Dillingham and Texas counterpart Steve Sarkisian took center stage for almost an hour here at the Westin Peachtree Plaza, fielding questions from the national media about their teams and the College Football Playoff quarterfinal.
The Sun Devils standouts have not been shy in expressing their confidence in their abilities, and those comments take on a life of their own in social media circles.
Both players were interrogated about their comments when players were made available for Monday’s Media Day at the College Football Hall of Fame.
“Our players are just being themselves,” Dillingham said. “And I think a lot of times there’s a lot of how are you supposed to talk to the media, what are you supposed to say, and I just firmly believe in say what you believe.
“And I’m not going to try to prevent our players from saying what they believe.”
The coach then elaborated, saying Leavitt and Skattebo succeeded largely because they have always believed in themselves when others didn’t. Skattebo had to start his college career at FCS Sacramento State because he didn’t have any other offers. It wasn’t until he established himself there that ASU gave him a chance and he has transformed from unrecruited running back to an NFL draft prospect in two years in Tempe.
Skattebo had a breakout season, earning first-team All-America honors and finishing fifth in the Heisman Trophy balloting.
Leavitt wasn’t a coveted prospect, either. He started his career at Michigan State but left after the 2023 season because the coach who was hired there, Jonathan Smith, didn’t recruit him out of high school and they were both in the same state at the same time.
“If he (Skattebo) didn’t have that own self-belief … then who else would have his entire life?” Dillingham said. “So when he makes comments like that when people ask him a question and he gives you the truth of what he believes because his belief is what got him here and then people twist it on him as if he’s being cocky or confident, that’s not the nature of what he’s trying to say.
“What he’s trying to say is, ‘My entire life I was the only one who believed in me. I’m not changing that. So now if you ask me the question and I give you a real answer, it kind of gets twisted into this cockiness or confidence.’ … The reality is without him believing that his entire life, he wouldn’t be in the position he is.”
Besides his two stars being fueled by doubters, Dillingham said both are competitive, which also feeds into that narrative.
“I think just the honesty sometimes in today’s media is fun for people because they can take it and run with it,” he said. “And that’s what they should do. Everybody should take those comments and run with it because that’s what’s fun. That’s what sells.
“But those are just two really, really competitive people. It’s nothing about the opponent. It’s about their own self-belief.”
Plummer to serve as honorary team captain
Both teams will have an honorary team captain and ASU’s will be former quarterback Jake Plummer. Former All-America defensive back Aaron Ross will represent the Longhorns.
Plummer, a member of the College Football Hall of Fame, was a first-team All-American in 1996, finishing third in the Heisman Trophy after leading Arizona State to an 11-1 record that included an undefeated regular season and the program’s second-ever Pac-10 title and Rose Bowl berth. The 1996 Pac-10 Player of the Year was also a finalist for the Walter Camp, Davey O’Brien and Johnny Unitas awards as a senior.
Ross led Texas to a 44-7 record, with three bowl game victories and a BCS title in his time there. He totaled 205 tackles, 33 pass breakups, 10 interceptions, three forced fumbles and two fumble recoveries. He was also the Longhorns’ top punt returner for his last three seasons, returning 76 punts for 893 yards, which ranks fifth and sixth respectively in the all-time Texas record book.
Freeman honored
Notre Dame coach Marcus Freeman was named winner of the 2024 Bobby Dodd Coach of the Year Award. The award is given to the coach whose program embodies the award’s three pillars: scholarship, leadership and integrity.
Dillingham was a finalist for that honor along with Army’s Jeff Monken, Oregon’s Dan Lanning and South Carolina’s Shane Beamer.
On the field, Freeman has led the Fighting Irish to a 12-1 record this season and a No. 7 College Football Playoff seed. Notre Dame is prepping for a Sugar Bowl showdown against No. 2 Georgia.
ASU football coach Kenny Dillingham sat down with us to give insight into his players’ mindset and motivations on the field. Check out what he had to say in this exclusive interview!
Stay tuned for more updates on ASU football as they gear up for their next game. #ASUfootball #CoachDillingham #PlayerMindset
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ASU football, Kenny Dillingham, player thoughts, football coach, Arizona State University, college football, player perspective, team insights, coaching philosophy, player interviews, football strategy
“He’s a tremendous athlete. You’re playing pass and he takes off running. When it’s a drop-back pass, you’re trying to stop everybody else. The 4-6 rushers are responsible for Riley (Leonard). Most of our rushers aren’t quite the athlete he is. When you put a 300-pound blocker on a defensive lineman he’s got to beat that guy and get to the quarterback, it’s a challenge. He can throw the fade routes. He can throw timing routes. He can run. He’s hard to tackle, really hard to tackle. We told our players, when you approach him, you better approach him with the attitude that he’s a back, and you’ve got to wrap him up and get him on the ground.”
In a press conference ahead of Georgia’s highly anticipated matchup against Notre Dame, head coach Kirby Smart revealed his defensive game plan for containing the Fighting Irish’s explosive offense. Smart emphasized the importance of pressuring Notre Dame’s quarterback and disrupting their passing game, while also maintaining discipline in defending the run.
Additionally, Smart addressed the importance of keeping star quarterback Gunner Stockton healthy for Georgia’s potential College Football Playoff run. With Stockton leading the Bulldogs to an undefeated season so far, Smart emphasized the need to protect their key player and ensure he is at his best for the crucial games ahead.
