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  Playboy Interview: Tom Cruise
  For 20 years Tom Cruise was the closest thing to a sure bet Hollywood had, shining on-screen and endearing himself to studios by working as hard promoting his films as he did making them. He surrounded himself with great filmmakers, including Martin Scorsese, Stanley Kubrick, Steven Spielberg and Michael Mann, and stood toe-to-toe with such vets as Jack Nicholson, Paul Newman and Dustin Hoffman. His movies have grossed well over $7billion, earning him hundreds of millions cheap coach factory backpacks of dollars.While not surprising that Cruise’s firm grip on the leading-man crown would eventually loosen, it was shocking that he caused it to happen himself with several ill-advised TV appearances. He got into a testy encounter with Today’s Matt Lauer. There to promote his film War of the Worlds, Cruise appeared to get on a soapbox for his religion, Scientology. Consistent with the teachings of his faith, he showed disdain for psychiatry and made aggressive statements about the perils of prescription drugs such as the antidepressant Paxil and the ADHD medication Ritalin. That followed a couch-jumping appearance on The Oprah Winfrey Show, a display of his exuberance for his future wife, actress Katie Holmes. Cruise was suddenly in real trouble. Never mind that other actors had endured true scandals and been largely given a pass; Cruise was forced to pay. His long-standing producing deal at Paramount Pictures was not renewed, and chairman Sumner Redstone publicly mentioned Cruise’s behavior as a prime reason. He also became fodder for parody on South Park and other shows and in Scary Movie 4. With partner Paula Wagner, Cruise moved on and raised more than $500 million to take over United Artists, but that eventually fizzled.Although Cruise had been on top a long time, he was no stranger to finding a way around adversity. He grew up without money, raised by his mother (his father was absent after a divorce and coach factory died in 1984). Cruise was a scrappy kid who worked to help his mother and sisters as they moved from city to city. That meant continually starting over in schools, a situation not helped by his dyslexia.As he nears 50, Cruise has put his temporary career crisis in the rearview mirror and is once again among the handful of stars whose participation gets a movie made. Seven years after being on the precipice, Cruise is coming off the biggest box office hit of his career in Mission: Impossible—Ghost Protocol, a crowd-pleasing film he also produced. It reunited him with Redstone’s Paramount Pictures, for which he just completed One Shot, an adaptation of Lee Child’s popular novel built around Jack Reacher. Cruise continues to take calculated risks: In the books, Reacher is a six-foot-five, 250-pound mass of muscle who towers over the bad guys and tears them apart bare-handed. Cruise is about five-foot-seven and maybe 160 pounds.In Rock of Ages, which comes out this summer, he plays a decadent 1980s rock icon named Stacee Jaxx. It’s the first movie in which he sings.To catch cheap coach factory up with Cruise, playboy sent Michael Fleming to the Baton Rouge set of Oblivion, a postapocalyptic sci-fi thriller that was just getting under way. Fleming reports: “For all the adversity he endured the past half decade, I’m not sure I’ve ever met an actor who seems as content and comfortable in his own skin as Cruise. Despite the media fixation on his life, the industry has always loved his work ethic, and his fan base is still there. His life is a lot simpler than many might imagine. He works hard and keeps his family, including his mother and sisters, close to his side. He dotes on wife Katie and his children, Bella and Connor (from his marriage to Nicole Kidman) and Suri, his daughter with Holmes. Cruise flashes his trademark smile often as he talks about what seems like a great life, but he has also learned a lot in the past few years as he rescued his own career.”PLAYBOY: You turn 50 on July 3. It’s a time most men are battling a gut, getting colonoscopies, losing their hair and monitoring their blood pressure. How is it you look about half your age?CRUISE: I honestly have no idea. I work. I’m always with family. I train, go without sleep. I just go hard.PLAYBOY: You’re not wrinkling up like a lot of your peers. Have you had, or would