tom cruise quotes magnolia

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Magnolia: 10 quotes that will stick with us forever.

One of Paul Thomas Anderson's most iconic films, Magnolia, is a deep psychological drama with many layers. Here are the best quotes from the film.

Paul Thomas Anderson is renowned for his deep  psychological dramas that appeal to both the mind and the heart. They mix small-scale settings and grounded realism with the grandiose, the abstract, and the thought-provoking. One of his most iconic films,  Magnolia , certainly falls in line with these attributes.

RELATED: 10 Behind-The-Scenes Facts About The Making Of Magnolia

It's an emotional tale that examines humanity through a mostly cynical lens, tugging at the heartstrings with its themes of love, forgiveness, and the search for meaning. Despite its minimalistic nature, the film exudes a frantic and grand feel by shifting between various figures - most of whom are troubled in some way. As one might expect from a nuanced psychological tale, it's chock-full of profound and interesting quotes.

"What Am I Doing? I'm Quietly Judging You."

The apparent "womanizer" known as Frank T.J. Mackey spends much of his story being interviewed about his origins and ideals behind his rather chauvinistic program "Seduce and Destroy." Deep into the conversation, the interviewer begins probing a bit deeper, asking for clarification about various details that Frank has kept quiet about.

After catching him in a lie regarding his history, Frank looks intensely perturbed and stares daggers at the woman. Following a question as to what he's doing, he responds with this amusing gem. It's a classic moment for both Frank as well as his actor, Tom Cruise .

"Life Ain't Short, It's Long!"

Serving as one of the many figures with an intertwined story - Frank's father, a former studio head named Earl, is on his death bed and spilling his emotional guts to the nurse, Phil. He breaks into quite an emotional sermon, wrought with regret and anguish, and laced with some elderly wisdom for Phil.

Amidst his speech, he utters this line, which, while brief, is a powerful character-defining moment and symbol of  Magnolia 's overarching themes.

"I Will Not Apologize For Who I Am. I Will Not Apologize For What I Need ..."

Getting back to the self-proclaimed macho man that is Frank Mackey, this quote is one among many that he states to the disciples of his "Seduce and Destroy" program. It's emblematic for his character in one sense, though it's also telling in its super emphatic delivery.

By this point in the film, Frank is becoming more introspective as he's being forced to reexamine his history - which he's clearly repressed - and reevaluate what he's doing. The way he makes this proclamation feels as though he's merely trying to convince  himself  of his place as a man who will "get what he wants" out of a woman.

"I'm Sick. I Have Sickness All Around Me And You Ask Me About My Life?"

While there's no shortage of great performances in  Magnolia , arguably the best  comes from Julianne Moore's raw, visceral portrayal of Earl's wife, Linda. Throughout the film, she must cope with the guilt of cheating on him and exploiting his wealth, while dealing with, as she puts it, "sickness all around me."   This is referring to both Earl's critical state, as well as her emotional torment during this moment.

RELATED: 10 Best Julianne Moore Movies (According To Rotten Tomatoes)

This outburst to a chatty pharmacist makes for one of the most memorable, intense scenes in the film. It becomes clear at this point that Linda is on the brink.

"A Man Of Genius Has Been Seldom Ruined But By Himself."

This is a peculiar one in that it's essentially a quote  of  a quote - specifically by the English writer, Samuel Johnson. Regardless, it's one of the more profound lines of dialogue spoken in the film. It's fittingly said to Donnie Smith, a former quiz show contestant whose brilliance has been marred by heavy drinking and anxiety.

Donnie Smith - along with the  current  champion of the game show, Stanley - represent a sort of wise and pure core amidst this otherwise chaotic, dark film. Donnie's story, which includes his parents taking his winnings and being struck by lightning, is a tragic one, punctuated by this line spoken by a patron at a bar he attends.

"I'm Gonna Teach You About The Worm ..."

Anderson sprinkles in some subtle, but prominent biblical themes and references in Magnolia . A prime example of this motif is spoken by way of a freestyle rap from a boy named Dixon. The rap ambiguously refers to "The Worm" as a sort of unforeseen, dark presence in the film, confirmed by the next line in his rap, when he says -  "he's running from the devil, but the debt is always gaining." 

The literal translation and significance are open to interpretation. Still, many have seen this as representative of the more malignant nature of humanity shown in Magnolia , and its parallels with biblical allegory. It also has a very prophetic tone to it - keeping in line with the film's portrayal of a child's inner wisdom.

"This Was Not Just A Matter Of Chance ..."

Anderson intrigues his audience right from the start of Magnolia , as viewers are shown a narrated collage of supposedly real events wrought with odd, eerie coincidences. It may seem segmented and unrelated to the film at large, but upon closer inspection, it actually parallels the array of intertwining characters, whom destiny is seemingly brought together in a separate, but collective journey towards peace and redemption.

RELATED: 10 Most Accurate Movies Based On True Events

This theme of "divine intervention," as it were, is reinforced by this statement from the unseen narrator.

"What Most People Don't See - Is Just How Hard It Is To Do The Right Thing."

In addition to some of the children featured, police officer Jim Kurring ( John C. Reilly ) is also representative of a more lighthearted voice of reason in  Magnolia . Rather than dealing with a dark past or trauma, he simply tries to do the right thing and desperately wants to be looked up to.

This line exemplifies Jim in a nutshell, as he spends much of the film interacting with the other more troubled characters, occasionally trying to steer them on the right path. The quote is in reference to Donnie's attempt to rob his place of business - though it could really apply to  most  of the figures in the film.

"It's A Dangerous Thing To Confuse Children With Angels."

Magnolia 's ongoing theme of kids representing goodness and wisdom is driven home with this line from the aforementioned bar patron.

The overarching nature of this message is apparent for just how out of place it is, and its lack of relevance to anything going on in the scene. It's one among many of Anderson's winks to the audience with regards to the underlying motifs of the film.

"... Maybe We Can Get Through All The Pi*s And Sh*t And Lies That Kill Other People."

One character unmentioned thus far may be  Magnolia 's most dynamic and intense - the daughter of a famous game show host, Claudia. She spends much of her story clearly trying to escape her troubled mind with loud music and drugs. She's seemingly endured much trauma, which the film implies resulted from sexual abuse by her father.

It's a dark and somber narrative, but one with a moderately happy ending, as she ends up with Jim, who brightens her spirits. She speaks this impactful line to Jim on a date, which is telling and relevant on a multitude of levels.

NEXT: 10 Movies That Influenced Paul Thomas Anderson

Magnolia (film)

Magnolia is 1999 film about dramatic and humorous events in the lives of many people, intertwined in a 24-hour span of coincidence and chance in Los Angeles , California , on a day of extremely variable weather.

• 2 Claudia Wilson Gator
• 3 Jim Kurring
• 4 Earl Partridge
• 5 Frank T.J. Mackey
• 8 Quotes about Magnolia
• 11 External links

Narrator [ edit ]

• It is in the humble opinion of this narrator that this is not just "something that happened." This cannot be "one of those things" ... This, please, cannot be that. And for what I would like to say, I can't. This was not just a matter of chance . … These strange things happen all the time .
• We may be through with the past , but the past is never through with us.

Claudia Wilson Gator [ edit ]

• I'll tell you everything, and you tell me everything, and maybe we can get through all the piss and shit and lies that kill other people .

Jim Kurring [ edit ]

• Let me tell you something, this is not an easy job. I get a call on the radio, dispatch, it's bad news. And it stinks. But this is my job and I love it. Because I want to do well. In this life and in this world , I want to do well. And I want to help people . And I might get twenty bad calls a day. But one time I can help someone and make a save, correct a wrong or right a situation, then I'm a happy cop. And as we move through this life we should try and do good . Do good... And if we can do that, and not hurt anyone else, well... then...
• I lost my gun today when I left you and I'm the laughingstock of a lot of people. I wanted to tell you. I wanted you to know and it's on my mind . And it makes me look like a fool . And I feel like a fool. And you asked that we should say things, that we should say what we're thinking and not lie about things. Well, I can tell you that, this, that I lost my gun today, and I am not a good cop. And I'm looked down at. And I know that. And I'm scared that once you find that out you may not like me.
• A lot of people think this is just a job that you go to... take a lunch hour, the job's over, something like that. But it's a 24-hour deal... no two ways about it... and what most people don't see is just how hard it is to do the right thing. People think if I make a judgment call, that it's a judgment on them. But that's not what I do, and that's not what should be done. I have to take everything and play it as it lays. Sometimes people need a little help . Sometimes people need to be forgiven . And sometimes they need to go to jail. And that's a very tricky thing on my part... making that call. The law is the law, and heck if I'm gonna break it. But if you can forgive someone... well, that's the tough part. What can we forgive? Tough part of the job. Tough part of walking down the street.
• I can't let this go. I can't let you go. Now, you... you listen to me now. You're a good person. You're a good and beautiful person and I won't let you walk out on me. And I won't let you say those things, those things about how stupid you are and this and that. I won't stand for that. You want to be with me... then you be with me. You see?

Earl Partridge [ edit ]

• I loved her so. She knew what I did, she knew all the fucking stupid things I’d done. But the love was stronger of anything you can think of. The goddamn regret. THE GODDAMN REGRET! And I’ll die, now I’ll die and I’ll tell you what. The biggest regret of my life , I let my love go. What did I do? I’m sixty-five years old, and I’m ashamed . Million years ago, the fucking regret and guilt, these things... don’t ever let anyone ever say to you, you shouldn’t regret anything. Don’t do that, don't! You regret what you fucking want, use that, use that, use that regret for anything, any way you want, you can use it, OK? Oh, God . This is a long way to go with no punch. A little moral, story I say: Love...Love...Love. This fucking life, it’s so fucking hard. So long, Life ain’t short it’s long, it’s long. God damn it! God damn, what did I do? What did I do? What did I do?