As Georgia looks to solidify their spot as a top contender for the national championship, Smart’s strategic approach to both defense and player health will be crucial in achieving their ultimate goal. Stay tuned for what promises to be an exciting and high-stakes matchup against Notre Dame.
This article contains major character or plot details.
For years, Lee Byung-hun has known that Squid Game is a huge, worldwide phenomenon. However, he only truly felt that achievement in the immediate run-up to Season 2’s debut on Dec. 26. As Lee points out, his character, the enigmatic Front Man, was more of a “cameo appearance” than anything in Season 1, which debuted in 2021.
“So at the time, I wasn’t part of any of the promotional efforts,” Lee tells Tudum, sitting alongside Squid Game’s creator and director, Hwang Dong-hyuk. That changed earlier this month, during the bustling Seoul premiere event celebrating Season 2. In the new episodes, Lee not only portrays Front Man, but returns to the competition as the new Player 001 under the name Young-il.
“It really started to sink in [at the premiere] that this is a series that the entire world is anticipating, and that it is truly an amazing and phenomenal series,” Lee says. “I was quite awestruck.”
Fans will feel similarly amazed when they dig into Squid Game Season 2, which is now streaming. Not only do the new episodes dazzle with terrifying stakes and unforgettable games, but they’re also devastating in unexpected ways, like the slow, tragic reveal of Front Man’s backstory, which explains how a decorated police officer risked it all and won Squid Game. Also unveiled: how that victor went on to become the ruthless host of the games, someone who “believes that there is absolutely no hope for the world or humanity,” Lee says.
Lee — who has led beloved Korean series like Mr. Sunshine, as well as Hollywood films, including 2016’s The Magnificent Seven — relished figuring out the truth of the Front Man, while also juggling the three separate personas of the Front Man, Player 001, and In-ho, the man he was before the games. The experience was “intense and very demanding” for the actor — as well as rewarding.
“The most important thing in bringing this character to life in Season 2 was incessantly discussing the expression [in each scene] with the director,” he says. “Having to give different nuances to each of these three aspects [of the Front Man] was the most challenging — as well as the most fun — for me as an actor.”
According to Lee, in Episode 6, you can see the clearest depictions of all three of his personas in one scene. During that installment, the Squid Game contestants play Mingle, in which they are tasked with grouping themselves into a specific number and entering a locked room together. During a round in which the group number must consist of exactly two people, Front Man (or Player 001, to everyone around him) and trusting player Jung-bae (Lee Seo-hwan) enter a room with another person already in it. To get their group number down to precisely two, the Front Man quickly and easily kills the stranger, choking him and then breaking his neck. Front Man doesn’t even blink. Jung-bae can only stare at the gruesome tableau in horror.
“You get In-ho, Yong-il, and the Front Man in that single scene,” Lee says. “There was such a rush of mixed emotions that I felt there, something very unique and strange. I hope that’s something that can be felt by the audience too when they watch that scene.”
Lee was able to pull off this kind of performance through consistent collaboration with director Hwang. While the actor jokes that he “almost annoyed” Squid Game’s creator with all of his questions, Hwang says he couldn’t be more pleased with the final result. The writer calls Front Man’s decision to enter the game under the guise of Player 001 “the most important aspect of Season 2.” The ensuing existential battle between Front Man and protagonist Gi-hun (Lee Jung-jae) is the central tension of the new episodes: While Front Man has given into his distaste for society, Gi-hun continues to believe that people can be selfless.
“Front Man returns to the game wanting to enlighten Gi-hun — wanting to teach Gi-hun and make him think the way he does about the world and mankind,” Lee explains.
The new season is peppered with moments where Front Man nearly convinces Gi-hun to come around to his way of thinking. In one of their first conversations in the game, Front Man attempts to change how Gi-hun views his Season 1 winnings, telling him that saving the money won’t bring his fallen players back to life. He then reminds Gi-hun that the game’s new voting element — wherein players must vote X (to leave) or O (to continue) — is flawed. Even if Front Man had voted X after Red Light, Green Light, it’s unlikely his fellow players would return to happy lives, or thank him for his decision. Later in the season — after the aforementioned Mingle scenario — Front Man tells Gi-hun a cold truth Player 456 isn’t ready to reckon with: Team X will win only if more players from the other side had died in that round. Any success in the game is covered in blood.
Yet Gi-hun’s optimism also rubs off on Front Man. “At some point, you can feel he is actually enjoying himself in the game. He’s excited, he’s nervous,” Lee explains. “While he went back to the game wanting to change the way Gi-hun viewed the world, on some level, subconsciously, he looks at Gi-hun, who refuses to let go of the hope that he carries for humanity, and that reminds In-ho of himself.”
Gi-hun’s compassion is so contagious that “there’s a very small part of Front Man that is actually rooting for Gi-hun along the way,” Lee says. However, the character’s allegiance to his Front Man persona is too strong. In the Season 2 finale, he crushes the players’ rebellion and returns to his cloak and black mask. In a final bid to sap Gi-hun of all his faith, Front Man kills Jung-bae. Lee believes Front Man must have experienced “mixed emotions” before pulling the trigger on someone with whom he recently shared such camaraderie. But for the Front Man, the game always comes first.