you get, cosmetic surgery?CRUISE: I haven’t, and I never would.PLAYBOY: What does this dubious milestone mean to you?CRUISE: When I made Taps, really my first film experience, I remember lying at night in the hotel room, thinking, I love this so much. I’d wanted it since I was four, and there I was, thinking that if I did my best on Taps, maybe I could do this for the rest of my life. Turning 50, when I’m still doing this, is okay. On July 3 I’ll be in Iceland, filming on my birthday. My family, my wife, they understand. It’s who I am. I’ve spent many birthdays on a movie set, all great days.PLAYBOY: What have you learned that you didn’t know 20 years ago?CRUISE: I’ve always had the same values. Family for me has always been important. When I shoot, everybody comes. When Kate’s shooting, I’m there with her and the kids. We’re always together. I’m always around my mother and sisters. I always wanted to be a father, a husband. And I’ve always had a work ethic. I’ve had paying jobs since I was about eight years old—cutting grass, raking leaves, paper routes, selling Easter cards and Christmas cards.PLAYBOY: Door-to-door?CRUISE: I went door-to-door in Canada and Kentucky. I was basically raised by women, and my mom at a certain point was paying for everything. We all had to pitch in. So work to me is important.PLAYBOY: Where was your father?CRUISE: He was mostly working, and then they got divorced. We moved a lot, and early on it was because he moved from job to job.PLAYBOY: How did growing up with an absent father inform who you’ve become?CRUISE: It wasn’t a big conflict when I was growing up; that’s just the way it was. I don’t look back and feel bad. I know some people do, but it’s not a burden I carry through life. It’s more like, Okay, this happened. That’s how he behaved, that’s how he did things. He tried, but it just was who he was. Traveling has given me a broader understanding of people, and I’ve always been interested in the similarities we have and why people make certain coach backpacks choices in life. I got an introduction to that as a young child, but it never felt like a weight I carried on my shoulders.PLAYBOY: How much of a hardship was it to have your mother supporting the family?CRUISE: We were better off than a lot and not as well off as others. For me, it was more basic. Like, if I wanted to go to the movies as many times as I wanted to go, I had to find money to pay for it. I learned to go get things. And we moved around a lot.PLAYBOY: That’s got to be tough on a kid. CRUISE: I liked going to a new place. I’ll never forget, there was a cardboard box they’d put in my room. You pack your stuff up, everything goes in the car and off we go.PLAYBOY: Was it jarring to leave school and friends and start over?CRUISE: I found it adventurous. Did it bring challenges? Yeah. You’re always the new kid, with the wrong accent, the wrong shoes. You learn about people and yourself and how to deal with what was not always a safe environment. You had to figure it out. That is what life’s about, change and solving problems and living it. My mother worked three jobs, but she’s a woman for whom the cup is always half full. I wanted to help her and my sisters.PLAYBOY: What else did you do with your money? CRUISE: From as early as I can remember, I wanted to ride motorcycles and race cars. I wanted to do jumps and stunts. Every birthday I wanted only a motorcycle. By the time I was 12, I’d bought my own.PLAYBOY: How rough is the motorcycle learning curve for a 12-year-old?CRUISE: Very. No one taught me. I crashed a lot, because I like to go fast. I used to do other stuff. We were living in Canada and I liked gymnastics. I would do flips off the roof. I’d climb to the highest part and see how many flips I could do before I hit the snowbank. I’d do one flip, and I’d wonder, Can I get two? PLAYBOY: So you were that guy.CRUISE: I was that guy. I used to like to do stuff to show my sisters. They were always like, “Tommy, you’re going to kill yourself, and then Mom’s going to kill you.” I’d be doing flips and the neighborhood kids would come over and look. Then I tried a double and got through only one and a half before I missed the snowbank, landed on the sidewalk and broke my ankle. I was like, “Aghhh!” I crawled to the bedroom. I’ve broken my leg, my nose.PLAYBOY: How’d you break your nose?CRUISE: The first time, I got hit by a