert Downey Jr.’s “Oppenheimer” Cast Photo

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    Robert Downey Jr.’s attempt to snap the perfect “Oppenheimer” cast photo was hilariously thwarted by John Krasinski. The “Iron Man” actor posted two photos featuring his “Oppenheimer” costars on Instagram on July 9, but one of them featured an interloper in the form of Emily Blunt’s husband. “Linking up with my Oppenheimer cast mates…wait, is that a Krasinski photo bomb or might there be a surprise cameo???” Downey captioned his post.

    When it comes to movies from director Christopher Nolan, it’s always best to expect the unexpected, but it seems unlikely Krasinski will pop up in the film. Instead, he was most likely on hand to support Blunt, who plays a key role in the movie about J. Robert Oppenheimer, the man who led the Manhattan Project. Blunt joined Downey in the photos, alongside their fellow castmates Matt Damon and Cillian Murphy.

    Krasinski’s scene-stealing moment isn’t the only thing that caught the attention of Downey’s Instagram followers. Many of Murphy’s fans commented on the post to share how surprised they were to see the actor smiling. Over the years, Murphy has made a name for himself playing serious roles on TV (“Peaky Blinders”) and in film (“Oppenheimer,” “28 Days Later”). As a result, he rarely ever gets to break out a genuine grin on screen.

    “Cillian wasn’t just smiling, he’s wide smiling. this doesn’t feel right,” one commenter wrote. Another person wrote, “Never seen cillian this happy,” while YouTuber Brittany Broski added, “I am crying! How did you get Cillian to smile!”

    The answer to that question seems pretty simple: it was clearly due to Krasinski putting his years of pulling faces on “The Office” to good use in the background. Check out both cast photos below to see Krasinski’s expert photo-bombing skills in action, as well as a rare smile from Murphy.

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  • Vin Diesel Wants Robert Downey Jr. in ‘Fast & Furious 11’

    Vin Diesel Wants Robert Downey Jr. in ‘Fast & Furious 11’

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    We all know that the Fast franchise has had a star-studded cast since its inception. Vin Diesel wants to add one more mega-star, Robert Downey Jr. We’ve seen the late Paul Walker, Charlize Theron, and with the new movie, even Jason Momoa. That being said, there’s always room for more, right? According to a recent interview ahead of the premiere of the Fast X trailer, Vin Diesel revealed a bit not just about the future of the franchise’s story, but also about who his dream cast member would be.

    Vin Diesel immediately named his actor of choice, who was none other than Downey. The interviewer pressed further, asking if Vin Diesel potentially had a character in mind for him to portray.

    “Without telling you too much about what happens in the future, there’s a character who is the antithesis of Dom who is promoting A.I. and driverless cars and a philosophy that with that goes your freedom. There is somebody that believes that’s the future, and that’s at direct odds with the Toretto mentality.”

    When asked a question that could potentially come off as a little more… Inside baseball, Diesel gave a less straightforward answer. The interviewer asked if he had reached out to Downey Jr. to see if he had any interest, and Diesel responded by playfully saying: “How dare you ask me this question in front of all these people? I have pride and I have dignity.”

    Michelle Rodriguez, one of Diesel’s co-stars, also weighed in on who she’d like to see join the Fast universe. “Who’s the guy from these amazing Jason Bourne movies? Matt Damon! IF—ing want Matt Damon. Matt Damon, would you be in a Fast and Furious movie? C’mon, we got four Oscar winners, man. And you’re an Oscar winner!”

    Only time will tell if we get the pleasure of seeing either show up later on in the franchise. Until then, we can check out Fast X in theaters, debuting on May 19, 2023.

    The 10 Most Ridiculous Tropes In Action Movies

    Good luck finding an action movie that doesn’t have at least a few of these stereotypes.

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  • Duran Duran stumbles, Dolly Parton rolls into Rock Hall

    Duran Duran stumbles, Dolly Parton rolls into Rock Hall

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    LOS ANGELES (AP) — Lionel Richie soared. Pat Benatar roared. Duran Duran stumbled but stayed sophisticated. Eminem was Eminem.

    The four acts found very different ways to celebrate on Saturday night, but all can now forever say they’re Rock & Roll Hall of Famers. So are Carly Simon, Eurythmics, Harry Belafonte, Judas Priest and Dolly Parton, who gave the honor an enthusiastic embrace after temporarily turning it down.

    The first act inducted at the Microsoft Theater in Los Angeles after a memorable speech from a shaven-headed Robert Downey Jr., Duran Duran took the stage and launched into their 1981 breakthrough hit “Girls on Film.”

    The shrieking crowd was there for it, but the music wasn’t. The band was all but inaudible other than singer Simon Le Bon, whose vocals were essentially a cappella.

    It was a fun if inauspicious beginning to a mostly slick and often triumphant show.