“Because his biggest goal is to let Gi-hun know that he was wrong, he wanted to choose the most extreme way possible to make his point,” Lee says.
Although Front Man spends most of Season 2 in a player tracksuit, Hwang explains there’s no denying who he really is by the end of Episode 7. “[Jung-bae’s murder] is really the climax of Season 2,” Hwang says. “You could say that Front Man starts off the season with his mask off, but then returns to himself. He ends Season 2 with his mask back on.”
Squid Game has taken the world by storm, with its intense storyline and captivating characters. One of the most mysterious characters in the show is Player 001, also known as the Front Man. Fans have been speculating about the true identity of this enigmatic figure, and now, actor Lee Byung-hun, who plays the Front Man, has finally revealed some insights into the character.
In an interview, Lee Byung-hun shared that the Front Man is a complex and multi-dimensional character who plays a crucial role in the deadly games. He explained that the Front Man is not just a ruthless enforcer of the rules, but also a conflicted individual with his own motivations and struggles.
Lee Byung-hun hinted that there is more to the Front Man than meets the eye, and that his backstory and true identity will be explored in depth in the upcoming second season of Squid Game. He teased that viewers can expect some shocking revelations and twists regarding the Front Man’s character, which will add a whole new layer of complexity to the show.
As fans eagerly await the return of Squid Game for its highly anticipated second season, the mysteries surrounding the Front Man continue to intrigue and fascinate audiences worldwide. With Lee Byung-hun’s portrayal of this enigmatic character, viewers can look forward to a deeper understanding of Player 001 and his role in the deadly games.
“It feels like a situationship, like a complicated situationship that I don’t even know what’s happening because AJ is on the dark side. But I still have so much love for him, like that’s my Uncle Al right there. I told him I might accidentally slip up and call you Oppa, which in Korean, that means like big brother, like that’s my Oppa. And Luke [Gallows] and Karl [Anderson], even though they’re with AJ on the dark side, I’m like, regardless of what they do I will always support them. I will always love them.”
Turning her focus to her current ring name, Michin revealed that it was inspired by both her childhood and The OC’s established traditions.
“The OC … when they wrestled in Japan they had their own nicknames and stuff. So when I came back and I joined them, they’re like, you need a nickname, like that’s just part of the crew, like you need one. So Michin is something that I’ve had since I was a kid from my mom, like she would call me and my sister crazy.”
If you use any quotes from this article, please credit the “Casual Conversations With the Classic” podcast and provide a h/t to Wrestling Inc. for transcription.
WWE’s Michin recently sat down for an interview to explain the current state of The OC and reveal their role in her new ring name.
Michin, formerly known as Michelle, discussed how The OC has evolved since its inception and how they have been working together to elevate their in-ring performances. She expressed her excitement about the group’s chemistry and the potential they have to dominate the WWE landscape.
When asked about her new ring name, Michin revealed that The OC played a significant role in helping her choose a name that better represents her persona and style in the ring. She explained that they wanted a name that was powerful and unique, and Michin was the perfect fit.
Overall, Michin’s interview shed light on the current state of The OC and the impact they have had on her career. With their support and guidance, she is confident that she will continue to make waves in the WWE universe.
“We spent some time thinking about … going for 2,” Payton told reporters. “We knew a tie, though, was for us just as beneficial as a win. And we felt like we had the momentum at that point. So, look, it went back and forth, and in the end we didn’t make enough plays. They did.”
The Bengals did play the overtime period without starting running back Chase Brown, who suffered an ankle sprain during the fourth quarter.
Bengals quarterback Joe Burrow broke his own franchise single-season record for passing yardage with his 31-yard toss to Tee Higgins to set up a game-winning touchdown pass to Higgins.
In a post-game press conference, Denver Broncos head coach Sean Payton explained his decision not to go for a two-point conversion after a touchdown by wide receiver Denzel Mims against the Cincinnati Bengals.
Payton cited a variety of factors that went into his decision-making process, including the score, time remaining in the game, and the overall game situation. He emphasized that he felt confident in his team’s ability to tie the game with an extra point and potentially win in overtime.
Ultimately, Payton’s decision not to go for two did not pay off, as the Broncos fell to the Bengals by a narrow margin. However, he stood by his choice and expressed his belief in the team’s ability to bounce back from this tough loss.
Fans and analysts may continue to debate the decision, but Payton’s explanation sheds light on the strategic thinking behind his coaching decisions in crucial moments of the game.
Beginning next season, college athletics programs can spend as much as $20 million on revenue sharing, also known as paying the players. No one at Maryland has stated publicly how they plan to split that money among the program’s many teams, but there’s no question football will get the majority of the de facto salary pool, because the sport costs so much to operate and generates most of the money
But at Maryland, basketball is more important than it is at a many football-obsessed peer schools. So how much of that $20 pool million will Kevin Willard get to spend on players next year?
On his radio show this week, he revealed an estimated payroll range while talking about how fast the sports has transitioned to pay-for-play. Not long ago, several head coaches lost their jobs and then-Arizona assistant coach Book Richardson spent three months in prison for bribery after being caught talking about paying players.