fastball. Another time, I got hit with a baseball bat by accident. Then I rejarred it on a motorcycle. No one thought about helmets or pads back then. When I was 18, on the set of Taps, I met the stunt guys. I was like, “You train for stuff like this?” Back in the day there were no videos of this stuff. I’d create ramps to try to jump over garbage cans on my bike, figuring it out on my own. When I was five years old, I’d climb the tallest tree possible, get to the top so when the wind was blowing I’d hang on as the branch swayed back and forth. Then, can I go from this tree and get to that tree?PLAYBOY: Aside from broken bones, what did you get out of all this? CRUISE: I learned that even in times that were challenging, you have a choice whether to let problems overwhelm you. When you’re going to new schools, you’re confronted by different things, but you always have a choice, and mine was to learn to handle it.PLAYBOY: How does this translate to doing your own stunts in movies?CRUISE: I train pretty hard. For The Last Samurai I spent a year training six hours a day, seven days a week to be able to handle a sword and do it on uneven terrain, because I didn’t want to blow my knees out. You’ve got to build the body up for impact. I remember trying to put my shirt on at one point and couldn’t because my forearms had gotten so big. It was the same with Rock of Ages—five hours a day learning to sing, three hours a day dancing.PLAYBOY: Did you know you could sing before you took on Rock of Ages?CRUISE: I knew I could hold a note. I sang in a glee club when I was 14 years old and in a high school musical. But I never had a singing lesson. No one ever taught me how to use my voice.PLAYBOY: You had help from Axl Rose’s vocal coach. How do you develop an arena voice?CRUISE: He was an opera singer who taught me how to control my voice. It’s like learning a new sport or a skill for a character. I had to find out how to move air through the vocal cords and where to place it in my head, in the chest. It’s something you have to do every day to strengthen your voice.PLAYBOY: After singing 1980s rock anthems in front of a wild crowd in Rock of Ages, is it more fun to be Tom Cruise or Bruce Springsteen?CRUISE: For Bruce, I’m sure it’s more fun to be Bruce. I like being me because making movies is all I ever wanted to do. But when I look at Bono, Springsteen, Bon Jovi or Axl Rose and hear the songs they wrote and how they perform them and the life they have, I have a greater appreciation. It takes so much work to get to that level.PLAYBOY: The first song you sang in front of a crowd was “Pour Some Sugar on Me,” with Def Leppard there, watching you. Pressure?CRUISE: Yes. PLAYBOY: Director Adam Shankman said they were eager to abuse you, but you ruined it by nailing the song.CRUISE: I was down in Miami, recording different songs, and Adam called and said, “Def Leppard’s coming by the set.” I said, “Man, that’s cool.” Then I paused. “Wait, I’m rehearsing their song tomorrow.” And he’s like, “Yeah!” So we started right in the deep end, and that was the first scene I shot in the movie. It’s a great song, and I grew up listening to them. They went to the back of the Bourbon Room, and cheap coach backpacks I looked at my band and was like, “Hit it.” All the crew was watching them watching me.PLAYBOY: So what did they say?CRUISE: coach factory outlet Well, the lead singer, Joe Elliott, points at me and goes, “Fuck you! Fuck you!” Then I saw big smiles on their faces, and I realized I’d gotten their stamp. It was a very cool moment. It was important they knew I was honoring their music and not making fun of them.PLAYBOY: It’s hard to take your character that seriously. He’s prone to theatrics, and his only real friend is a baboon.CRUISE: He’s a slave to rock and roll. When he’s onstage, he gives it everything. Off it, he’s looking for soulful moments in odd ways, and that’s where the comedy comes in. We had this sweet love song, “I Want to Know What Love Is,” and I’m falling in love with this girl. But it’s a sex scene, and that’s where it has to be funny, because it’s rock and roll. I read all this stuff about Led Zeppelin, the Stones, Axl Rose, Motley Crue and the groupies. My character has them, but suddenly there’s this sweet scene that changes everything. If it works, people will laugh and it’ll be emotional. This hard-rock guy is singing this romantic