Frank T.J. Mackey [ edit ]

• In this big game that we play, life, it's not what you hope for, it's not what you deserve, it's what you take. I'm Frank T.J. Mackey, a master of the muffin and author of the Seduce and Destroy system now available to you on video and audio cassette. Seduce and Destroy will teach you the techniques to have any hardbody blonde just dripping to wet your dock. Bottom line? Language. The magical key to unlocking the female analytical mindset. Tap directly into her hopes, her wants, her fears, her desires, and her sweet little panties. Learn how to make that lady "friend" your sex-starved servant. I don't care how you look. I don't care what car you drive. I don't care what your last bank statement says. Seduce and Destroy produces an instant money-back guarantee trance-like state that will get you this ´— naughty sauce you want fast. Hey — how many more times do you need to hear the all-too-famous line of "I just don't feel that way about you?"
• Respect the cock! And tame the cunt! Tame it! Take it on headfirst with the skills that I will teach you at work and say no! You will not control me! No! You will not take my soul! No! You will not win this game! Because it's a game, guys. You want to think it's not, huh? You want to think it's not? Go back to the schoolyard and you have that crush on big-titted Mary Jane. Respect the cock. You are embedding this thought. I am the one who's in charge. I am the one who says yes! No! Now! Here! Because it's universal, man. It is evolutional. It is anthropological. It is biological. It is animal. We... are... men! [simulating sexual thrusting]
• Men are shit. What? Men... are... shit . What, isn't that what they say? Because we do bad things, don't we? We do horrible, heinous, heinous , terrible things. Things that no woman would ever do. No, women, they don't lie. No, women don't cheat. Women don't manipulate us. But you see what I'm getting at. You see what society does? Little boys, it's, "Wow, womaaaan!" We are taught to apologize. I am sorry. I am so sorry, baby. I am so sorry. What is it that we need? Is it their pussies? Their love? Mommy wouldn't let me play soccer... and Daddy, he hit me, so that's who I am, that's why I do what I do? Fucking bullshit. I will not apologize for who I am. I will not apologize for what I need. I will not apologize for what I want !

Dialogue [ edit ]

Songs [ edit ]

• "One" , by Harry Nilsson
• "Momentum", by Aimee Mann
• "Deathly", by Aimee Mann
• "You Do", by Aimee Mann
• "Wise Up", by Aimee Mann · Clip from the film of performances by Mann and cast members
• " Save Me " by Aimee Mann · Performance at the White House (11 May 2011)

Quotes about Magnolia [ edit ]

• Paul Thomas Anderson , as quoted in his profile at They Shoot Pictures Don’t They
• Roger Ebert , in his review of Magnolia in Chicago Sun-Times (7 January 2000)
• Roger Ebert , in his review for Great Movies (27 November 2008)
• Richard Propes, as quoted in Community Health Nursing: Caring for the Public's Health (2009) by Karen Saucier Lundy and Sharyn Janes, p. 957
• Radheyan Simonpillai, in Review at Askmen.com (22 January 2010)
• Review in TimeOut London (24 June 2006)

Taglines [ edit ]

• Things fall down. People look up. And when it rains, it pours.

Cast [ edit ]

• Tom Cruise - Frank T.J. Mackey
• Pat Healy - Sir Edmund William Godfrey/Young Pharmacy Kid
• Julianne Moore - Linda Partridge
• Genevieve Zweig - Mrs. Godfrey
• Mark Flannagan - Joseph Green
• William H. Macy - Quiz Kid Donnie Smith
• Jeremy Blackman - Stanley Spector
• Philip Seymour Hoffman - Phil Parma
• John C. Reilly - Jim Kurring
• Ricky Jay - Burt Ramsey/Narrator
• Philip Baker Hall - Jimmy Gator
• Melora Walters - Claudia Gator

External links [ edit ]

• Magnolia quotes at the Internet Movie Database
• Magnolia at Rotten Tomatoes
• Magnolia Trailer
• Video of memorable quotes from Magnolia at YouTube
• Video reviews by Roger Ebert and Joyce Kulhawik

• American films
• Drama films
• Incest in film
• Films about dysfunctional families
• Films directed by Paul Thomas Anderson
• Films about depression

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The Real-Life Inspiration Behind Tom Cruise's Character In Magnolia

Tom Cruise has quite an impressive body of work and while it's difficult for some to pick a career-best performance from the actor, I would choose one without hesitation: Frank T.J. Mackey in "Magnolia." Paul Thomas Anderson's magnum opus released in 1999 and follows a tapestry of interwoven characters as they struggle through their lives in the San Fernando Valley. At over three hours long, the film certainly isn't for everyone, but I think it's a masterpiece . Parts of it were written around the incredible music of Aimee Mann, who soundtracked much of the film, along with composer extraordinaire Jon Brion.

In "Magnolia," Cruise plays a motivational speaker of sorts, Frank T.J. Mackey, whose main objective is "Seduce and Destroy." Mackey is an unrepentant misogynist preaching his seduction skills to a room full of men all too eager to listen. He's a charismatic jerk teaching seminars on how to get laid, mainly through subterfuge, all while treating women as objects to be conquered. In other words, this is not an easy guy to root for. The most fascinating thing about the actor's performance isn't how good he is at inhabiting the role, but rather the humanity he brings to a character who, at first glance, seems to have none. Mackey is unlike any character Cruise has played before or since.

According to Grantland , the role was actually written for Cruise, who became a fan of Anderson after watching "Boogie Nights." While he might seem like he sprang directly from the director's imagination, this seemingly over-the-top character was actually inspired by a real person. So, who served as the spark for Frank T.J. Mackey?

Art imitates life

On the WTF with Marc Maron Podcast (via Uproxx ) Paul Thomas Anderson revealed that the inspiration behind Frank T.J. Mackey was real-life pickup artist, Ross Jeffries. I can't possibly do justice to all the details contained therein, but you can (but probably shouldn't) visit Jeffries' website at seduction.com . The site has a description of him that reads:

"Ross Jeffries™ is the founder, creator and Master Teacher of the worldwide seduction community. Featured as the mentor to Neil Strauss in the best-selling book, "The Game", RJ has taught, coached, and mentored thousands of men around the world, since 1991, guiding them to the success with women they truly desire and deserve."

One of his recent blog posts is called "Are You The Money Man Or The Honey Man?" and explains how you can be "The Vaginal Victor On V-Day!" Jeffries uses a system he's aptly titled Speed Seduction and his website has quite an extensive sales pitch for his online program, which includes a (what's the opposite of the phrase "treasure trove"?) plethora of lines like "How to use 'weasel phrases' to open her mind for instant and total sexual acceptance!" I have yet to look into what a weasel phrase is.

Despite this still seemingly active website, a man identifying himself as Paul Ross told Uproxx in 2015, "Ross Jeffries doesn't exist." He continued:

"Ross Jeffries was a character I created, a loudmouth, obnoxious, larger than life, sort of a bit of a showman to get the message out there, to be a loud mouthpiece. That character doesn't really meld with who I am today."

In regard to the movie, he stated:

"Here's the interesting thing: Paul Thomas Anderson thought that they were going to portray a real person. They didn't realize they were portraying a character created by an actor. Tom Cruise didn't realize that he was studying a character. He thought he was studying a person. He created a character based on a character."

As for Tom Cruise's performance:

"Mackey is more manic. Mackey is far more misogynistic. He's basically taking stuff from where I was in 1998. He's also much shorter than I am. Remember when Mackey had the audience take out their calendars? I didn't actually give them physical calendars, but I did have them say 'By the 5th of May I'll be having my way. By the 8th of June I'll have their poon.' That kind of rhyming stuff I got from Muhammed Ali."

He has indeed expanded his work into other areas, releasing a sales training book under the name Paul Ross. Ross, now a practicing Buddhist, says he still uses the name Ross Jeffries because it's "a brand," but that the work no longer reflects who he is.

According to Grantland, Jeffries is a former paralegal and brought a trademark attorney to see "Magnolia." Though he protested that Anderson "lifted some stuff almost word for word," Jeffries chose not to attempt a lawsuit because he liked the movie.

An actor playing an actor playing a role

As Mackey gives his ridiculous stage performance to an audience of men listening with rapt attention, it's impossible for the viewer to take their eyes off him, even as they are disgusted by what he is saying. Cruise is positively magnetic in the role, especially as his layers begin to fall away during his filmed interview with Gwenovier (April Grace). In a span of minutes, Frank goes from flexing in his tighty-whities to staring at Gwenovier like a caged animal: angry, frightened, and trapped. We don't immediately know why Frank is lying about his family trauma, but we do know he is no longer in control — though, perhaps he never was. It is Cruise's nuanced performance during this interview that allows his later breakdown to truly resonate.

Paul Ross considers Ross Jeffries a role he played that he's largely outgrown and feels as though Cruise didn't understand that he was a character playing a character. However, I would argue that's exactly how Cruise portrayed Frank Mackey, as someone hiding under a facade — albeit a convincing one. His final lecture sees him unravel, though his audience seems none the wiser. However, it's the reunion with his long estranged father (Jason Robards) that causes Frank to truly fall apart. Frank's emotional collapse at his father's deathbed is one of the film's most poignant moments. According to Grantland, Cruise was largely drawing on the experience of losing his own father. Much like Mackey, Cruise didn't get to spend much time with his dad. This storyline also proved cathartic for Anderson, who'd lost his father as well.

In what begins with a single take, viewers watch Mackey's face run the gamut of human emotion. He hates his father for leaving them and forcing him to take care of his dying mother as a teenager, but at the same time he's already mourning the life they never had together now that it's gone forever. The scene actually played out a bit differently in the script, with Frank immediately breaking down upon arrival, but Cruise thought it didn't feel quite right and made some changes. At this point, fans are more used to seeing Cruise perform increasingly wild stunts for his action movies. However, for me, there was no greater stunt than the one he pulled in making me cry right along with someone as evidently awful as Frank Mackey. Which I do. Every single time.

Magnolia (1999)

Tom cruise: frank t.j. mackey.

• Photos (14)
• Quotes (15)

Photos 

Quotes 

Gwenovier : Come on, Frank. What are you doing?

Frank T.J. Mackey : What am I doing? I'm quietly judging you.

Frank T.J. Mackey : Don't go away, you fucking asshole, don't go away. Don't go away, you fucking asshole, don't go away! Don't go away you fucking asshole!

Frank T.J. Mackey : I will drop-kick those fuckin' dogs if they come near me.

[singing along to Aimee Mann's "Wise Up"] 

Claudia Wilson Gator : It's not / What you thought / When you first began it / You got / What you want / Now you can hardly stand it though / By now you know / It's not going to stop

Jim Kurring : It's not going to stop / It's not going to stop / 'Til you wise up

Jimmy Gator : You're sure / There's a cure / And you have finally found it

Quiz Kid Donnie Smith : You think / One drink / Will shrink you 'til you're underground / And living down / But it's not going to stop

Phil Parma : It's not going to stop

Earl Partridge : It's not going to stop / 'Til you wise up

Linda Partridge : Prepare a list for what you need / Before you sign away the deed / 'Cause it's not going to stop

Frank T.J. Mackey : It's not going to stop / It's not going to stop / 'Til you wise up / No, it's not going to stop / 'Til you wise up / No, it's not going to stop

Stanley Spector : So just... give up

Frank T.J. Mackey : Respect the cock! And tame the cunt! Tame it! Take it on headfirst with the skills that I will teach you at work and say no! You will not control me! No! You will not take my soul! No! You will not win this game! Because it's a game, guys. You want to think it's not, huh? You want to think it's not? Go back to the schoolyard and you have that crush on big-titted Mary Jane. Respect the cock. You are embedding this thought. I am the one who's in charge. I am the one who says yes! No! Now! Here! Because it's universal, man. It is evolutional. It is anthropological. It is biological. It is animal. We... are... men!