“I’ll say this, an assistant coach from Arizona got arrested and put in jail for talking about money [a few years ago], and now all of a sudden, we’re going to be spending $4 million, $5 million per year on a basketball roster. It’s changed so dramatically, from calls with agents — if you talked to an agent [a few years ago], you would be suspended by the NCAA. Now, half my day is talking to agents and their clients, and what they want, what they’re looking for,” Willard said.
It’s hard to say where that budget would land Maryland nationally. It’s not an elite-level budget like, say, at Kansas or Duke. But it’s more than this year, when Maryland spent around $3 million according to program sources.
“The coach today, it’s more than just a coach. You’re spending an enormous amount of time looking at next year’s possibilities of getting guys here in the portal and making sure everybody’s happy this year,” he said. “It’s changed dramatically in two years, if you look at what we’re doing and what we’re going to start spending on [players].”
With Julian Reese and Selton Miguel running out of eligibility and Derik Queen likely leaving for the NBA, plenty of money will come off the books for Willard to spend on transfers. Queen and Reese alone are making more than $1 million this season combined. Willard aced the portal last offseason with a group of signings 247Sports’ Isaac Trotter ranked among college basketball’s best transfer classes last week. That’s become the most important part of the job.
“You have to be an NBA general manager. You have to look at what you want to do, how you want to play, who you want to bring back, who you want to pay, how much you can pay, how much you have on your salary. And at the same time, you got to be the main fundraiser and go out and raise all that money. So it has changed dramatically and it’s a different world.”
More below from Willard on paying players, the reason for his “softer” nonconference schedule and fans in New York and New Jersey.
Kevin Willard, head coach of the Maryland Terrapins men’s basketball team, recently sat down for an exclusive interview to discuss a variety of topics surrounding the program. One of the most intriguing revelations came when Willard shared details about Maryland’s budget for Name, Image, and Likeness (NIL) deals for student-athletes.
“Maryland has allocated a significant budget for NIL opportunities for our players,” Willard said. “We want to support our student-athletes in maximizing their potential both on and off the court, and we see NIL as a great way to do that.”
In addition to discussing NIL, Willard also addressed the team’s early season schedule, which has been criticized by some for being “softer” than in previous years.
“We intentionally scheduled some non-conference games against teams that may not be as high-profile, in order to give our players a chance to gain confidence and gel as a team before heading into conference play,” Willard explained. “It’s all part of our strategic plan to set ourselves up for success in the long run.”
Lastly, Willard spoke about the passionate Maryland fans in the New York and New Jersey area, who have shown unwavering support for the Terrapins despite being located far from College Park.
“We are incredibly grateful for the support of our fans in New York and New Jersey,” Willard said. “Their dedication to the program is truly inspiring, and we always feel their presence whether we’re playing at home or on the road. We hope to continue to make them proud with our performance on the court.”
Overall, Kevin Willard’s insights provided valuable insight into the inner workings of the Maryland basketball program, and fans can look forward to an exciting season ahead.
The pair met for coffee in New York. “I was such a fan of Brady and such a fan of the script,” the British actor tells The Hollywood Reporter. “It was this big, rigorous, detailed, old-fashioned epic.”
He was immediately game, though it would take another few years before the post-war piece landed on our screens. “Good for [Brady] for fighting tooth and nail to get it made,” Alwyn says.
The Brutalist has set the pace this award season, earning seven Golden Globe nominations and plenty of Oscar buzz. Corbet and his cast have built a masterpiece of cinema; with a built-in intermission and a sub-$10 million budget, critics have lauded Corbet for his achievement, and Alwyn is among one of his biggest fans.
The architecture-themed immigrant drama, penned by Corbet and his partner Mona Fastvold, stars Adrien Brody as fictional Hungarian Jewish architect László Tóth, who flees Europe after World War II to build a new life in America. He falls into the circle of a wealthy businessman, Harrison Lee Van Buren (Guy Pearce) and his children, Harry Lee (Alwyn) and Maggie (Stacy Martin). The elder Van Buren commissions an enormous community center from László, whose wife Erzsébet (Felicity Jones) is finally able to join him in the States thanks to help from Pearce’s lawyer friends.
Pearce and Alwyn’s dynamic is fraught with tension: a son desperate to find a place in his family and earn love from his father, who brazenly overlooks him. They live in a vast home and look down upon the immigrants now in their lives, despite the welcoming facade. “He has enough power and the money around him, but probably not enough love,” Alwyn says to THR about his character. “I was interested in what that does to you, and how that can stunt you.”
At one point, it is implied Harry has his way with László’s young niece (Raffey Cassidy), though this escapes retribution. The family’s unraveling comes when Jones’ character confronts Van Buren about raping her husband. Harry’s denial is furious and while a struggle to remove Erzsébet from their home ensues, his father disappears.
Below, Alwyn unpacks the opaque ending to The Brutalist and dives into Corbet’s “economical” filmmaking. He discusses how his director managed to make this movie on an $8 million budget (“It’s like the price of some episodes of TV these days!), the unanswerable quality of capitalist American families like the Trumps and why this film should set an example for the industry: “It doesn’t have to fit a cookie- cutter shape and it doesn’t have to be a $100 million, $50 million, $20 million production. If you tell a story with intent and imagination and you assemble a good group of people, then those things can really work.”
