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Tom Cruise says he casts actors by finding their inner light first and then builds the script around it used that approach on Renee Zellweger for Jerry Maguire “Tom Cruise: "I'm not just having a script and there's the character and let's find the actor that could play this...

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“I encourage artists to not wait to get a job but go out and train.. What kind of movies do you wanna make.. I’m looking at the actor and going look at the ability that this actor has.. I’m trying to shine a light on that” ~ Tom Cruise #PMSLive
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“I encourage artists to not wait to get a job but go out and train.. What kind of movies do you wanna make.. I’m looking at the actor and going look at the ability that this actor has.. I’m trying to shine a light on that” ~ Tom Cruise #PMSLive

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In Jerry Maguire, Cameron Crowe was once told by friends that Tom Cruise would never play a “loser”, but it turned out he wanted a role that was vulnerable. “Tom said, 'I read your script. I hope I'm the right guy. Let me come out and read it for you.'
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In Jerry Maguire, Cameron Crowe was once told by friends that Tom Cruise would never play a “loser”, but it turned out he wanted a role that was vulnerable. “Tom said, 'I read your script. I hope I'm the right guy. Let me come out and read it for you.'

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Tom Cruise on acting opposite Jack Nicholson: the lesson every actor needs to understand about the lens “He is off camera the whole time, just feeding, feeding me. And he'd be like, 'That was a good take. Good, good. Good Tommy, nice Tommy.'” “I could just see also as I'm doing it, when you're acting, you're in the performance, but it's very much kind of... I'm filling the space.” “A lot of artists are not, it's not taught in film school to understand what the lens is and what to do and why the eye movements, the eyebrows or the breath. And recognise what effect that has.” “You could feel his voice start to relax and his face start to relax and you could feel the energy that he was going. And it just, he just centred it. And just throwing, like, just lasers as the film went on.”

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Christopher Nolan on working with Tom Holland for the first time in ‘THE ODYSSEY’: “Tom Holland is an actor whose work I’ve admired for years, and I felt very confident, you know, he could take on this this coming-of-age story. But I have to say, he dazzled me with with his ability. He’s an extraordinary actor, beyond what I even hoped for or imagined. That’s such a thrill as a director when you you have somebody doing something even more than you saw in the character. He’s really a remarkable young actor.”
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Christopher Nolan on working with Tom Holland for the first time in ‘THE ODYSSEY’: “Tom Holland is an actor whose work I’ve admired for years, and I felt very confident, you know, he could take on this this coming-of-age story. But I have to say, he dazzled me with with his ability. He’s an extraordinary actor, beyond what I even hoped for or imagined. That’s such a thrill as a director when you you have somebody doing something even more than you saw in the character. He’s really a remarkable young actor.”