Frank T.J. Mackey : [Frank is speaking to followers at his seminar]  Men are shit. What? Men... are... *shit*. What, isn't that what they say? Because we do bad things, don't we? We do horrible, heineous, *heinous*, terrible things. Things that no woman would ever do. No, women, they don't lie. No, women don't cheat. Women don't *manipulate* us. But you see what I'm getting at. You see what society does? Little boys, it's, "Wow, womaaaan!" We are taught to apologize. I am sorry. I am so sorry, baby. I am so sorry. What is it that we need? Is it their pussies? Their love? Mommy wouldn't let me play soccer... and Daddy, he hit me, so that's who I am, that's why I do what I do? Fucking bullshit. I will not apologize for who I am. I will not apologize for what I need. I will not apologize for what I *want*!

Frank T.J. Mackey : In this big game that we play, life, it's not what you hope for, it's not what you deserve, it's what you take. I'm Frank T.J. Mackey, a master of the muffin and author of the Seduce and Destroy system now available to you on video and audio cassette. Seduce and Destroy will teach you the techniques to have any hardbody blonde just dripping to wet your dock. Bottom line? Language. The magical key to unlocking the female analytical mindset. Tap directly into her hopes, her wants, her fears, her desires, and her sweet little panties. Learn how to make that lady "friend" your sex-starved servant. I don't care how you look. I don't care what car you drive. I don't care what your last bank statement says. Seduce and Destroy produces an instant money-back guarantee trance-like state that will get you this - naughty sauce you want fast. Hey - how many more times do you need to hear the all-too-famous line of 'I just don't feel that way about you?'

Frank T.J. Mackey : I'll tell you what I want you to do, Janet! I want you to do your fucking job!

Frank T.J. Mackey : In this life, it's not what you hope for, it's not what you deserve - it's what you take!

Frank T.J. Mackey : Respect the Cock. Tame the Cunt

Frank T.J. Mackey : Do you think they're your friends? They're not your friends. Do you really think she'll be there when things go bad? Huh? When things go wrong? You think again. Fucking Denise. Denise the piece. Oh, you're gonna give me that cherry pie sweet mama baby.

Gwenovier : So where are you from originally?

Frank T.J. Mackey : Around here.

Gwenovier : The Valley?

Frank T.J. Mackey : Hollywood, mainly.

Gwenovier : What did your parents do?

Frank T.J. Mackey : My father was in television. My mother... This is going to sound silly to you.

Gwenovier : Try me.

Frank T.J. Mackey : She was a librarian.

Gwenovier : Why does that sound silly?

Frank T.J. Mackey : I don't know. I guess it doesn't.

Gwenovier : Does your mother still work?

Frank T.J. Mackey : No, she's retired.

Gwenovier : Are you close?

Frank T.J. Mackey : She's my mother.

Gwenovier : Yes, but... she's a woman, too. How does she feel about "Seduce and Destroy"? What does she say?

Frank T.J. Mackey : Well, she says, "You go get 'em, honey."

Frank T.J. Mackey : Men... are shit.

Frank T.J. Mackey : How to pretend like you are nice and caring...

Frank T.J. Mackey : It's not very safe for you here, at the moment.

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This One Line From Magnolia Plays on a Loop in My Head

It’s impossible to describe what Magnolia is about, only how it’s about it: Paul Thomas Anderson’s dizzying San Fernando Valley opus sprawls over three hours. A dozen people have Big, Important Days, some of which, by the mysterious alchemy or coincidence or strangeness, intersect. It plays now just as weird and complicated and intense as it did upon release in 1999, a melodrama that “goes nowhere” by virtue of going everywhere. Some scenes drag on so intimately and awkwardly, it’s almost as if the movie wonders when you’ll finally look away. Philip Seymour Hoffman is compassionate and panicky; Tom Cruise has great hair . During the Phantom Thread press cycle, Anderson said he’d tell his younger self to “chill the fuck out and cut twenty minutes.” That is absolutely correct, and also my new mantra.

I’ve been returning to Magnolia for the same reason I watch Jackie a lot , or why I watch scenes from Birth once a week . (Someone please give me a limited-series podcast to talk about Birth .) There is something calming, cathartic even, about the way these movies externalize my frustration, the way they communicate my fears. There is also some morbid humor that all these movies have in common: white women walk around exquisite houses and moan about — gestures wildly — all this . All this privilege, all this expectation, all this failure, all this hurt. But they do it while wearing mascara and maybe Chanel. They do it while still living fabulously. Something about that makes me laugh.

In Magnolia , Julianne Moore plays Linda Partridge, the much-younger wife of a television executive dying of cancer. When we meet her, she’s weeping to one doctor, and then another, telling them about how hard it is to watch her husband ill and in pain. With one scribble on a prescription pad she vanishes out of their offices and gets back on the road. An hour into the movie, she takes her fistful of paper to a pharmacy. A pharmacist (Patrick Healy) eyes her suspiciously, peppering her with questions and prying comments about the Prozac and Dexedrine and morphine she’s ordered. He is cautious and vague at first, but clearly thinks something is awry. “You must have a lot going on with all that stuff back there, huh? You could have quite a party, all that stuff,” becomes the openly rude “Strong, strong stuff here, boy. Wow! What exactly do you have wrong, that you need all this stuff?” The frame tightens around her, the score becomes a little more zany and hectic. She snaps.

“Motherfucker. Motherfucker ! You fucking asshole,” she tells him. We start to see the cracks. A moment ago, she was detached, aloof; now she’s hysterical. It’s a squirmy, suspenseful breakdown that suggests that one set of prying eyes, one more opinion , feels like a monstrous, debilitating inconvenience. Her voice is raised, her eyes are wet. She looks like she’s just peeped the creature in a horror movie. “Who the fuck do you think you are? I come in here, you don’t know me, you don’t know who I am, what my life is … and you have the balls, the indecency, to ask me a question about my life?” she says. An older pharmacist rushes to calm her down. “Fuck you too! Don’t you call me ‘lady!’ I come in here, I give these things to you, you check, you make your phone calls, look suspicious, ask questions. I’m sick! I have sickness all around me, and you fucking ask me my life?” That’s the line that does it for me, the way Moore delivers an excruciating ellipses verbally: dot dot dot and you fucking ask me my life? It is marvelous, it is nutty, it is so frustrated and actorly and heightened. It’s Vivien Leigh in A Streetcar Named Desire . It’s me when I need to do laundry and call my parents and step back into a Google Doc, but I’m on my period and an email ends with a punctuation mark that makes me cry. “And then you fucking ask me my life?” is the same as “And then, on top of everything else, you don’t even have the dignity to let me be dramatic in peace?” Linda says, “And then you fucking ask me my life?” but what I hear is: “And you feel entitled to this other piece of me, too?”

I grew up watching melodramas after school, both the big Douglas Sirk movies and the crazy-twisty Lifetime ones. I’m into stories about confused, emotionally inarticulate people, because I am a confused, emotionally inarticulate person. Julianne Moore’s performance checks both those boxes, with the added layer of responsibility. Linda is all id, she’s all flail, she’s all feeling, but it’s the indecency, the “lady” that finalizes her tantrum. “Linda doesn’t know who she is or what she’s feeling,” Moore said upon the movie’s release, “and can only try to explain it in the most vulgar terms possible.” I like those vulgar terms, and the way she breaks down loudly and seemingly out of nowhere. It is a deliciously selfish performance that stands out among an entire cast of characters who are equally overdrawn and overwrought. Magnolia has unpleasant dates, abusive fathers, raining frogs, death knells of huge, miraculous egos. But I’m going through something here , Linda seems to say, in big bolded, underlined letters. I’m feeling this. “And then, you fucking ask me my life?!”

But I get that it’s not for everyone. “Moore is clearly grasping for those golden statuettes, portraying the character as a sparking bundle of nerves on the verge of combustion … but, dear lord, is it exhausting,” the AV Club wrote last year. But it is that very exhaustion that I’m drawn to. I know people like this; I am like this: impossible to stand, comically bratty, but with a big, cynical heart. Ew! Don’t fucking ask me my life!

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Movie Reviews

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"Magnolia" is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. Paul Thomas Anderson here joins Spike Jonze (" Being John Malkovich "), David O. Russell (" Three Kings ") and their master, Martin Scorsese (" Bringing Out the Dead "), in championing an extroverted self-confidence that rejects the timid post-modernism of the 1990s. These are not movies that apologize for their exuberance, or shield themselves with irony against suspicions of sincerity.

The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. Robert Altman's " Short Cuts " was also a group of interlinked Los Angeles stories, and both films illustrate former district attorney Vincent Bugliosi's observation in Till Death Do Us Part that personal connections in L.A. have a way of snaking around barriers of class, wealth and geography.

The actors here are all swinging for the fences, heedless of image or self-protective restraint. Here are Tom Cruise as a loathsome stud, Jason Robards looking barely alive, William H. Macy as a pathetic loser, Melora Walters as a despairing daughter, Julianne Moore as an unloving wife, Michael Bowen as a browbeating father. Some of these people are melting down because of drugs or other reasons; a few, like a cop played by John C. Reilly and a nurse played by Philip Seymour Hoffman , are caregivers.

The film's opening sequence, narrated by an uncredited Ricky Jay , tells stories of incredible coincidences. One has become a legend of forensic lore; it's about the man who leaps off a roof and is struck by a fatal shotgun blast as he falls past a window before landing in a net that would have saved his life. The gun was fired by his mother, aiming at his father and missing. She didn't know the shotgun was loaded; the son had loaded it some weeks earlier, hoping that eventually one of his parents would shoot the other. All allegedly true.

This sequence suggests a Ricky Jay TV special, illustrating weird coincidences. But it is more than simply amusing. It sets up the theme of the film, which shows people earnestly and single-mindedly immersed in their lives, hopes and values, as if their best-laid plans were not vulnerable to the chaotic interruptions of the universe. It's humbling to learn that existence doesn't revolve around us; worse to learn it revolves around nothing.

Many of the characters are involved in television, and their lives reflect on one another. Robards plays a dying tycoon who produces many shows. Philip Baker Hall , also dying, is a game show host. Cruise is Robards' son, Frank "T.J." Mackey, the star of infomercials about how to seduce women; his macho hotel ballroom seminars could have been scripted by Andrew Dice Clay . Walters is Hall's daughter, who doesn't believe anything he says. Melinda Dillon is Hall's wife, who might have been happier without his compulsion for confession. Macy plays "former quiz kid Donnie Smith," now a drunk with a bad job in sales who dreams that orthodontics could make him attractive to a burly bartender. Jeremy Blackman plays a bright young quiz kid on Hall's program. Bowen plays his father, a tyrant who drives him to excel.