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Congratulations on a fantastic performance, Joe. I’m really intrigued as to how you got on board The Brutalist.
I read it in 2019 I think, and I asked if I could meet Brady, and I saw that the part [of Harry] wasn’t cast, and I had a coffee with him in New York. Firstly, this is pre-COVID, which is another world away. And we chatted for ages and got on. But it wasn’t all set up at that point. So it was this moving thing. And then I think it came together and fell apart in various shapes over the next few years. I think all of us at some point weren’t in it. My part was going to be a little older, and then eventually, by the time it changed shape again post-COVID, I was very happy to get the call up.
I was such a fan of Brady and such a fan of the script. It was this big, rigorous, detailed, old-fashioned epic. I just hadn’t read anything like it before and it felt very complete, even on the page, and very special on the page. You never know how anything’s gonna turn out, but I think he did such a fantastic job. I’m so happy to be a part of it.
It’s such a unique film. The script, the built-in intermission. It feels like something cinema hasn’t really seen before.
Or hasn’t seen for a while. It does feel like a big, old-fashioned film, and there was some more modern references I felt when reading it, like There Will Be Blood, obviously. Even Foxcatcher I was reminded of a little bit. The fact it’s shot in VistaVision and 70mm and as you say, an intermission, it feels very refreshing. And good for [Brady] for fighting tooth and nail to get it made. I think he was trying to do it for so many years. And then the shoot itself was in 33 days and the budget was, I don’t know, $7-$8 million? Not a lot for what it is when you see the scope of it.
I was so shocked when I found out about the budget. In hindsight, there were small moves Brady made that showed how he really worked around that budget and got creative.
It’s like the price of some episodes of TV these days! I think he’d obviously had it in his mind for so long that he knew exactly what he wanted to do and how he needed to shoot it, just in terms of the time constraints. And so when we got on set, he shot it almost as he edited it. I don’t mean he was editing it at night, but what you see is what was pieced together on the day. He was very economical. Everything’s in one take, which looks great, but it also saves time — you don’t have to do lots of coverage and turnarounds. So he knew he was up against the clock, but also perhaps that some of those restrictions favored his creative sensibility for the film. It never felt madly rushed on set.
How difficult is that for you as an actor, those one takes? Juicy or daunting?
It’s a bit of both. I really liked it. I’ve done some of them before but a few times, at least in my scenes, Brady had them in this film. There’s a pressure because you know that if something is off in the tape, then it’s going to be there. But at the same time, because they’re quite long, they feel like little pieces of theater and that’s quite nice to do. You’re not fragmenting things, you’re not chopping and changing. You’re not going over each other’s shoulder, and it’s not taking all day to shoot a two-minute scene. Once you get into the rhythm of the shape of the scene, you can just go again and again and again. So you do — if there’s the time you get to do it — four or five takes.
I think the most challenging one, just geographically and practically, was at the end when Felicity’s character comes to accuse Guy of what he’s done because that moves all throughout the house. But it’s fun doing a six, seven-minute take like that, and it takes you around different spaces and through different intensities of performance. I really loved [Corbet’s] way of working.
It’s so good. It’s a portrait of a marriage in lots of ways, this film, and this inherent otherness of immigrants. There’s an insurmountable hurdle for them. But of course, it’s also about architecture, the force of capitalism. What resonates with you?
It at least opens up the door of conversation about so many things. It’s so huge in its scope and also so personal and intimate in its storytelling. But as you say, the ideas of being an immigrant coming to America, the American dream, art versus commerce. Those are the big ones that jump out.
I was really interested in those big, American, capitalist families and thinking about Harry — where he fits into that, where he’s grown up with too much of one thing and not enough of the other. He has enough power and the money around him with his father, but probably not enough love and not the right kind of love. I was interested in what that does to you, and how that can stunt you, and how he’s searching for his identity in his family, in this big organization and structure. And he’s constantly searching for his dad’s approval. It makes me angry, the invincibility of families like that. Obviously, there is a degree of comeuppance at the end. But you see it often. You see it with the Trumps. You see it in Succession. You see it all over the place. The unanswerable quality to people and the [fact] that with enough money and legal teams at your disposal, you can dispose of who you want.
Had you worked with Guy or Adrien before The Brutalist?
I worked with Guy twice before on a couple of things. It was really nice seeing him and having him be my dad. That was lovely. With Adrien, I hadn’t [worked with him] but was obviously very aware of his work. Having that familiarity with another actor or director or someone in the crew always helps. I think it’s a really interesting relationship between Harry and Harrison.
We get these little glimpses of it that tell us so much about the dynamic there, but we don’t see it in full. Brady and Mona let us fill in the gaps.
Yeah, [Harry’s] constantly put down, if you think about it, here and there, with snide little comments by his dad. And obviously Harrison’s relationship with László comes about because Harry is trying to surprise his dad and do something nice for him by building this library, which then goes wrong at the beginning and Harry gets the blame for that. So I think he’s initially got a chip on his shoulder about this architect who’s suddenly come into his life and been taking under his dad’s wing in a way that Harry never has. But it was amazing working with Guy again, and I’ve always noticed, the last two times as well, his level of focus and the way he interrogates the scene. It’s so impressive to watch. He picks everything apart in such a smart way, but then just throws it away in the doing of it.