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A 26-year-old Tom Cruise on failure, risk, and refusing the "movie star" label: In a 1988 interview around the release of Rain Man, the interviewer pushes Cruise on whether fame has made him emotionally guarded — suggesting that "just out of necessity as a movie star, there is some part of you that has to be cut off." Cruise pushes back immediately: "You have to understand, it's not about being a movie star. This whole interview and every time we sit down — you ask me this, and every time I tell you that there isn't a part of me that's cut off. It is about the work. Being a movie star is a wonderful thing that has happened, but that's not how I approach choosing a film or how I approach my life." He insists he still lives a normal life — going to the movies, the gas station, grocery shopping. No entourage mythology. No mystique. Just work. The interviewer then tries another angle, noting that Cruise has "one of the nicest reputations in Hollywood" but doesn't let people get real close. Cruise's response is disarmingly simple: "I feel like I'm letting you pretty close. I'm doing this to help promote the films and I don't really hold back that much, but there are certain things I don't want to talk about or that aren't important for people to hear." It's not guardedness. It's boundaries — and at 26, he already knew the difference. When asked about confidence and whether it ever gets shaken, Cruise is surprisingly candid: "All the time. Sometimes I look back and wonder where I got off going to New York to say I'm going to be an actor." But then he reveals the mindset that arguably built one of the most durable careers in Hollywood history: "What has helped me is that I don't treat failure as a personal, horrendous defeat. If something didn't work, I want to know why it didn't work so I can evaluate it, learn from it, and lift myself up." b No dramatics. No ego protection. Just a feedback loop: fail, understand why, adjust, move forward. And when the interviewer points out that he seems to court danger — with racing, with risky career moves Cruise doesn't deny it: "I guess I like to have everything on the line. I like to feel that there is something at stake, and I really enjoy that."
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A 26-year-old Tom Cruise on failure, risk, and refusing the "movie star" label: In a 1988 interview around the release of Rain Man, the interviewer pushes Cruise on whether fame has made him emotionally guarded — suggesting that "just out of necessity as a movie star, there is some part of you that has to be cut off." Cruise pushes back immediately: "You have to understand, it's not about being a movie star. This whole interview and every time we sit down — you ask me this, and every time I tell you that there isn't a part of me that's cut off. It is about the work. Being a movie star is a wonderful thing that has happened, but that's not how I approach choosing a film or how I approach my life." He insists he still lives a normal life — going to the movies, the gas station, grocery shopping. No entourage mythology. No mystique. Just work. The interviewer then tries another angle, noting that Cruise has "one of the nicest reputations in Hollywood" but doesn't let people get real close. Cruise's response is disarmingly simple: "I feel like I'm letting you pretty close. I'm doing this to help promote the films and I don't really hold back that much, but there are certain things I don't want to talk about or that aren't important for people to hear." It's not guardedness. It's boundaries — and at 26, he already knew the difference. When asked about confidence and whether it ever gets shaken, Cruise is surprisingly candid: "All the time. Sometimes I look back and wonder where I got off going to New York to say I'm going to be an actor." But then he reveals the mindset that arguably built one of the most durable careers in Hollywood history: "What has helped me is that I don't treat failure as a personal, horrendous defeat. If something didn't work, I want to know why it didn't work so I can evaluate it, learn from it, and lift myself up." b No dramatics. No ego protection. Just a feedback loop: fail, understand why, adjust, move forward. And when the interviewer points out that he seems to court danger — with racing, with risky career moves Cruise doesn't deny it: "I guess I like to have everything on the line. I like to feel that there is something at stake, and I really enjoy that."

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Russell Crowe says Tom Cruise taught him a blackjack strategy that won them $25,000 “Occasionally I will go and play blackjack at a casino if I'm in a group of people because, if you're all disciplined and if you hold every seat at a table, you can turn the tide against the house very easily” “Funnily enough, it was Tom Cruise who taught me this. If you have it so the first chair and the last chair make the calls and the decisions, and everybody else just sits on 12 and above, you watch the mathematics come your way” “Now, way back in the day, Tom calls me and goes, ‘Hey, bud. We got this thing set up. Steve Wynn has put on a jet. He's going to fly us to Vegas. We're allowed to play at Shadow Creek.’ I'm not really a golfer, but it sounded good to me. Jumped on the plane, went there, and we're playing Shadow Creek” “We enjoyed ourselves at the golf course. Then we go back to the Wynn Hotel, and they've given us Michael Jackson's lanai to change clothes in or whatever. We go and get some Chinese food. The jet's comped, the golf's comped, the lanai's comped, the food's comped, and then we go and play blackjack together” “Tom explains what the team's going to do, and we take $25,000 or more off the table. We go back to the airport, get on the comped jet, fly back to LA, and we finished up as a group. That was a perfect day”
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Russell Crowe says Tom Cruise taught him a blackjack strategy that won them $25,000 “Occasionally I will go and play blackjack at a casino if I'm in a group of people because, if you're all disciplined and if you hold every seat at a table, you can turn the tide against the house very easily” “Funnily enough, it was Tom Cruise who taught me this. If you have it so the first chair and the last chair make the calls and the decisions, and everybody else just sits on 12 and above, you watch the mathematics come your way” “Now, way back in the day, Tom calls me and goes, ‘Hey, bud. We got this thing set up. Steve Wynn has put on a jet. He's going to fly us to Vegas. We're allowed to play at Shadow Creek.’ I'm not really a golfer, but it sounded good to me. Jumped on the plane, went there, and we're playing Shadow Creek” “We enjoyed ourselves at the golf course. Then we go back to the Wynn Hotel, and they've given us Michael Jackson's lanai to change clothes in or whatever. We go and get some Chinese food. The jet's comped, the golf's comped, the lanai's comped, the food's comped, and then we go and play blackjack together” “Tom explains what the team's going to do, and we take $25,000 or more off the table. We go back to the airport, get on the comped jet, fly back to LA, and we finished up as a group. That was a perfect day”