The connections are like a game of psychological pickup sticks. Robards alienated Cruise; Hall alienated Dillon, Bowen is alienating Blackman. The power of TV has not spared Robards or Hall from death. Childhood success left Macy unprepared for life and may be doing the same thing for Blackman. Both Hall and Robards have employees (a producer, a nurse) who love them more than their families do. Both Robards and Hall cheated on their wives. And around and around.

And there are other stories with their own connections. The cop, played by Reilly, is like a fireman rushing to scenes of emotional turmoil. His need to help is so great that he falls instantly in love with the pathetic drug user played by Walters; her need is more visible to him than her crime. Later, he encounters Macy in the middle of a ridiculous criminal situation brought about to finance braces for his teeth.

There are big scenes here for the actors. One comes as Cruise's cocky TV stud disintegrates in the face of cross-examination from a TV reporter (April Grace). He has another big scene at Robards' deathbed. Hall (a favorite actor of Anderson's since " Hard Eight ") also disintegrates on TV; he's unable to ask, instead of answer, questions. Moore's breakdown in a pharmacy is parallel to Walters' nervousness with the cops: Both women are trying to appear functional while their systems scream because of drugs.

All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.

"Magnolia" is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Magnolia (1999)

Rated R for strong language, drug use, sexuality and some violence

188 minutes

Melora Walters as Claudia Gator

Tom Cruise as Frank Mackey

Jeremy Blackman as Stanley

Ricky Jay as Burt/narrator

Alfred Molina as Solomon

John C. Reilly as Officer Kurring

William H. Macy as Donnie Smith

Julianne Moore as Linda Partridge

Jason Robards as Earl Partridge

Philip Baker Hall as Jimmy Gator

Philip Seymour Hoffman as Phil

Written and directed by

• Paul Thomas Anderson

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Tom Cruise’s ‘Magnolia’ Performance Will Never Not Make Me Cry

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These days, we’re much more likely to see Tom Cruise jumping out of a plane than we are jumping into an under-the-radar, daring drama. And that’s just fine! The  Mission: Impossible  movies only seem to get better with each new installment (I’m legitimately counting down the days till Fallout ), and Cruise is the biggest movie star in the world for a reason – he’s damn good at it. He’s an All-American hero (well, if you don’t think about all that  Scientology stuff ), a guy we can all get behind. We want to see him beat the bad guys and flash that winning smile, because he’s Tom Cruise, goddamnit, and that’s what he was born to do. Before his résumé was mostly action fare and sequels, however, Cruise appeared in a wide variety of films, from  Born on the Fourth of July  and  A Few Good Men  to  Jerry Maguire  and  Eyes Wide Shut . All these films (and many more) have established him as one of our most versatile working actors (though we’re wont to forget this nowadays), but there’s one Tom Cruise movie I’ll never be able to shake:  Magnolia . On his 56th birthday, we’re looking back at his most devastating role.

Putting the fact that  Magnolia  is one of my favorite films of all time aside, you’d be hard-pressed to find a better Tom Cruise performance anywhere else. It may seem like an impossible mission to pick a “best” Cruise performance, and this isn’t discounting the incredible work he’s done elsewhere. But Frank “T.J.” Mackey is in an entirely different league from any other character Cruise has ever played. This miracle of a performance exists because of the perfect marriage of Cruise’s talent and willingness to  go there  and writer-director Paul Thomas Anderson. Mackey is a crass monster, a man whose entire brand is built on treating women like sex toys. When he struts across that stage and demands that we “RESPECT THE COCK!”, it’s difficult not to immediately despise him – but that twisted charisma makes it impossible to look away. We know he can’t be entirely rotten to his core, but is there anyone worth redeeming beneath it all? Over the film’s three hours, we chip away at his thorny exterior until we finally reach the trembling boy inside – and there’s nothing quite like the catharsis that ensues.

Magnolia  offers us a glimpse into Cruise’s vast emotional spectrum; from the clownish, loathsome man riding high on stage to the angry, petulant child caught off-guard during his interview, we see his highs and lows, his fears, his rage. These libido-fueled moments may act as a testament to Cruise’s versatility, but the real magic happens when he finally confronts the father who abandoned him. Every inhale feels totally honest, and it’s likely because it was: Cruise reportedly drew from his own experience with his father  for the scene. I’ve watched the scene dozens of times, and I catch something new with every viewing. The first part of his monologue is all in one take, and the steady rise in tension is nearly unbearable.

“I’m not gonna cry,” he spits out, but his words have already betrayed him – two tears roll down his cheek. It’s when my own tears begin to flow, too, without fail, every single damn time. We’ve spent over two hours hating this man and all that he stands for, but in that moment, and in the complete, full-body sobs that follow, he’s just as vulnerable and devastated as the rest of us, navigating this impossible scenario the best way he can. Cruise goes to a place that few actors might ever dare, reaches deep into his soul to find heartache and resentment and agony that many of us likely can’t fathom.

Tom Cruise may be able to pull off death-defying stunts better than anyone else out there, but he’s accomplished no greater feat than that of  Magnolia , a true spectacle of emotional proportions. Frank “T.J.” Mackey is more impressive than scaling any skyscraper or hanging off the side of a plane, because in the end, Cruise does the impossible: he makes us  feel  for someone we want to see fail. And that’s a mission most would never accept.

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Tom Cruise’s Best, Strangest Role Was a Career Changer Until It Wasn’t

Tom Cruise has never gone as experimental as he did in this 1999 Paul Thomas Anderson film.

Tom Cruise has had an unprecedented level of success in the film industry for four decades, but the projects he’s worked on have been varied in their tone, style, and intent. Despite become a young heartthrob thanks to the success of Risky Business and Top Gun , Cruise spent the next two decades working with nearly every great director in the industry; Tony Scott, Ridley Scott, Oliver Stone, Martin Scorsese, Barry Levinson, Rob Reiner, Ron Howard, Sydney Pollack, Neil Jordan, Brian de Palma, Cameron Crowe, and Stanley Kubrick all lined up to utilize Cruise’s star power. Cruise had been gaining the reputation of being a “great actor,” and his ambitious collaboration with Paul Thomas Anderson on Magnolia could have signified his transition to all-time status. However, Cruise’s best and strangest role was a career changer until it wasn’t.

RELATED: Why 'Magnolia’s Musical Sequence Remains the Crowning Jewel of Paul Thomas Anderson’s Career

Who Does Tom Cruise Play in 'Magnolia'?

While Anderson is now regarded as one of the industry’s finest directors, he was still an emerging talent in the 1990s with an eye for casting actors against type. Anderson’s small-scale gambling thriller Hard Eight and his epic ensemble dramedy Boogie Nights certainly indicated his ambition, but they would pale in comparison to Magnolia , a three-hour epic that follows multiple struggling characters throughout critical emotional breakthroughs within the San Fernando Valley. While each character within the mosaic is equally important and well-developed, Cruise’s role as the public speaker Frank T.J. Mackey was in many ways the heart of the film. Mackey is a selfish, aggressive bully in public, but by the end, he’s reduced to being a tearful child begging for a relationship with his father.

The role of Mackey was easily the most intimate and emotionally vulnerable performance Cruise would ever give, and it was one of the first instances since the beginning of his career where he took on a supporting role. Cruise had twice been nominated for Academy Awards before (for Born on the Fourth of July and Jerry Maguire , and there was a notion that he could finally win for such a dynamic role. However, Magnolia would sadly be the last in this period of experimentation for Cruise, as public controversies, backlash, and personal issues signified that he’s never done something as “out there” as Magnolia ever again.

'Magnolia' Saw Tom Cruise Stripped of His Charm and Charisma

Cruise is an actor that exudes confidence naturally, and even his more experimental projects require him to show a certain level of inherent charisma. Jerry Maguire, Ethan Hunt , Mitch McDeere, and even Ron Kovic all have a conviction to them that draws people to their causes. But in Magnolia , Cruise was asked to subvert that very concept entirely. While Frank certainly maintains a level of popularity among his followers, his rhetoric appeals to the worst segment of the population. Described as somewhere between a “motivational speaker” and a “pickup artist,” Frank holds “inspirational” seminars in which he encourages men to be more aggressive. In an era right before the rise of the Internet, Frank felt like a precursor to the types of toxic masculine hate groups that dominate online discourse today.

There’s clearly a great deal of self-loathing on Frank’s part, which is partially why Cruise’s performance is so dynamic. He looks inherently ridiculous as he struts around yelling vague, immature comments about female inferiority with the conviction of someone reading great prose. Based on the audiences that attend Mackey’s seminars, it appears that empty speeches tend to have an impact on unconfident, shy men who look to Mackey as a success story. Yet, it’s only after a quick look into Mackey’s personal life that he’s simply really good at hiding his trauma, as he fears that admitting to his past will shatter the reputation he’s created for himself.

The role borders on becoming an analogy for Cruise’s own life, as Cruise had always been very protective over his public image. Anderson may have either consciously or unconsciously started unpacking Cruise’s issues on the big screen, and Cruise would rarely show that type of sensitivity on screen again.

'Magnolia' Pushed Tom Cruise's Limits as an Actor

Cruise had rarely taken on comedic parts, and it’s even rarer that he’s the butt of a joke. While Jerry Maguire and Risky Business required him to do a few embarrassing things on screen, they were still within the character trajectory of becoming a charming leading love interest. Comparatively, Frank is prancing around in his underwear talking about genitalia when he’s unexpectedly questioned about his heritage. After a question about his neglectful father Earl Partridge ( Frank Robards ) gets under his skin, Frank storms out of the room like an angry child.

It’s here where Cruise truly transcends to the best acting of his career. A struggling Frank begins to question his life’s achievements when he’s approached by Phil Pharma ( Philip Seymour Hoffman ) , a nurse taking care of his dying father. The scenes between Frank and Earl are among the most heartbreaking in all of Magnolia ; both men have lived lives they deeply regret, and a burden is lifted from Frank’s chest when he realizes he’s been bottling up his anger because of his father’s abuse. Seeing Cruise break down and cry was something audiences had simply never seen before.

Tom Cruise Hasn't Experimented in His Career Since "Magnolia'

Ironically, Magnolia was released that same year as Eyes Wide Shut , another highly personal drama that required Cruise to reflect on masculinity, self-worth, and sexuality in overt ways that may have made him self-conscious. He was getting more attention than ever for the subtext of his roles, which may have struck someone so closely in control of their public persona as a sign of distress. Cruise ended up losing the Best Supporting Actor Oscar to Michael Caine for The Cider House Rules ; it would be the last time he made a serious bid at an awards race, even if some critics groups tried to push him for contention in The Last Samurai or Tropic Thunder .