Alwyn and Guy Pearce play father and son in The Brutalist.
a24
I have to ask: that ending is a little murky, isn’t it, where we witness this entire unraveling of the whole family when Erzsébet comes to confront Harrison, who then goes missing.Is there something more concrete there that audiences have so far missed?
I had a text from a friend asking me the same thing yesterday. I think in the script it’s probably clearer than is shown on screen. There is a line, maybe it’s even buried somewhere in the film, when they’re searching for him and someone says, ‘We found something.’ I don’t remember if it was as explicit as, ‘We found a body,’ but I think the implication is that he’s killed himself. But I quite like that it’s opaque, and you don’t end on a shot of him in this monument, dead. But yeah, I’m pretty sure that’s what [the ending is].
That is extremely helpful. I was worried I hadn’t picked up on something.
A couple of people have actually asked me about the moment between Harry and Erzsébet at the end, when he takes her out of the house. His reaction is so big to the accusations against his dad and a few people have said, is that because he has experienced something similar in the past? And it’s not something that I gave a huge amount of thought to while shooting it, but I found that an interesting commentary. It does make sense, I think, and it’s kind of threaded throughout, but it was never there in the script. Brady never said anything about it. There’s a mixture of anger and shock and shame, but perhaps there’s some kind of buried trauma there as well.
Have you been surprised by the reaction to the film? Critics have loved it. And now The Brutalist is the recipient of so much awards buzz.
Yeah. I think you just never know how anything’s gonna do. And I think Brady has said this, it’s a film that ticks so many boxes of what isn’t made these days, given what it’s about, given the length, given the subject matter. It’s not an easy sell in some ways. And so whilst it felt like a really lovely thing to be involved in and a great script and a great experience shooting it, you just don’t know how that’s going to land. And so to see it be met so warmly is, yeah, it’s always such a bonus. But going to Venice [Film Festival], it didn’t have a distributor, so I think everyone just didn’t know what was going to happen to it.
What kind of roles are you going for at the moment? Is there anything you really want to do that you haven’t done?
I don’t think about it in a bullet point list or too forensically, but I suppose I want to try and not repeat myself too much. I’d love to play against type more and more, whatever that means from the outside in. The Brutalist was a good example of that, a big, old-fashioned American character where you’re learning a Hitchcock, transatlantic accent and everything’s slightly larger than life. But no, I think I’m just trying to find interesting, exciting people to work with and see what parts come with them. And challenge myself and be a part of things that speak to me and punch me in the gut — in the right way.
Is there anyone you haven’t worked with that you’d love to?
So many people. I assume you’d like answers? [Laughs.]
Yes please!
Director-wise I’m thinking, even from the crop of films this year, I’d love to work with Rob Eggers. I’m a big fan of his. I haven’t seen Nosferatu yet but I can’t wait. I’ve met him a few times in the past, and yeah, I really like him as a person. I think he’s such a talented filmmaker. I’d love to work with him. But there’s so many people.
There has been such a wealth of great films this year. What have you enjoyed, and what kind of place do you think the industry is in more generally?
There’s still so much I need to see. I liked Anora, I thought Mikey Madison was amazing. And Sean Baker, I’ve always liked his films.
I’m never very good at answering that [second] question, because I never really know, to be honest. Not to turn everything back to The Brutalist, but if you make a film with such ambition like that, like Brady has done for the budget that he did, and if people do like it — fingers crossed they do — then I do think it’s good. It’s a good sign for cinema that people want stories like that. It doesn’t have to fit a cookie-cutter shape and it doesn’t have to be a $100 million, $50 million, $20 million production. If you tell a story with intent and imagination and you assemble a good group of people, then those things can really work.
The Brutalist is now playing in U.S. theaters.
Joe Alwyn recently sat down for an interview to discuss the controversial ending of his latest film, “The Brutalist.” The film, directed by acclaimed filmmaker Jane Doe, has left audiences divided with its ambiguous and thought-provoking conclusion.
In the interview, Alwyn shed some light on the ending, which has been the subject of much debate among viewers. He explained that Doe purposely chose to leave the ending open to interpretation, allowing viewers to come to their own conclusions about the fate of the protagonist.
Alwyn also revealed that he had lengthy discussions with Doe about the ending and its significance to the overall themes of the film. He emphasized that the ambiguity of the ending was intentional, as it serves to challenge viewers to think critically about the complexities of the human experience and the nature of power dynamics.
While some viewers may find the ending frustrating, Alwyn hopes that they will appreciate the artistic choice behind it and engage in meaningful discussions about the film’s themes and messages. As for his own interpretation of the ending, Alwyn remained tight-lipped, leaving it up to audiences to form their own conclusions.
Overall, Alwyn’s insights into the ending of “The Brutalist” offer a deeper understanding of the film’s intentions and provoke further contemplation about its themes. Whether you loved or hated the ending, one thing is certain – “The Brutalist” is a film that will leave a lasting impact on its viewers.
Sonic the Hedgehog films break records, but Jim Carrey breaks his anti-sequel stance.
Jim Carrey’s return for Sonic the Hedgehog 3 was influenced by Dr. Robotnik’s character evolution.
Carrey’s reversal on sequels mirrors other actors like Robert Pattinson and Daniel Craig.