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In Collateral, Michael Mann says Tom Cruise stalked various members of the crew for weeks. “He learned their habit and picked the moment. Someone would leave gym at 7 a.m., feel a slap on their back, and it’d be Tom with a Post-it. That was confirmed kill”
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In Collateral, Michael Mann says Tom Cruise stalked various members of the crew for weeks. “He learned their habit and picked the moment. Someone would leave gym at 7 a.m., feel a slap on their back, and it’d be Tom with a Post-it. That was confirmed kill”

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BESSENT: We'll be looking at Treasury to keep the retail gas stations honest. 'You did this on the way up, you better be doing this on the way down.' And I'm sure the president will call out anybody who's a bad actor EISEN: That sounds like a warning BESSENT: I'm sure everybody will be a good actor
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BESSENT: We'll be looking at Treasury to keep the retail gas stations honest. 'You did this on the way up, you better be doing this on the way down.' And I'm sure the president will call out anybody who's a bad actor EISEN: That sounds like a warning BESSENT: I'm sure everybody will be a good actor

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Tom Cruise got up on the stage and simply had to tell Wynn Thomas that he was at that first screening of She’s Gotta Have It in New York on August 8, 1986 and has been a fan ever since
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Tom Cruise got up on the stage and simply had to tell Wynn Thomas that he was at that first screening of She’s Gotta Have It in New York on August 8, 1986 and has been a fan ever since

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Tom Cruise explains what it actually feels like to ride a plane wing at 145 mph: 'It's the toughest weight workout you've ever had' Host: “I get nervous for you. Do you have fear?” “Also when I'm there on the wheel, I'm worried about these downdrafts that are coming in. I'm perceiving the bumps. I know what that pilot is going through.” “Because also when I'm flying in between the two wings and I'm zero g in there, I also have to know my body position because I'm creating drag and reducing the air flow over that wing.” “When that airplane's going and doing a loop and we're right on the top, I have to know where I need to be position wise so that this airplane doesn't start falling out of the sky and we get into a spin.” “I have to rest to let my body, my muscles refuel so that I can get just from the wing to the cockpit. Because also we're limited in fuel. My pilots cannot land with me on the wing.”
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Tom Cruise explains what it actually feels like to ride a plane wing at 145 mph: 'It's the toughest weight workout you've ever had' Host: “I get nervous for you. Do you have fear?” “Also when I'm there on the wheel, I'm worried about these downdrafts that are coming in. I'm perceiving the bumps. I know what that pilot is going through.” “Because also when I'm flying in between the two wings and I'm zero g in there, I also have to know my body position because I'm creating drag and reducing the air flow over that wing.” “When that airplane's going and doing a loop and we're right on the top, I have to know where I need to be position wise so that this airplane doesn't start falling out of the sky and we get into a spin.” “I have to rest to let my body, my muscles refuel so that I can get just from the wing to the cockpit. Because also we're limited in fuel. My pilots cannot land with me on the wing.”

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Jerry Bruckheimer on convincing Tom Cruise to sign on to the film after his initial reluctance: "So they (the Navy Blue Angels) take Tom up there, and they do five Gs. They do barrel rolls, they do everything. He's heaving in the plane. He gets on the tarmac, runs to a pay phone... and he said, 'I'm in. I'm doing the movie. I love it. This is great.'" Top Gun (1986)
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Jerry Bruckheimer on convincing Tom Cruise to sign on to the film after his initial reluctance: "So they (the Navy Blue Angels) take Tom up there, and they do five Gs. They do barrel rolls, they do everything. He's heaving in the plane. He gets on the tarmac, runs to a pay phone... and he said, 'I'm in. I'm doing the movie. I love it. This is great.'" Top Gun (1986)