Tom Cruise faced an emotional rollercoaster ride at the beginning of the 21st century when his high-profile divorces, active involvement in Scientology, media scandals, and controversial statements became bigger news items than his films. While he continued to star in great films, they were a strict return to safe blockbuster storytelling where Cruise was in his comfort zone as the super-confident, awesome action star that he seemed born to become. Magnolia may have been the last hint at how Cruise’s career could have gone in a completely different direction, and it’s a miracle that it simply exists.

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An eruption of feeling that's as overwhelming as it is overwrought, Paul Thomas Anderson's Magnolia reaches a fevered crescendo and sustains it thanks to its fearlessly committed ensemble.

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The Sacred Frog Storm in ‘Magnolia’

If there’s one thing  Paul Thomas Anderson ‘s Magnolia wants you to know, it’s that there are no coincidences in life. The plot is reliant on this fact and on the understanding that the links between several seemingly unassociated people in the San Fernando Valley bears heavy narrative and thematic weight in the film and will ultimately pay off in a big way. Anderson masterfully reveals the connections of his characters to one another at just the right moments, in order for us to marvel at the non-coincidences we are bearing witness to. While using a fast, exciting soundtrack and flashy stylistic choices like whip pans and match cuts, alongside a host of other techniques, Anderson notifies us that all of this is a carefully orchestrated mosaic that will build toward something monumental. 

And it does. Two hours and forty-five minutes into the film, a frog falls from the sky and explodes on the windshield of Police Officer Jim Kurring ( John C. Reilly ). He is shocked and confused. Of course, we’re a little perplexed, too. But we trust Anderson and understand by now that this cannot be just another coincidence. Indeed, frogs have fallen before. In Exodus 8 of the Old Testament, Moses is told to relay a message to Pharaoh from the Lord, who warns “if you refuse to let [my people] go, behold, I will smite all your territory with frogs” (Exodus 8:2). He then goes into further detail, explaining that “the river shall bring forth frogs abundantly, which shall go up and come into your house, into your bedroom, on your bed, into the houses of your servants, on your people, into your ovens, and into your kneading bowls” (Exodus 8:3-4). 

The climactic moment of Magnolia is evidently a nod to the Bible passage, and Anderson leaves Easter eggs that allude to it throughout the film. A billboard reads “Exodus 8:2” on the side of the road after the first frog falls, a poster referencing the same verse is held up by an audience member at a quiz show, and even little nods to the number 82 are present in weather broadcasts, phone numbers, and many more spots noticeable only to the careful, fifteenth-time viewer. But why reference this passage?

The ultimate intention in casting a storm of frogs upon Egypt in Exodus is to express the total power of God, and emphasize the complete surrender required to be a successful person and a person of faith. The threat of frogs in Exodus explicitly invades every element of a person’s life: their community, their family, their bedroom, their kitchen, and, of course, their psyche. And, in the end, the burden of the storm is so traumatic to the Pharoah that he ends up yielding to the Lord and obeying his command. For now, Exodus’s frog storm has restored divine order in Egypt.

But, apart from little details like the frugal Christian emblems in Officer Jim’s bedroom, Magnolia does not pretend to be a film with overt religious themes. Rather than hold his characters to a particular kind of religious belief-system, Anderson instead signifies a divine intervention enacted through the subversion of a well-known, age-old narrative. Indeed, Magnolia ’s frogs intervene in the lives of the film’s characters, but they do not first pose a command or a question. 

The first frog falls at the moment that Officer Jim turns back to investigate the suspicious behavior of Quiz Kid Donnie Smith ( William H. Macy ), who has just broken into his old workplace to steal money. Instead of questioning Donnie, however, the two are forced to seek shelter together from the raining amphibians. This gives Officer Jim a chance to become the cop he always wanted to be. Earlier in the film, in voiceover, he explained that he does not want to act as a judge but rather as a delegate to maintain good in the world, as well as someone to offer help when it is needed. Jim emphasizes that knowing when to condemn and when to forgive is something he struggles with, but in this moment of being serendipitously brought together, Jim is able to understand Donnie and help him, as opposed to persecuting him. This incident allows Officer Jim to realize his intention, and the true reason he wanted to be a cop.

Because of his yearning to do the right thing and his lack of understanding of how, Jim functions as something of a centerpiece for Magnolia . Lost souls are not uncommon in an Anderson film , and what Jim wants most in the world is to know when it’s time to act, and when it’s time to let go. This conflicting morality (but ultimate will for good) guides the rest of the characters when the San Fernando Valley is smitten with frogs. 

Before seeking shelter, a frog falls on Donnie’s face and knocks him to the ground, crushing his two front teeth. As a retired child-star who feels his youth was stolen from him, Donnie has spent much of his young life attempting to retrieve and relive his childhood through means within his control, the primary of which was getting braces. The slamming of his face into the pavement is a direct divine response to this as if the universe is urging him to let go of the past and move forward with his life. 

Aggressive, misogynistic TV personality Frank T.J. Mackey ( Tom Cruise ) is another example of a character in Magnolia who is unable to move forward from the past. He has built an entire career attempting to foster an alpha-male persona in order to confront (or not confront) the fact that he was abandoned by his father, Earl (Jason Robards), at a young age. Frank reluctantly visits Earl on his death bed at the time of the storm, and, when on the verge of forgiving his father, the loud crash of the frogs on the roof awakens Earl from his coma and allows him to realize his son has forgiven him in his last moments. 

Magnolia is as much about moving on from a traumatic childhood as it is about preventing one. Stanley Berry ( Neil Flynn ), is a child genius, but he is also treated like a prop and used at any and every expense for entertainment. And, when the frogs come down, Stanley seems to be the only one who understands what is going on. “This is something that happens,” he says, simply. This recalls the opening of the film, in which the narrator, an adult reflecting on his childhood, relays a series of uncanny events and says, “This is not just something that happens.”  

But “this is something that happens” and “this is not just something that happens” are not necessarily two proclamations that are at odds with one another. Magnolia reminds us of the value in moving on by also reminding us that there are no coincidences. Claudia ( Melora Walters ) does not forgive her dying father for molesting her, but she does accept that she is worthy of a loving relationship in the touching final moments of the film. Things happen, and they are not coincidences, and the worthy get happy endings.

Related Topics: Magnolia , Paul Thomas Anderson

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Tom Cruise movie quotes

• killing (12)
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“Someday? Someday my dream will come? One night you will wake up and discover it never happened. It's all turned around on you. It never will. Suddenly you are old. Didn't happen, and it never will, because you were never going to do it anyway. You'll push it into memory and then zone out in your barco lounger, being hypnotized by daytime TV for...” (continue) (continue reading) Tom Cruise - Vincent

“Someday. That's a dangerous word . It's really just a code for 'never'.” Tom Cruise - Roy Miller

“- Katsumoto: You believe a man can change his destiny? - Nathan Algren: I think a man does what he can, until his destiny is revealed.” Ken Watanabe - Katsumoto Tom Cruise - Nathan Algren

“Benji, we're trying to keep a low profile. You want drama, go to the opera .” Tom Cruise - Ethan Hunt

“- Lt. Sam Weinberg: Nobody likes the whites, but we're going to Cuba. You got Dramamine? - Lt. Daniel Kaffee: Dramamine keeps you cool? - Lt. Sam Weinberg: No, Dramamine keeps you from throwing up. You get sick when you fly. - Lt. Daniel Kaffee: I get sick when I fly because I'm afraid of crashing into a large mountain . I don't think...” (continue) (continue reading) Kevin Pollak - Lt. Sam Weinberg Tom Cruise - Lt. Daniel Kaffee

“I'm a soldier , I serve my country. But this is not my country. I was lying out there bleeding to death, thinking, if I die now, I leave nothing to my children but shame. I know now there is only one way to serve Germany, and doing so I'll be a traitor... I accept that.” Tom Cruise - Colonel Claus von Stauffenberg

“Look at the people. Now tell me which ones are free. Free from debt. Anxiety. Stress. Fear. Failure. Indignity. Betrayal . How many wish that they were born knowing what they know now? Ask yourself how many would do things the same way over again?” Tom Cruise - Jack Reacher

“- Rachel Ferrier: I'm allergic to peanut butter. - Ray Ferrier: Since when? - Rachel Ferrier: Birth.” Dakota Fanning - Rachel Ferrier Tom Cruise - Ray Ferrier

“There are four types of people who join the military. For some, it's a family trade . Others are patriots , eager to serve. Next, you have those who just need a job. Then there's the kind who want a legal means of killing other people.” Tom Cruise - Jack Reacher

“- Raymond Babbitt: 246 total. - Charlie Babbitt: How many? - Sally Dibbs: 250. - Charlie Babbitt: Pretty close. - Sally Dibbs: There's four left in the box.” Dustin Hoffman - Raymond Babbitt Tom Cruise - Charlie Babbitt Bonnie Hunt - Sally Dibbs

“- Katsumoto: I will die by the sword. My own, or my enemy's. - Nathan Algren: Then let it be your enemy's.” Ken Watanabe - Katsumoto Tom Cruise - Nathan Algren

“I tried to prove myself to you, but I know nothing of books, or alphabets, or sun, or moon or… All I know is Joseph loves Shannon.” Tom Cruise - Joseph Donnelly

“- Nathan Algren: What else has she told you? - Katsumoto: That you have nightmares . - Nathan Algren: Every soldier has nightmares . - Katsumoto: Only one who is ashamed of what he has done.” Tom Cruise - Nathan Algren Ken Watanabe - Katsumoto

“We walk , and Afghanistan reverts back to the Taliban. Only now the Taliban has metastasized into something infinitely more vicious and potent because they're now 2-0 versus superpowers. They butcher the people who helped us, who voted and were stupid enough to put their faith in our word . So call it not only the end of hope for 10s of millions...” (continue) (continue reading) Tom Cruise - Senator Jasper Irving

“- Maverick : Mustang, this is Maverick , requesting fly-by. - Air Boss Johnson: Negative, Ghost Rider. The Pattern is full. - Merlin: Uh, excuse me, something I should know about? - Air Boss Johnson: [gets his coffee] Thank you. [ Maverick does a fly-by past the Enterprise , causing Air Boss Johnson to spill his coffee] - Air Boss Johnson: Goddamn...” (continue) (continue reading) Tom Cruise - Maverick Duke Stroud - Air Boss Johnson Tim Robbins - Merlin

“Evil is a point of view . God kills indiscriminately and so shall we. For no creatures under God are as we are, none so like him as ourselves.” Tom Cruise - Lestat

- Miles: Sometimes you gotta say "What the fuck", make your move. Joel, every now and then, saying "What the fuck" brings freedom. Freedom brings opportunity, opportunity makes your future. So, your parents are going out of town . You got the place all to yourself. - Joel Goodson: Yeah. - Miles: What the fuck. Curtis Armstrong - Miles Dalby Tom Cruise - Joel

“I'm a soldier , but in serving my country, I have betrayed my conscience.” Tom Cruise - Colonel Claus von Stauffenberg

“You see the dilemma don't you. If you don't kill me, precogs were wrong and precrime is over. If you do kill me, you go away, but it proves the system works. The precogs were right. So, what are you going to do now? What's it worth?” Tom Cruise - Chief John Anderton

“What does it mean to be Samurai? To devote yourself utterly to a set of moral principles. To seek a stillness of your mind. And to master the way of the sword.” Tom Cruise - Nathan Algren

“- Bonnie: Please, I don't want to end it this way. - Brian: Jesus , everything ends badly, otherwise it wouldn't end.” Lisa Banes - Bonnie Tom Cruise - Brian Flanagan

“You bitch! Why didn't you just tell me it was a Rum and Coke?!” Tom Cruise - Brian Flanagan

“I left a can of Spam in your refrigerator... I hope your Brewers Yeast doesn't take it personally.” Tom Cruise - Brian Flanagan

“You're not God, Nickerson. You're just a typing teacher .” Tom Cruise - Stefen Djordjevic

“- Kittridge: I can understand you're very upset. - Ethan Hunt: Kitridge, you've never seen me very upset. - Kittridge: All right, Hunt. Enough is enough. You have bribed, cajoled, and killed, and you have done it using loyalties on the inside. You want to shake hands with the devil, that's fine with me. I just want to make sure that you do it in...” (continue) (continue reading) Henry Czerny - Kittridge Tom Cruise - Ethan Hunt

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Tom Cruise rewatch: Shining from the sidelines in Magnolia and Tropic Thunder

Sometimes, the star is at his best when he's not the main event.