    “The wonderful spontaneous world of rock ‘n’ roll!” the 64-year-old Le Bon shouted as the band stopped for a do-over.

    They kicked back in at full volume, playing a set that included “Hungry Like the Wolf” and “Ordinary World,” quickly snapping back into what Downey called their essential quality: “CSF — cool, sophisticated fun.”

    Lionel Richie brought both chill and warmth to the room hours later, opening his set with a spare rendition of his ballad “Hello” that seemed to make him nearly break down from the weight of the moment.

    “His songs are the soundtrack of my life, your life, everyone’s life,” Lenny Kravitz said in inducting Richie.

    After “Hello,” Richie breezed into his 1977 hit with the Commodores, “Easy.” The vibe went from smooth to triumphant when Foo Fighters front man Dave Grohl made a surprise appearance to play a guitar solo and swap vocals with Richie. That led into a singalong, celebratory rendition of 1983′s “All Night Long” that brought the night’s biggest reaction.

    In his acceptance speech, Richie lashed out at those during his career who accused him of straying too far from his Black roots.

    “Rock ‘n’ roll is not a color,” he said. “It is a feeling. It is a vibe. And if we let that vibe come through, this room will grow and grow and grow.”

    Eurythmics took the stage next with a soulful, danceable rendition of 1986′s “Missionary Man.”

    “Well I was born an original sinner, I was born from original sin,” singer Annie Lennox belted, bringing the audience clapping and to its feet four hours into the show. It was followed by a rousing rendition of their best-known hit, “Sweet Dreams.”

    Moments later her musical partner, Dave Stewart, called Lennox “one of the greatest performers, singers and songwriters of all time.”

    “Thank you, Dave, for this great adventure,” a tearful Lennox said.

    As he has been throughout his career, Eminem was the outlier. He was the only hip-hop artist among the inductees, the only one whose heyday came after the 1980s, and he brought an edge to the evening that was otherwise missing outside of the heavy metal stylings of Judas Priest.

    He also took the guest star game to another level. After opening briefly with 1999′s “My Name Is,” he brought on Aerosmith’s Steven Tyler to sing the chorus of “Dream On” for 2003′s “Sing for the Moment,” which samples the Aerosmith classic. Then he brought on Ed Sheeran to sing his part on the 2017 Eminem jam “River” as rain fell on the stage.

    “I’m probably not supposed to actually be here tonight for a couple of reasons,” Eminem, wearing a black hoodie, said as he accepted the honor. “One, I know, is that I’m a rapper and this is the Rock & Roll Hall of Fame.”

    He’s only the 10th hip-hop artist among well over 300 members of the Hall of Fame.

    He was inducted by his producer and mentor Dr. Dre, whom he credited with saving his life.

    But hitmakers of the 1980s defined the night.

    “Pat always reached into the deepest part of herself and came roaring out of the speakers,” Sheryl Crow said in her speech inducting Benatar.

    Benatar, inducted along with her longtime musical partner and husband Neil Giraldo, took the stage with him and displayed that power moments later.

    “We are young!” the 69-year-old sang, her long, gray hair flowing as she soared through a version of 1983′s “Love is a Battlefield.”

    Inductees absent from the ceremony included Duran Duran guitarist Andy Taylor, who is four years into a fight with advanced prostate cancer, the 95-year-old Belafonte and Simon, who lost sisters Joanna Simon and Lucy Simon, both also singers, to cancer on back-to-back days last month.

    Carly Simon was a first-time nominee this year more than 25 years after becoming eligible. Olivia Rodrigo, 60 years Simon’s junior and by far the youngest performer of the night, took the stage to sing Simon’s signature song, “You’re So Vain.”

    Janet Jackson appeared in a black suit with a massive pile of hair atop her head, remaking the cover of her breakthrough album “Control,” as she inducted the two men who made that and many other records with her, writer-producers Jimmy Jam and Terry Lewis.

    When the nominees were announced in May, Parton “respectfully” declined, saying it didn’t seem suitable for her to take a spot as a country-to-the-core artist. She was convinced otherwise, and ended up the headliner Saturday night.

    “I’m a rock star now!” she shouted as she accepted the honor. “This is a very, very, very special night.”

    Parton said she would have to retroactively earn her spot.

    She disappeared and emerged moments later decked out in black leather with an electric guitar and broke into a song she wrote just for the occasion.

    “I‘ve been rockin’ rockin’ rockin’ rockin’ since the day I was born,” she sang, “and I’ll be rockin’ to the day I’m gone.”

    She closed the night leading an all-star jam of her fellow inductees on her country classic “Jolene.” Le Bon, Benatar and even Judas Priest singer Rob Halford took a verse.

    “We got a star-studded stage up here,” Parton said. “I feel like a hillbilly in the city.”

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    This story has been edited to correct the spelling of Sheryl Crow’s name.

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    Follow AP Entertainment Writer on Twitter: https://twitter.com/andyjamesdalton

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