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Jerry Bruckheimer on convincing Tom Cruise to sign on to the film after his initial reluctance: "So they (the Navy Blue Angels) take Tom up there, and they do five Gs. They do barrel rolls, they do everything. He's heaving in the plane. He gets on the tarmac, runs to a pay phone... and he said, 'I'm in. I'm doing the movie. I love it. This is great.'" Top Gun (1986)
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Jerry Bruckheimer on convincing Tom Cruise to sign on to the film after his initial reluctance: "So they (the Navy Blue Angels) take Tom up there, and they do five Gs. They do barrel rolls, they do everything. He's heaving in the plane. He gets on the tarmac, runs to a pay phone... and he said, 'I'm in. I'm doing the movie. I love it. This is great.'" Top Gun (1986)

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lando: “you know who i'm most jealous of? jarv or andrea when they're watching my lap on the pitwall because they're obviously looking at how much quicker or slower i'm going. i don't have that on my dash. maybe they were more calm than i was inside the car [..] it's nice when you're sitting in their position, you're seeing the line going up and up, and i wish i could go and see that, maybe i'll ask them to record it and look back at that” 😭😭
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lando: “you know who i'm most jealous of? jarv or andrea when they're watching my lap on the pitwall because they're obviously looking at how much quicker or slower i'm going. i don't have that on my dash. maybe they were more calm than i was inside the car [..] it's nice when you're sitting in their position, you're seeing the line going up and up, and i wish i could go and see that, maybe i'll ask them to record it and look back at that” 😭😭

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Shai: "I'm not really after the success. There's so many people in my life that sacrified for me just to play this game that I love and I would be doing them a disservice if I didn't give it my all. None of the accolades and the points and all this stuff that's cool on social media none of that is what I'm after. I'm just after making sure that while I'm doing this thing I give it my all and I'm not wasting nobody's time"
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Shai: "I'm not really after the success. There's so many people in my life that sacrified for me just to play this game that I love and I would be doing them a disservice if I didn't give it my all. None of the accolades and the points and all this stuff that's cool on social media none of that is what I'm after. I'm just after making sure that while I'm doing this thing I give it my all and I'm not wasting nobody's time"

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Katie praising Melissa again in 2026 🥹 'she has the ability to look at a page and know it in 30 seconds, and then stand in front of you and deliver this speech about hope, and America and shes so good, I'm not even American and I'm like yeah!! And she can do that first take'
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Katie praising Melissa again in 2026 🥹 'she has the ability to look at a page and know it in 30 seconds, and then stand in front of you and deliver this speech about hope, and America and shes so good, I'm not even American and I'm like yeah!! And she can do that first take'

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U.S. Ambassador to Israel Ambassador Mike Huckabee: "The first thing I'm going to do is to take a prayer that the President gave me on Thursday when I met with him at the White House, and I'm going to take it to the Western Wall, and I'm going to place it there on behalf of the American people."
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U.S. Ambassador to Israel Ambassador Mike Huckabee: "The first thing I'm going to do is to take a prayer that the President gave me on Thursday when I met with him at the White House, and I'm going to take it to the Western Wall, and I'm going to place it there on behalf of the American people."

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Marlon Humphrey on Ravens rookie WR Ja'Kobi Lane: "He's probably had the best training camp of anybody on the team, to be honest. He low key has really been hoopin. Very big time catch radius. A couple times I've been guarding him pretty tight and I just see Lamar look at me. I'm like 'is he about to throw this?' And then he just throws it and I'm like 'why'd he throw that over his head?' And then I look up, and the dude is catching it. I'm like, what the frick. ... Thinking we got a legit threat in that guy."
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Marlon Humphrey on Ravens rookie WR Ja'Kobi Lane: "He's probably had the best training camp of anybody on the team, to be honest. He low key has really been hoopin. Very big time catch radius. A couple times I've been guarding him pretty tight and I just see Lamar look at me. I'm like 'is he about to throw this?' And then he just throws it and I'm like 'why'd he throw that over his head?' And then I look up, and the dude is catching it. I'm like, what the frick. ... Thinking we got a legit threat in that guy."

Bobby Trosset

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David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)
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David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

DepressedBergman

36,391 Aufrufe • vor 6 Monaten