Leah Greenblatt is the critic at large at Entertainment Weekly , covering movies, music, books, and theater. She is a member of the New York Film Critics Circle, and has been writing for EW since 2004.

Ahead of this Friday's release of Top Gun: Maverick , our writers return to their favorite Tom Cruise movies, in appreciation of an on-screen persona that's evolved over decades.

People like to say that true movie stars — or at least the vanishing few who can still wear that title in 2022 — essentially always play themselves on screen. And they're right of course, to a point: At a certain Mt. Rushmore level of fame, the X-factor presence of a star operating at full wattage can eclipse just about any role or franchise.

Which makes it feel like an almost transgressive thrill when someone like Tom Cruise shows up in project that is not billed, per se, as Tom Cruise movie. There are at least two great examples of that (though they'll probably never appear together on a double bill, unless it's wild-card night at a Cruise Completist festival). The first is Magnolia , the three-hour Paul Thomas Anderson opus released in 1999, in which the actor played a spectacularly toxic sex guru named Frank "T.J." Mackey; the second is his deft turn in the giddy 2008 film-industry farce Tropic Thunder as Les Grossman, a Hollywood mogul whose love languages are rage and Flo Rida .

As diametrically opposed as these two roles are in nearly everything from tone to hairline, they both tap into something intrinsically, ineffably Cruise: the actor's trademark intensity, a trait so inborn that "turned to 11" seems to be his default setting. (Even as a Ray-Banned prep schooler or a moonlighting bartender , his performances tend to vibrate at a frequency best described as code red; do you really think he'd sign up for any mission if it were just... medium possible?)

In the sprawling interconnected storylines of Magnolia , which take place largely over the course of a single day in Los Angeles, Mackey is a very specific kind of motivational speaker, a rabid cad in a half-ponytail selling snake-oil sexuality to a Marriott ballroom of single men eager to absorb his patented Seduce and Destroy pickup system. (Anderson was inspired, reportedly, by O.G. Game guy Ross Jeffries .) Entering triumphant to the crashing strains of "Thus Spoke Zarathustra," T.J. is incel energy personified, screaming "Respect the cock! And taaaame the c---!" like both his life and his spotlight in a Tucker Carlson infomercial for manhood depended on it.

But of course, there's an ocean of hurt lurking beneath that glossy leather vest: Mackey's estranged power-player father (Jason Robards) abandoned the family decades ago, and left his teenage son to nurse his own mother through a terrible, fatal cancer. Now, T.J. will have his revenge on the half of the population he can't call "Daddy," and in a seething scene with a Black female reporter (April Grace), his aggressive exuberance devolves into real, messy fury. All those signature Tom charms — the swoop of hair, the can-do grin — have been weaponized, metastasized.

Magnolia , if the Aimee Mann singalongs and raining frogs hadn't already tipped you off, is not a subtle movie. Its emotions run high and hot, and even Cruise eventually falls prey to the melodrama in a sobbing, furious bedside reunion with Robards . Still, he's electric in the part, a deeply damaged man so determined to master the universe — to penetrate it, if you will — that he hasn't truly looked in the mirror in years. The novelty in hearing a star of Cruise's toothy, clean-scrubbed magnitude scream the C-word wears off eventually; the pain and mania behind it stays.

It's also a little bit disconcerting how physically gorgeous he still is, hotel-samurai ponytail aside. But if you feel uncomfortable finding him attractive as a cross between Caligula and Tony Robbins, there's a cure for that: Thunder 's Grossman, the bald, bespectacled studio chief with forearms the size of ham hocks and the core personality traits of an irate water buffalo. (He, too, is said to be based on a real-life character, in this case famed Die Hard producer Joel Silver .) While the cast of a fictional film-within-a-film that includes Ben Stiller (who also directed and cowrote the script) and Robert Downey Jr. in blackface (listen, kids, it was 2008) watches their shoot in a remote jungle go spectacularly awry, Les is the guy back in L.A. playing hardball.

Does he negotiate with terrorists, even when they're holding one of his biggest stars for ransom? Les doesn't play that . Will he shout down Matthew McConaughey 's mercenary agent until he gets him to trade the life of his prized client for a G5? Well, if he must. And does he dance on the graves of his enemies? Just watch him Dougie. Grossman is the monologue king, blithely inured to other human beings and their petty needs; mouths are moving, but only money really makes a sound. The churn of bumper-sticker quotables aside ("I'm talking scorched earth, mother-f---er, I will massacre you"; "That's physics, it's inevitable"), he's just a joy to watch: a giant ball of id barrelling down the lens, without explanation or apology. In these roles, one of the most famously controlled figures in show business seems to find his own sticky sweet spot: Give Cruise chaos, and set him free.

Related content:

• Tom Cruise rewatch: Why Tom Cruise is to die for in Edge of Tomorrow
• Tom Cruise rewatch: 'Collateral' turned him into a villain for the ages
• Top Gun: Maverick review: A high-flying sequel gets it right

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Tom Cruise Quotes

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Someday. That's a dangerous word. It's really just a code for 'never'.

When you have to cope with a lot of problems, you're either going to sink or you're going to swim.

I love what I do. I take great pride in what I do. And I can't do something halfway, three-quarters, nine-tenths. If I'm going to do something, I go all the way.

Nothing ends nicely, that's why it ends.

I don't pretend to be the character. I am the character.

No dream is ever just a dream.

I feel the need... the need for speed.

There is Life in every breath.

The important thing is to be relaxed in your work. Same in life. Don't make everything too intense. Then you can let everything go and not "act".

When you become successful in any type of life, there are people who are not contributing to the motion.

I don't care if you print something nasty about me. If it's true, fine. I don't care. But just make sure it's the truth.

Perception and reality are two different things.

Sex is great, if you are in a relationship. Otherwise, I find sex actually not so interesting. Without a relationship it is confusing.

I'm someone who doesn't believe in making my problems other people's problems.

I don't care who you are, life has challenges.

My childhood was extremely lonely. I was dyslexic and lots of kids make fun of me. That experience made me tough inside, because you learn to quietly accept ridicule.

I'm passionate about learning. I'm passionate about life.

Individuals have to decide what is true and real for them.

I want a world without war, a world without insanity. I want to see people do well. I don't even think it's as much as what I want for myself. It's more what I want for the people around me. That's what I want.

I always look for a challenge and something that's different.

I just eat life... I engage in life.

When I was about 7 years old, I had been labeled dyslexic. I'd try to concentrate on what I was reading, then I'd get to the end of the page and have very little memory of anything I'd read. I would go blank, feel anxious, nervous, bored, frustrated, dumb. I would get angry. My legs would actually hurt when I was studying. My head ached. All through school and well into my career, I felt like I had a secret. When I'd go to a new school, I wouldn't want the other kids to know about my learning disability, but then I'd be sent off to remedial reading.

I disagree with people who think you learn more from getting beat up than you do from winning.

I feel lonely at times, but I don't want to get into a relationship with someone if it is not right. I'm not the type of person who just does things to do them.

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Tom Cruise’s Top 10 Movie Quotes: From ‘Mission: Impossible’ to ‘Jerry Maguire’

Tom Cruise is a national treasure. Competing with a sea of foreign actors ranging from Tom Hardy and Henry Cavill to Michael Fassbender and Christian Bale, Cruise is one of the last American Movie Stars still standing — which also seems to be the one thing he never does in the “Mission: Impossible” franchise. He’s constantly in motion, whether he’s running for his life, climbing the Burj Khalifa or flying on the outside of an airplane.

With the release of “Mission: Impossible: Rogue Nation” this weekend, TheWrap decided to take a look back at Cruise’s incredible 34-year career and highlight his most memorable lines of dialogue. Join us for a trip down memory lane — on Cruise control, if you will.

Also Read: 5 Reasons Tom Cruise's 'Mission Impossible' Went Rogue

And if there’s a classic Cruise zinger we missed, let us know in the comments section below.

1. The Cameron Quote – Jerry Maguire (tie) – “You complete me.” & “SHOW ME THE MONEY!” No one writes for Tom Cruise like Cameron Crowe, who served up a screenplay full of classic one-liners that allowed Cruise to prove he was at the peak of his powers in 1996. You could say anything, but we say they complete each other.

2. The Shared Quote - A Few Good Men - “Colonel Jessup! Did you order the code red? … I think I’m entitled. … I want the truth!” It takes two to tango, and there’s no better dance partner than Jack Nicholson. Coming to set armed for battle with an Aaron Sorkin script doesn’t hurt either. Nicholson’s half of the exchange continues to endure, but Cruise’s role in this classic courtroom scene is often overlooked and underappreciated.

3. The Classic Quote – Top Gun – “I feel the need… the need for speed.” C’mon Iceman, have a heart for this little ditty, which gets bonus points for rhyming. Who hasn’t said this while passing an old lady on the freeway?

4. The Adult Quote – Magnolia – “Respect the c-ck! And tame the c-nt!” Cruise is all grown up as Frank T.J. Mackey, a magnetic motivational speaker who empowers men to take what they want from women. Cruise went out on a limb to take a chance on Paul Thomas Anderson and it paid off with his third and most recent Oscar nomination back in 1999.