duet, falling in love with this woman. But since it’s rock and roll, he’s singing most of it to her backside.PLAYBOY: On the other side of the spectrum, those scenes you shot running and jumping 124 floors up that Dubai skyscraper in Mission: Impossible—Ghost Protocol were impressive. Knowing it was you dangling by a cable, it was so——CRUISE: It’s high. Yes, it’s high. I always wanted to do something like that. It was one of those times I could build myself up to it physically, train and push myself, and have it fit the story and the character. We spent months figuring it out.PLAYBOY: No matter how much planning, you have to get out there and look down. Way down. CRUISE: Yes. PLAYBOY: You could have done it from the second floor, and they also have computers and stuntmen.CRUISE: But it wouldn’t have looked the same. As great as visual effects are, it just would not have been the same experience for the audience—especially when my director, Brad Bird, said he wanted to shoot in Imax, which I was so damn excited about. I started thinking of -Harold Lloyd dangling from the clock, and Buster Keaton, when you feel the danger. And look, if I’m at the third or the second floor, a fall will kill me anyway. I might as well be on the 124th floor. At a certain point the height was the least of the challenges.PLAYBOY: After a rough couple of years when some questioned your viability as a leading man, Mission: Impossible—Ghost Protocol grossed more money than any other film you’ve ever made. What did that mean to you?CRUISE: I’ve always just wanted to make the movies I wanted to make, see studios make money so they’d let me do it again and see an audience enjoy it. I’ve tried to keep my head down and just do good work. 12Next
• Comment Link Tuesday, 21 May 2013 04:50 posted by Sedacycle

  Hugh Hefner's Movie Notes: State of the Union
  Tonight: On the eve of the presidential election, Spencer Tracy and Katharine Hepburn, with Van Johnson and Angela Lansbury in Frank Capra’s four-star classic State of the Union.State of the Union was the fifth of nine films starring Tracy and Hepburn together. He was 47 and she was 40.As celebrated director Frank Capra expressed it: “When they played a scene, cameras, lights, microphones and written scripts ceased to exist.“And the coach factory online director did just what the crew and other actors did—we sat, watched and marveled.”The film’s genesis began with an idea from stage actress Helen Hayes shared with playwrights Howard Lindsey and Russell Crouse in the summer of 1944, during the presidential conventions.Hayes imagined a drama involving a Republican presidential candidate rather like Wendell Willkie, who ran against Roosevelt in 1940.The story would portray how a successful businessman, inexperienced in politics, separated from his wife, having an extramarital affair, would reconcile with his spouse so they could campaign together for the presidency.The dramatic conflict would pit a wife’s wits and courage against, as Capra put it, “the hard-boiled Republican kingmakers for the soul of the man she loved...”When Miss Hayes lost interest in the project, Lindsay and Crouse bought out her position in the play. Signed to star in the Broadway production of State of the Union were Ralph Bellamy and Ruth Hussey. (Margaret Hussey and Katharine Hepburn turned the part down.)They gave 765 performances at the Hudson Theater in New York before taking it on tour across America.To keep the show fresh, Lindsay and Crouse added new dialogue every week incorporating news of the day.The show opened in New York on November 14, 1945. Frank Capra attended the first three performances.He had previously adapted another Lindsay and Crouse property for the screen (Arsenic and Old Lace) and Capra decided he wanted to film this soon-to-be Pulitzer Prize–winning play as well.Capra had previously enjoyed great success with political pictures, Mr. Smith Goes to Washington (1939) and Meet John Doe (1941), so this seemed like a natural.Throughout the 1930s, Capra worked for lowly Poverty Row Columbia Pictures. After the war, he formed an independent production company, Liberty Films, with equally renowned directors William Wyler and George Stevens. This, he thought, would be the fulfillment of his postwar dreams.Capra’s initial contribution to Liberty Films was It’s a Wonderful Life (1946).The financing and distribution were handled