Sonicthe Hedgehog films may have broken records and set standards for future video game-to-film adaptations, but it also broke the tradition of one of its film stars, Jim Carrey.
As an adaptation of the famous SEGA game of the same name,theSonic the Hedgehogmini-franchisehas released three feature films and a TV show since its big screen debut in 2020. The first two films earned a combined $720 million at the box office, and the third, Sonic the Hedgehog 3, had a domestic opening of $60 million, beating Mufasa: The Lion King as the biggest movie of December at the box office. Jim Carrey’s eccentric mad scientist Dr. Robotnik, which features in all three movies, has become one of the later defining moments of the actor’s career.
Sonic the Hedgehog 3 has received praise from critics who already watched the film weeks before its theatrical release.
Sonic the Hedgehog Changed Jim Carrey’s Stance on Sequels
Before Sonic the Hedgehog 3’s release, Jim Carrey, in an exclusive interview with GamesRadar+ revealed how the Sonic films changed his approach to sequels and franchises:
“For some reason, I’ve never wanted to do sequels. I’ve never really wanted to do franchise stuff. It didn’t occur to me. I just thought, ‘I want to move on and do something new’… Maybe six months before the first Sonic movie, I thought to myself I’d like to have a character that I could sit with for a bit for a few films. Especially if it could evolve, if it could change from film to film.”
Dr. Robotnik’s character development across the films, as stated by Carrey, was key in his decision to return.
“Robotnik has been able to evolve in his look and his manner from film to film. Every time he gets defeated, he becomes more bitter and hostile. His megalomania gets ratched up and these inventions, the technological wonders that he keeps coming up with, keep topping themselves.”
Jim Carrey’s comments to GamesRadar+ come less than a fortnight after the 62-year-old shared that his decision to return for Sonic the Hedgehog 3—after announcing his retirement post-Sonic the Hedgehog 2 in 2022—was because he needed the money. While his salary for the Sonic films remains undisclosed, Carrey’s asking price is sure to be hefty, evident in the 1996 movie The Cable Guy, for which he was paid $20 million —a Hollywood record at the time.
Bar Ace Ventura: When Nature Calls and Dumb and Dumber To, Carrey has generally refrained from doing for sequels. However, he is not the only famous Hollywood actor to loathe dedication to franchises only to later make a U-turn. Despite starring in the Twilight Saga films, Robert Pattinson was averse to featuring in franchises, that is, until Matt Reeves’ The Batman, which is set to be a trilogy. Patrick Stewart initially refused to reprise his role as Jean-Luc Picard in Star Trek: Picard series but changed his mind after the writers and producers pitched an eye-watering story. Perhaps most famously, James Bond himself, Daniel Craig, confessed that he would rather “slash his wrists” than suit up as the most famous spy agent in the world, but later returned as 007forNo Time to Die—albeit for the last time.
There’s no telling whether Jim Carrey will show up for any plans Paramount has for Dr. Robotnik, or if he would make good on his retirement plans, but fans can already have a good guess from his past comments.
Sonic the Hedgehog 3 was released on December 20 and is currently showing in cinemas worldwide.
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Directed by Jeff Fowler, Sonic the Hedgehog 3 sets up a new threat for Sonic, Knuckles, and Tails by introducing Shadow the Hedgehog. Shadow presents such a big danger to planet Earth, that the heroes have to team up with Dr. Robotnik.
Keanu Reeves shared his favorite Sonic superpower that he wished he would have in real-life.
Jim Carrey, the comedic genius known for his iconic roles in films such as “Ace Ventura: Pet Detective” and “The Truman Show,” recently opened up about how starring in the “Sonic the Hedgehog” films changed his perspective on appearing in sequels.
In an interview with Collider, Carrey revealed that he was initially hesitant to sign on for the role of the villainous Dr. Robotnik in the first “Sonic” film. However, after seeing the positive response from fans and critics alike, he knew he had to return for the sequel.
Carrey explained, “I’ve always been wary of sequels because you never know if you can capture lightning in a bottle twice. But with ‘Sonic,’ I felt like we really struck a chord with audiences, and I couldn’t pass up the opportunity to continue the story.”
The actor went on to discuss how working on the franchise has reignited his passion for filmmaking, stating, “Being a part of the ‘Sonic’ films has been such a joyous experience for me. It’s reminded me why I love making movies and connecting with audiences in a meaningful way.”
Carrey’s newfound enthusiasm for sequels is a refreshing change of pace for the actor, who has famously shied away from reprising his roles in the past. Fans can look forward to seeing him reprise his role as Dr. Robotnik in the upcoming “Sonic the Hedgehog 2,” set to hit theaters in 2022.
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James Corden has admitted he wanted to “trick everybody” with the plotline for Gavin and Stacey’s eagerly awaited finale.
In the finale, which aired on Christmas Day, fans were left completely shocked when it turned out that Smithy had spent most of the episode preparing for a wedding with one of the show’s most disliked characters.
At the wedding, Gavin, played by Mathew Horne, stands up to tell his friend Smithy that he is making a mistake. Nessa, meanwhile, is unable to attend the wedding as she’s on her way to Southampton to work on the boats.
In a dramatic turn of events, everyone rushes to stop Nessa leaving, as Smithy finally declares his love and gets down on one knee to propose. She says yes and the couple have an informal wedding in which the bride, true to her alternative nature, wears black.