5. The Action Hero Quote (tie) Mission: Impossible – “Red light. Green light.” Minority Report – “Everybody runs.” Action heroes have to speak in short bursts and make their words count. They don’t have time to make long speeches, as they’re too busy saving the world from one disaster or another. Cruise made saving the world look effortless in these two mid-’90s efforts.

6. The Young and Cocky Quote - Risky Business – “Porsche. There is no substitute.” This is the youngest Tom Cruise on this list and thus, the purest. He wasn’t “Tom Cruise” yet. He was just a cocky guy singing in his underwear without a care in the world. Talk about human fulfillment …

7. The Deep Quote (tie) The Last Samurai – “I think a man does what he can, until his destiny is revealed.” Eyes Wide Shut – “No dream is ever just a dream.” ( no clip available ) Cruise is a man of many philosophies and he went all philosophical on us with these two movies, in which he spouts some “deep” stuff. Fidelio, indeed…

8. The Screaming Quote (tie) Vanilla Sky – “Tech support!” Born on the Fourth of July – “I fought for my country! I am a Vietnam veteran! I fought for my country!” Other than Al Pacino and (maybe) Nicolas Cage, is there anyone you’d rather watch scream/shout/yell than Tom Cruise? He has it down to a science, whether he’s missing his legs or his face.

9. The Funny Quote – Tropic Thunder – “First, take a big step back… and literally FUCK YOUR OWN FACE!” Cruise played a supporting role in Ben Stiller’s “Tropic Thunder” and disappeared into the character of Les Grossman, a powerful studio head with hair everywhere but his head. Cruise stole the show, so much so that Paramount developed a spinoff movie for his character, though unfortunately, it never got the greenlight.

1o. The Creepy Quote (tie) Interview With the Vampire – “Don’t be afraid. I’m going to give you the choice I never had.” Collateral – “Don’t get me cornered. You don’t have the trunk space.” (no clip available) Cruise makes a great upscale creep, whether he’s threatening to kill two cops or take a bite out of Christian Slater. Living or undead, there’s something primal about his performances, which are never less than 100 percent believable. Even in his lesser films, he’s always completely committed to his characters.

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‘Magnolia’ With Bill Simmons, Chris Ryan, and Sean Fennessey The Rewatchables

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It’s raining frogs in the studio as Bill Simmons, Chris Ryan, and Sean Fennessey rewatch the 1999 film ‘Magnolia,’ starring Tom Cruise, Philip Seymour Hoffman, and Julianne Moore and directed by Paul Thomas Anderson. Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Katie holmes may have had more than one reason to end her tom cruise marriage.

by Kristyn Burtt

Kristyn Burtt

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Marty Rathbun, a former member and outspoken critic of the organization, discussed how he was ordered by David to “facilitate the breakup” of the former power couple. The head of Scientology didn’t love the influence Kidman had over Cruise, a sizable donor to the church, while they were filming Eyes Wide Shut.  The Top Gun star reportedly distanced himself from David despite their close friendship. Rathbun alleged that an “aggressive campaign” began to rope Cruise back into the church and away from Kidman. Not only did it end their marriage, but Rathbun claimed that Connor and Isabella were “re-educated” by Scientology, which only caused a greater rift with Kidman. It was a scenario Holmes actively tried to avoid. 

While Holmes’ divorce may appear to be simple from the outside, the layers to her secret exit were much more complex. And while the Church of Scientology continues to deny any allegations, it appears Holmes made the right decision for her and Suri.

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Magnolia: 10 quotes that will stick with us forever 4a12o.

One of Paul Thomas Anderson's most iconic films, Magnolia, is a deep psychological drama with many layers. Here are the best quotes from the film. 5h225a

Paul Thomas Anderson dramas that appeal to both the mind and the heart. They mix small-scale settings and grounded realism with the grandiose, the abstract, and the thought-provoking. One of his most iconic films,  Magnolia , certainly falls in line with these attributes.

RELATED: 10 Behind-The-Scenes Facts About The Making Of Magnolia

It's an emotional tale that examines humanity through a mostly cynical lens, tugging at the heartstrings with its themes of love, forgiveness, and the search for meaning. Despite its minimalistic nature, the film exudes a frantic and grand feel by shifting between various figures - most of whom are troubled in some way. As one might expect from a nuanced psychological tale, it's chock-full of profound and interesting quotes.

"What Am I Doing? I'm Quietly Judging You." 65673f

The apparent "womanizer" known as Frank T.J. Mackey spends much of his story being interviewed about his origins and ideals behind his rather chauvinistic program "Seduce and Destroy." Deep into the conversation, the interviewer begins probing a bit deeper, asking for clarification about various details that Frank has kept quiet about.

After catching him in a lie regarding his history, Frank looks intensely perturbed and stares daggers at the woman. Following a question as to what he's doing, he responds with this amusing gem. It's a classic moment for both Frank as well as his actor, Tom Cruise .

"Life Ain't Short, It's Long!" 361l5l

Serving as one of the many figures with an intertwined story - Frank's father, a former studio head named Earl, is on his death bed and spilling his emotional guts to the nurse, Phil. He breaks into quite an emotional sermon, wrought with regret and anguish, and laced with some elderly wisdom for Phil.

Amidst his speech, he utters this line, which, while brief, is a powerful character-defining moment and symbol of  Magnolia 's overarching themes.

"I Will Not Apologize For Who I Am. I Will Not Apologize For What I Need ..." 5fn1y

Getting back to the self-proclaimed macho man that is Frank Mackey, this quote is one among many that he states to the disciples of his "Seduce and Destroy" program. It's emblematic for his character in one sense, though it's also telling in its super emphatic delivery.

By this point in the film, Frank is becoming more introspective as he's being forced to reexamine his history - which he's clearly repressed - and reevaluate what he's doing. The way he makes this proclamation feels as though he's merely trying to convince  himself  of his place as a man who will "get what he wants" out of a woman.

"I'm Sick. I Have Sickness All Around Me And You Ask Me About My Life?" 6k1636

While there's no shortage of great performances in  Magnolia , arguably the best  comes from Julianne Moore's raw, visceral portrayal of Earl's wife, Linda. Throughout the film, she must cope with the guilt of cheating on him and exploiting his wealth, while dealing with, as she puts it, "sickness all around me."   This is referring to both Earl's critical state, as well as her emotional torment during this moment.

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This outburst to a chatty pharmacist makes for one of the most memorable, intense scenes in the film. It becomes clear at this point that Linda is on the brink.

"A Man Of Genius Has Been Seldom Ruined But By Himself." 5k31e

This is a peculiar one in that it's essentially a quote  of  a quote - specifically by the English writer, Samuel Johnson. Regardless, it's one of the more profound lines of dialogue spoken in the film. It's fittingly said to Donnie Smith, a former quiz show contestant whose brilliance has been marred by heavy drinking and anxiety.

Donnie Smith - along with the  current  champion of the game show, Stanley - represent a sort of wise and pure core amidst this otherwise chaotic, dark film. Donnie's story, which includes his parents taking his winnings and being struck by lightning, is a tragic one, punctuated by this line spoken by a patron at a bar he attends.

"I'm Gonna Teach You About The Worm ..." 3r536s

Anderson sprinkles in some subtle, but prominent biblical themes and references in Magnolia . A prime example of this motif is spoken by way of a freestyle rap from a boy named Dixon. The rap ambiguously refers to "The Worm" as a sort of unforeseen, dark presence in the film, confirmed by the next line in his rap, when he says -  "he's running from the devil, but the debt is always gaining." 

The literal translation and significance are open to interpretation. Still, many have seen this as representative of the more malignant nature of humanity shown in Magnolia , and its parallels with biblical allegory. It also has a very prophetic tone to it - keeping in line with the film's portrayal of a child's inner wisdom.

"This Was Not Just A Matter Of Chance ..." n161v

Anderson intrigues his audience right from the start of Magnolia , as viewers are shown a narrated collage of supposedly real events wrought with odd, eerie coincidences. It may seem segmented and unrelated to the film at large, but upon closer inspection, it actually parallels the array of intertwining characters, whom destiny is seemingly brought together in a separate, but collective journey towards peace and redemption.

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This theme of "divine intervention," as it were, is reinforced by this statement from the unseen narrator.

"What Most People Don't See - Is Just How Hard It Is To Do The Right Thing." 3a2t4r

In addition to some of the children featured, police officer Jim Kurring ( John C. Reilly ) is also representative of a more lighthearted voice of reason in  Magnolia . Rather than dealing with a dark past or trauma, he simply tries to do the right thing and desperately wants to be looked up to.

This line exemplifies Jim in a nutshell, as he spends much of the film interacting with the other more troubled characters, occasionally trying to steer them on the right path. The quote is in reference to Donnie's attempt to rob his place of business - though it could really apply to  most  of the figures in the film.

"It's A Dangerous Thing To Confuse Children With Angels." 194t5d

Magnolia 's ongoing theme of kids representing goodness and wisdom is driven home with this line from the aforementioned bar patron.

The overarching nature of this message is apparent for just how out of place it is, and its lack of relevance to anything going on in the scene. It's one among many of Anderson's winks to the audience with regards to the underlying motifs of the film.

"... Maybe We Can Get Through All The Pi*s And Sh*t And Lies That Kill Other People." 5um2x

One character unmentioned thus far may be  Magnolia 's most dynamic and intense - the daughter of a famous game show host, Claudia. She spends much of her story clearly trying to escape her troubled mind with loud music and drugs. She's seemingly endured much trauma, which the film implies resulted from sexual abuse by her father.

It's a dark and somber narrative, but one with a moderately happy ending, as she ends up with Jim, who brightens her spirits. She speaks this impactful line to Jim on a date, which is telling and relevant on a multitude of levels.

NEXT: 10 Movies That Influenced Paul Thomas Anderson

Warner Bros. Spends Big: ‘Joker 2’ Budget Hits $200 Million, Lady Gaga’s $12 Million Payday, Courting Tom Cruise’s New Deal and More 

By Tatiana Siegel

Tatiana Siegel

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In January, Warner Bros. Motion Picture Group chiefs Michael De Luca and Pam Abdy jetted to London to connect with the new crown jewel of the studio, Tom Cruise . The three met to identify a film that would kick off their nonexclusive “strategic partnership.” Sources say a raft of possibilities were discussed, including an “Edge of Tomorrow” follow-up and Quentin Tarantino ’s “The Movie Critic,” which currently isn’t set up with a distributor and has Warner Bros., like every major studio, salivating.

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“The strategy at Warner Bros. right now and the reason they made some of these big star deals is they’re basically playing with other people’s money,” says one insider. “They’re shopping for Quentin or Cruise with the notion they can use it as a shiny object that is going to be additive when Zaslav sells the company.”