by RKO. But this unforgettable film, so beloved today, actually lost money in its initial release. So RKO balked at financing the $2.8 million budget proposed for Liberty’s second film, State of the Union.Capra turned next to mighty MGM in hopes of reuniting his romantic stars from It Happened One Night, Clark Gable and Claudette Colbert. But Metro refused to loan Gable to Liberty for the picture.After long and complicated negotiations, an agreement was finally signed on March 10, 1947 with the underfinanced Liberty Films.The authors were paid $300,000 for screen rights, plus 50 percent of the gross, minus the cost of production. Shooting would take place at MGM, which would also handle distribution.Colbert’s fee as the estranged wife was set at $200,000, but instead of Gable or Gary Cooper (Capra’s second choice), the male lead became Spencer Tracy (who had been the playwright’s first choice from the beginning).Tracy really wanted the role.“After all, I’m getting old,” he said, joking with columnist Bob Thomas. “And I’ve never done a film with Capra.”Tracy and Colbert had successfully teamed in Boom Town (1940).As an MGM picture, besides getting Tracy, Capra was also able to cast the picture from Leo the Lion’s star-studded stock company, which included Lewis Stone, Van Johnson and 22-year-old Angela Lansbury, who would play the vixenish, career-oriented “other woman.”Principal photography on a 75-day schedule was set to begin on Monday, September 29, 1947.Colbert had been announced for the part since April 3. $15,000 had been spent on her wardrobe. But she and Capra had battled before on two pictures. And she was well cast as the calculating, spoiled woman she portrayed in It Happened One Night.Before shooting her first scene, the actress announced that she would not be working any time after five P.M.Everyone else worked until six P.M. and this prima donna knew it.Against his better judgment, and over the objections of Spencer Tracy, Capra had already fired a cameraman to please the fussy Ms. Colbert, and now she insisted on being permitted to quit work each day at five P.M. on the orders of her doctor (who happened to be her husband) and her agent (who just happened to be her brother).“This is ridiculous,” Capra said. “I can’t give you that privilege.”“Then I won’t do the picture,” Colbert replied.“Well, okay, sister, get the hell out,” Capra shouted. “Check in your wardrobe and go home.”Capra later reflected, “I blew my stack!”And the real reason Colbert backed out of making the movie? She had finally read the script carefully and realized it was Tracy’s picture, not hers.Louis B. Mayer told Capra to call Tracy immediately, so he wouldn’t read the news of Colbert’s departure in the paper.“God damn you little bastard,” Tracy replied, only half in jest. “I thought you were a nice guy. I may have to report you to the Actors Guild.”But then he laughed, and said, “So you told Frankie Froggie Colbert to go to hell, did you?”“I lost it,” Capra confessed. “But what am I going to do now? Who can I get to replace Colbert on such short notice?”“Waasall, come to think of it, Katie isn’t hamming it up at the moment—what about the Madame?” Tracy said. Meaning, of course, his own Ms. Hepburn.“Yeah,” he said, “the Bag of Bones has been helping me rehearse here at the house.“Kinda stops you, Frank, the way she reads the woman’s part.“She’s a real theater nut, you know. She might do it for the hell of it!”Tracy put Hepburn on the line. Would she do the part? “Sure,” she said. “What the hell. coach factory outlet When do we start?...What clothes do I wear on Monday?”And that was it. Capra was amazed. “No contract, no talk of agents, money, billing—nothing,” Capra said.“That’s sheer professionalism. She knew we were in a jam, and she helped out. I don’t know anybody in the business who wouldn’t have held us over a barrel for money—and we would have paid anything to save the picture!”After that, Capra’s biggest problems were, as he put it, “not directorial, but political.”The once daring filmmaker intended making a bold political statement on issues of the day, but they got lost in translation.Capra gave in to financial pressures and sold Liberty Films during the production of State of the Union, betraying the courage he had championed making It’s a Wonderful Life.He knew it too. He was afraid of failure and bankruptcy. He’d gotten used to success, wealth and security. He said as much in his autobiography.Those were also turbulent times in Hollywood.The House Un-American Activities Committee was busy investigating subversives.Hepburn was a liberal and Adolphe Menjou, who was assigned to coach factory online play a conniving political boss in the picture, was a right-winger who testified before HUAC.The outspoken Hepburn and Menjou had worked together previously on Morning Glory (1933) and Stage Door (1937)—without incident.