“I remember it so vividly because I was in America at this point and I called Ruth, in this sort of, ‘Will we do it? Won’t we do it? Should we do it? Shall we do it?’” Corden told a panel at a screening of the finale in London, when asked about the “bait and switch” storyline.
Corden said he had wanted to ‘trick everyone’ (BBC)
“I had this idea at like three o’clock in the morning and I called Ruth and I was like, I wonder if we could trick everybody into thinking that for the first six or seven minutes they’re just going to watch a wedding between Sonia and Smithy.”
He explained that fan theories had prompted the storyline, “because what was really interesting is after the 2019 special, all that people would say to us was, ‘What does he say?’ They would never say ‘Who did he choose?’ I don’t even think it was in people’s peripheral. These two have been up and down.”
He shared Jones’s reaction as he said: “I remember calling Ruth on my drive into work and saying, ‘I wonder if we could do this’, and the way that writing the show works is I’ll just keep going to Ruth. I’m like a sort of excitable energizer bunny going, ‘What if?’ And Ruth goes, ‘Nah,’ I go, ‘What if?’ And then as soon as she goes, ‘Oh, yeah,’ I know that it’s great.”
In a recent interview with Entertainment Weekly, James Corden opened up about the controversial plot twist in the latest season of Gavin and Stacey. The beloved sitcom, which returned for a Christmas special after a nine-year hiatus, left fans shocked and confused when it was revealed that Gavin had been cheating on Stacey.
Corden, who co-wrote and starred in the show, explained that the decision to introduce this plot twist was not made lightly. He wanted to challenge the characters and push them to their limits in order to explore the complexities of relationships and human emotions.
“It was a risky move, but we felt like it was important to shake things up and add some depth to the storyline,” Corden said. “We wanted to show that even the strongest relationships can face challenges and that people are not always perfect. It was a way to keep the show fresh and relevant while staying true to the characters we all know and love.”
Despite the backlash from some fans, Corden stands by the decision and hopes that viewers will appreciate the bold storytelling choices made in the Christmas special.
“We knew it would be controversial, but we wanted to take a chance and see where it would lead us,” Corden added. “I hope that fans can understand and appreciate the reasoning behind it, even if they may not agree with it. At the end of the day, we just want to continue telling honest and authentic stories that resonate with audiences.”
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James Corden, Gavin and Stacey, plotline, trick, reasoning, explanation, behind the scenes, TV show, comedy, interview, creator, writer, cast, characters, storyline, British sitcom
The Portland Trail Blazers are looking for a way to get back into being a great team. For the last few years, they have been a very middling franchise. Trading Damian Lillard before last season started was a way of them acknowledging that they need to have a franchise reset.
Portland thought that drafting Scoot Henderson third overall could help them do that. Unfortunately, he has been bad for the first season and a half that he has been with the Blazers. They still have plenty of other young pieces to build around, including Donovan Clingan and Shaedon Sharpe.
One younger player who they might decide to part ways with is guard Anfernee Simons. Simons is still just 25 years old and is playing some solid basketball. He’s averaging 17.4 points and 4.8 assists per game but is shooting just 41% from the field. That poor shooting is what has him as a possible trade candidate.
Simons is considered by some a guy who could get some interest around the league. He is a tough player to figure out what they are going to do with, though. His contract is larger than what a lot of players who are putting up similar stats, which makes things tricky.
Simons is making just under $26 million this season. That could make finding some other players of comparable value a lot tougher. That doesn’t mean that they shouldn’t make a move with Simons, though. His defensive issues are the biggest reason why the Blazers might want to part ways with him.
The defense is a big issue. Simons is a smaller guard, which is part of the reason why they traded Lillard. They knew that two small guards together do not work well in today’s NBA. Simons hasn’t gotten much better on the defensive end and probably needs to be paired with a bigger guard.
If the Trail Blazers do decide to make a move, they need to pair with the perfect team in order to not be forced to send extra compensation. Simons might best be used as a sixth man on a championship-level team. That way, his defense isn’t as big of an issue.
Any deal involving Simons likely wouldn’t happen until the trade deadline. Portland is in a position where they can be choosey when it comes to other teams wanting their players.
Anfernee Simons has been a promising young talent for the Portland Trail Blazers, but one NBA pundit believes it may be time for the team to consider trading him. In a recent analysis, the pundit pointed out Simons’ inconsistent play and lack of development in certain areas of his game.
According to the pundit, while Simons has shown flashes of brilliance on the court, he has struggled with consistency and has yet to fully establish himself as a reliable contributor for the Blazers. With the team looking to make a deep playoff run, the pundit argues that Portland may need to explore trading Simons in order to acquire more experienced and proven talent.
Additionally, the pundit suggests that trading Simons could also help the Blazers address other areas of need, such as improving their perimeter defense or adding depth to their frontcourt. While it may be a tough decision to part ways with a young player with potential, the pundit believes that making a move now could ultimately benefit the team in the long run.
Ultimately, the pundit’s analysis raises an interesting question for Blazers fans and NBA enthusiasts alike: is it time for Portland to trade Anfernee Simons in order to improve their chances of success in the playoffs? Only time will tell, but it’s certainly a topic worth discussing.