That time may be approaching. In April, Warner Bros. Discovery can entertain offers to buy, sell or merge with a studio like NBCUniversal, as many on the lot believe will happen. That’s when the two-year lock-up period expires as part of the 2022 deal that united WarnerMedia and Discovery. All of the recent moves, from a first-look pact with Margot Robbie’s LuckyChap to the quest to land Christopher Nolan’s “Oppenheimer” follow-up are akin to painting a house before it hits the market.

And this is one splashy renovation. The budget for Todd Phillips’ musical “Joker” sequel — one of De Luca and Abdy’s first green lights — has ballooned to about $200 million, a significant bump from the $60 million cost of the first film. Sources say Joaquin Phoenix is getting $20 million to reprise his role as the clown prince of crime, while Lady Gaga is taking home about $12 million to play Harley Quinn. “Joker” took in more than $1 billion, but musicals are tricky. Case in point: Warners lost $40 million on last year’s “The Color Purple,” according to sources. Though that one can be blamed on the previous regime.

Some argue that spending big is essential when releasing movies in theaters.

“There’s only so much top talent in Hollywood, and it’s very competitive and stretched thin because a lot of talent have deals in streaming,” says Jeff Bock of Exhibitor Relations. “If theatrical is going to work, you need the A-lister like Tom and Leo, and Warner Bros. is spending what they need to spend to keep this talent.”

But executives across town believe Warners’ math sometimes doesn’t add up, with the studio decried as fiscally irresponsible. The Anderson film, for instance, was greenlit with a $115 million budget, according to sources. Underscoring the gamble, none of the director’s movies has crossed $80 million at the box office. His latest, 2021’s “Licorice Pizza,” made $33 million worldwide. Even with Cruise’s star power, “Magnolia” only mustered $48.5 million. (It was De Luca, then a New Line exec, who convinced Cruise to play “Magnolia’s” misogynistic self-help guru.) The pair are said to be less pumped about another auteur’s latest: Bong Joon Ho ’s “Mickey 17.” In January, Warner Bros. pulled the $150 million Robert Pattinson sci-fi starrer from its schedule and then moved it to 2025. A Warner rep insists: “There is, of course, enthusiasm for it.”

As merger mania draws near, De Luca and Abdy seem unwilling to push back on talent asks. But apparently they did just that during the Coogler-Jordan negotiations. The director and star wanted 25% of first-dollar gross to split and two guaranteed theatrical release slots for future films. Both deal points were nixed.

Despite the pressure to acquiesce to demands from top talent, De Luca and Abdy can still say no.

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Tom Cruise Gets His First Criterion Collection Movie Added

• Tom Cruise's Risky Business joins the prestigious Criterion Collection, marking a pivotal moment in his career.
• The film is praised for blending tender romance with a sharp critique of capitalism, even if it's goofy fun on the surface.
• Criterion's release includes a 4K UHD restoration, special features, and interviews, making it a must-have for film and Cruise enthusiasts.

Tom Cruise has been one of the biggest Hollywood stars for four decades, and has starred in almost 50 movies, but until today, none of them have been represented in the most prestigious film collection in the world — the Criterion Collection . The home media distributor collects the greatest or most culturally important films of all time and immaculately restores them and curates magnificent special features. And now, Cruise's 1983 film Risky Business will be the 1,227th movie added to the collection.

The Criterion Collection announced its inclusion today, April 15, with the film being released in 4K UHD (and Blu-ray) on July 23. Their summary of the film, famous for its underwear lip-sync scene, reads as follows:

" A sly piece of pop subversion, this irresistible satire of Reagan-era materialism features Tom Cruise in his star-is-born breakthrough as a Chicago suburban prepster whose college-bound life spirals out of control when his parents go out of town for the week and an enterprising call girl (Rebecca De Mornay) invites him to walk on the wild side. While Cruise boogying in his briefs yielded one of the most iconic pop-cultural moments of the 1980s, it is the film’s unexpected mix of tender romance (enhanced by a moody synth score by Tangerine Dream) and sharp-witted capitalist critique that remains fresh and daring."

Risky Business

Release Date August 5, 1983

Director Paul Brickman

Cast Bronson Pinchot, Richard Masur, Joe Pantoliano, Rebecca De Mornay, Tom Cruise, Curtis Armstrong

Genres Drama, Romance, Comedy

Writers Paul Brickman

Studio Geffen Pictures

Risky Business Special Features and Other July Releases for Criterion

It's an interesting choice for the Criterion Collection, with many other Cruise films being considered superior ( Collateral, Eyes Wide Shut, The Color of Money, Magnolia ). Of course, there are licensing issues to be considered, but there are certainly good reasons for the inclusion of Risky Business . It's the film that truly announced Cruise as a cinematic presence, while also playfully deconstructing the typical sex comedies that were so popular at the time ( Porky's, Revenge of the Nerds ). The special features are as follows.

• New 4K digital restorations of the director’s cut and the original theatrical release, supervised and approved by director Paul Brickman and producer Jon Avnet, with 5.1 surround DTS-HD Master Audio soundtracks
• One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features
• Audio commentary for the original theatrical release featuring Brickman, Avnet, and actor Tom Cruise
• New interviews with Avnet and casting director Nancy Klopper
• New conversation between editor Richard Chew and film historian Bobbie O’Steen
• The Dream Is Always the Same: The Story of “Risky Business,” a program featuring interviews with Brickman, Avnet, cast members, and others
• Screen tests with Cruise and actor Rebecca De Mornay
• English subtitles for the deaf and hard of hearing

Why Tom Cruise Won't Return as Jack Reacher

Risky Business joins several other films for Criterion's July releases. There's a 4K UHD restoration of the all-time classic, Le Samouraï , perhaps the coolest film ever made. Farewell, My Concubine is getting a release after its beautiful restoration in 2023. Black God, White Devil will get a release, finally bringing the brilliant Brazilian Western to the masses. Wim Wenders' astonishing 2023 film Perfect Days will get a home media release from Criterion, as well. Perhaps the best inclusion of them all, however, is Pat Garrett & Billy the Kid , Sam Peckinpah's underrated, melancholic Western masterpiece with a score from Bob Dylan. You can pre-order Risky Business below:

Visit The Criterion Collection

Katie Holmes on why only daughter Suri Cruise would wear heels at the age of five

The dawson's creek actress shares her 17-year-old daughter with ex-husband tom cruise.

Katie Holmes is incredibly protective of daughter Suri , who will be turning 18 in just a few days time. 

The doting mom rarely shares photos of her teenager and prefers to keep her out of the spotlight, but when Suri was younger, she was often pictured out and about, often dressed in stylish clothes picked out by her famous parents. 

The little girl often made headlines thanks to her cute outfits, which even included the occasional pair of miniature high heels! 

At the time, Suri was just five, and Katie opened up about the sweet backstory behind her daughter's shoe choice. 

Talking to Access Hollywood in 2009, she said: "She, like every little girl - she loves my high heels." 

Wanting to make sure that the shoes were safe for her little girl, Katie explained that the shoes her daughter was wearing were actually ballroom dancing shoes designed for children. 

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"They are actually ballroom dancing shoes for kids. I found them for her and she loves them," she said. 

Suri spent her early years in Los Angeles with her mom and dad, Tom Cruise, but when the couple separated in 2012, she lived with her mom, and the pair moved to NYC several years later. 

Tom is reportedly thought to not have a relationship with his daughter, although he doesn't talk about his personal life in interviews. 

He is also father to two grown-up children, Isabella and Connor, who he shares with ex-wife Nicole Kidman. Katie has raised Suri to be incredibly down-to-earth and the pair have a close relationship. 

It's clear that Suri has developed her parents' talents for performing, and showcased her incredible singing voice back in 2022. 

Suri was heard singing the opening credits of Katie's film, Alone Together, when she was just 15. She sang a pitch-perfect rendition of Blue Moon, and her mom was more than proud. 

Chatting to Yahoo! Entertainment about her daughter's role in the movie, she said: "She's very, very talented. She said she would do it and she recorded it and I let her do her thing. 

"That's the way I direct in general: It's like, 'This is what I think we all want - go do your thing'." 

The mom-of-one was asked why she chose Suri for the job and she said: "I always want the highest level of talent, so I asked her." 

It's a big year for Katie and Suri, as the teenager turns 18 on April 18, and will then be going off to college at the end of the summer. 

This will be a huge transition for the actress, as her only child is likely going to be flying the nest. However, she is reportedly looking at colleges in New York City, meaning she won't be too far away from home.

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Brooke Shields says she's glad Tom Cruise publicly criticized her antidepressant use — he accidentally brought awareness to under-discussed mental health struggles

• In 2005, Tom Cruise criticized Brooke Shields' use of antidepressants for postpartum depression.
• At the 2024 PHM HealthFront, Brooke Shields said his comments "backfired."
• She said the controversy brought more mainstream awareness around postpartum and mental health.

In one of the most controversial moments of Tom Cruise's career , the actor criticized Brooke Shields for talking about her use of antidepressants to treat postpartum depression.

Almost 20 years later, Shields says Cruise accidentally raised awareness around the issue and drove people to fight for better treatment.

In 2005, Shields had just published her memoir "Down Came the Rain," in which she described taking Paxil, an SSRI, after the birth of her first daughter, Rowan . "I was deadened, and it terrified me because I wanted to have a baby so badly," Shields, 58, said on Wednesday at the 2024 PHM HealthFront, a two-day event for healthcare marketers and health media. "I went through IVF seven times, and so the journey was such a fraught one."

Cruise initially called Brooke Shields "irresponsible" for using antidepressants in a 2005 "Access Hollywood" interview . When he was asked to elaborate on these comments in a 2005 interview on "The Today Show," Cruise told Matt Lauer that "psychiatry is a pseudo-science" and that "drugs aren't the answer."

Promoting Scientology, Cruise opposed taking any "mind-altering antipsychotic drugs," as it goes against the religion .

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He slammed Shields for spreading "misinformation" and said "she doesn't understand the history of psychiatry" when it came to using medication.

Shields said Cruise's comments angered a lot of women

Looking back on the incident, Shields said that Cruise's comments ended up helping the cause.

"You gave women in particular — they were so angry — you gave them a reason to fight for something they didn't even know they wanted to fight for," Shields said at PHM, noting that women weren't just sticking up for her but also for themselves.

"So it actually, ironically, helped the platform because everybody was talking about it," Shields said. "It sort of backfired. Way to put it into pop culture."

Cruise later apologized to Shields

A year after his comments, Shields said, Cruise delivered a "heartfelt" apology to Shields at her house and even mailed her an annual Christmas cake for many years.

Nearly 20 years later, the conversations around postpartum and depression treatments have changed dramatically. Shields is far from the only celebrity to be open about her PPD , though she played a crucial role in advocating for more awareness around the condition.

In 2007, she testified in Congress for a bill that would require postpartum pre-screening for new mothers.

"I'm not an expert," Shields said at PHM. "I'm just a woman who's gone through that and wanted to help other women get the help that they deserve."

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