“I am a witch-hunter, if the witches are communists,” Menjou told HUAC in October 1947.“Menjou and Hepburn hated each other,” Capra observed. “But they played beautifully together. Here was Menjou, head of the Right-Wingers, and Hepburn, the bell ringer of the Left. What a parlay.“But they never showed their animosity for one another on the set.“They were professionals...They were wonderful to work with as actor and actress.”“Menjou passionately believed in what he believed in,” Hepburn said. “He was trying to cut my throat at the time we made State of the Union.”(He told HUAC that persons attending a speech Hepburn gave for a Democratic presidential nominee were “Communists.”)“But,” she said, “we were frightfully civilized on the set toward each other. I would just torture Menjou. Menjou was ridiculous!”Capra quoted Tracy as saying, “Well, you know Madame Do Gooder, here. She’ll donate to the Committee for the Protection of Fireplugs.“And you know what? Her family are all bigger fruit cakes than she is! You know—ultra liberal New England aristocrats that work their ass off for the poor, poor folk, but never see one!”As temperatures rose in Hollywood, and on Capra’s sets in particular, Time magazine wrote, “There is doubt that Frank Capra, already making State of the Union, would have started this satire on U.S. politics under present circumstances.”Watch for the scene where Menjou says, “I’d cut off my right arm up to here to be Chairman of the Republican party!” But he’s holding up his left arm!State of the Union was screened for the trades at the Academy Theater in Beverly Hills on March 19, 1948.Variety reported: “Looks like a sensational money-maker for Metro. The Lindsay-Crouse stage hit has been transferred to the screen by Frank Capra with a whirlwind pace not unlike that encountered in a George Abbott musical. Add 1948’s smartest casting and the palm wringing results seem obvious...”The New York Times endorsed State of the Union as “a slick piece of screen satire.”But Life lamented, “By over simplifying its politics, State of the Union misses a good chance to be an important film comment on President making.”The real watershed date was April 7, when Capra went to Washington to screen his picture for President Harry Truman and 1,600 other political power brokers at Loew’s Capitol Theater.There were politically sensitive moments in the film and Capra sat directly behind the President so he could respond to any concerns the picture might elicit. But Truman loved the picture.“We thought he would regard it as seditious, but he ran the picture over and over again on the presidential yacht,” Capra recalled with delight.“Later, Truman’s manager told me that the picture, which showed how a President can fight corruption in coach herve leger dresses online factory online his own ranks, gave Truman the impetus to run for another term.”On January 5, 1949, Variety carried a story confirming as much. It was entitled “Film that Changed History,” written by Charles Allredge, former assistant to the Secretary of the Interior and advance man for the Truman campaign.Allredge explained that Truman hadn’t made up his mind to run again when he saw the movie, and that “He was under heavy attack, not only from Republicans, but by the leaders of his own party, who were angered with the President’s strong espousal of Civil Rights.”State of the Union received no Oscar nominations and proved a disappointment at the box office.The domestic gross was a respectable $3,108,000, but the foreign box office was a disappointing $429,000.It didn’t help that the picture was released in Great Britain with the ludicrous title The World and His Wife.This was a film that didn’t have much meaning outside America.And now—from 1948—Frank Capra’sState of the Union
• Comment Link Monday, 20 May 2013 17:55 posted by Slatuelddah

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