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Time of India
26-05-2025
- Entertainment
- Time of India
When Tom Cruise ran alone through Times Square and it cost over $1 million: The untold story behind an iconic opening scene
The scene that stopped the city that never sleeps More than just a scene: Why it mattered — ashotmagazine (@ashotmagazine) What Vanilla Sky is really about Where to watch this million-dollar moment Long before Mission: Impossible – The Final Reckoning had fans sprinting to theaters for another dose of Tom Cruise 's daredevilry, there was Vanilla Sky —a mind-bending psychological thriller that many still call one of his most underrated films. Released in 2001 and directed by Jerry Maguire's Cameron Crowe , the film opens with a single, unforgettable scene: Cruise, utterly alone, running through a deserted Times Square at dawn. No crowd. No traffic. No that eerie, apocalyptic sequence? It cost the filmmakers over $1 million to an era when green screens and post-production wizardry are the norm, Crowe and Cruise opted for a more authentic—and exponentially more expensive—approach. To create the film's haunting opening, they shut down Times Square, the pulsating heart of New York City, for three precious hours on a quiet Sunday wasn't just a production challenge, it was a political one too. In an interview with Vulture, Crowe told that, gaining clearance from then-Mayor Rudy Giuliani's office wasn't guaranteed. According to Crowe, Giuliani's team allowed the ambitious shoot under one strict condition: the scene had to be completed in just three hours. The city had done its homework and knew Crowe's reputation for multiple takes. So, the clock was make those minutes count, Cruise and Crowe rehearsed obsessively in advance. Yet even on the day, they couldn't help but go for multiple takes. As Cruise runs past a glass-walled building, eagle-eyed viewers can spot curious onlookers watching from behind the windows—a production hiccup Crowe considered erasing digitally. Ultimately, he left it in, saying it added to the film's undercurrent of subtle sounds like a logistical nightmare turned into a cinematic triumph. Set to Radiohead's 'Everything In Its Right Place,' the scene became a defining moment not just in Vanilla Sky, but in Cruise's filmography. It exudes a surreal, dreamlike quality that perfectly sets the tone for the twisting narrative that while the film's reception was mixed—scoring a modest 42% on Rotten Tomatoes—it has since gained a cult following . Many have hailed Cruise's performance as one of his most complex, calling the film 'ahead of its time' and 'visually haunting.' The Times Square scene remains one of its most talked-about moments, not least because of the extraordinary price tag attached.A remake of the 1997 Spanish film Open Your Eyes, Vanilla Sky is part science fiction, part psychological thriller, and part philosophical drama. Cruise plays David Aames, a wealthy publishing tycoon whose life spirals into disarray following a traumatic accident that leaves him disfigured. After reconstructive surgery, David's perception of reality begins to blur—his relationships, memories, and even his own identity seem film co-stars Penélope Cruz, Cameron Diaz, Jason Lee, and Kurt Russell, and includes an original soundtrack featuring a song by none other than Paul McCartney. While it didn't win over all critics, it left a lasting impression on many fans who appreciated its ambition, atmosphere, and unconventional you're curious to see the scene that made New York stand still—and cost a fortune doing it—Vanilla Sky is currently available to stream on Paramount+, Amazon Prime Video, YouTube, and you're a Cruise devotee or a fan of offbeat thrillers, this is one film that proves great cinema sometimes begins with just one man running through an empty city—and a director bold enough to make it real.
Economic Times
26-05-2025
- Entertainment
- Economic Times
When Tom Cruise ran alone through Times Square and it cost over $1 million: The untold story behind an iconic opening scene
Before Mission: Impossible wowed fans, Tom Cruise starred in a mind-bending thriller that shut down the Big Apple for three surreal minutes. Vanilla Sky's haunting opening scene—filmed without CGI—racked up a jaw-dropping bill and left viewers stunned. Long before Mission: Impossible – The Final Reckoning had fans sprinting to theaters for another dose of Tom Cruise's daredevilry, there was Vanilla Sky —a mind-bending psychological thriller that many still call one of his most underrated films. Released in 2001 and directed by Jerry Maguire 's Cameron Crowe, the film opens with a single, unforgettable scene: Cruise, utterly alone, running through a deserted Times Square at dawn. No crowd. No traffic. No CGI. And that eerie, apocalyptic sequence? It cost the filmmakers over $1 million to shoot. In an era when green screens and post-production wizardry are the norm, Crowe and Cruise opted for a more authentic—and exponentially more expensive—approach. To create the film's haunting opening, they shut down Times Square, the pulsating heart of New York City, for three precious hours on a quiet Sunday morning. It wasn't just a production challenge, it was a political one too. In an interview with Vulture , Crowe told that, gaining clearance from then-Mayor Rudy Giuliani's office wasn't guaranteed. According to Crowe, Giuliani's team allowed the ambitious shoot under one strict condition: the scene had to be completed in just three hours. The city had done its homework and knew Crowe's reputation for multiple takes. So, the clock was ticking. To make those minutes count, Cruise and Crowe rehearsed obsessively in advance. Yet even on the day, they couldn't help but go for multiple takes. As Cruise runs past a glass-walled building, eagle-eyed viewers can spot curious onlookers watching from behind the windows—a production hiccup Crowe considered erasing digitally. Ultimately, he left it in, saying it added to the film's undercurrent of subtle paranoia . What sounds like a logistical nightmare turned into a cinematic triumph. Set to Radiohead's 'Everything In Its Right Place,' the scene became a defining moment not just in Vanilla Sky , but in Cruise's filmography. It exudes a surreal, dreamlike quality that perfectly sets the tone for the twisting narrative that follows. And while the film's reception was mixed—scoring a modest 42% on Rotten Tomatoes—it has since gained a cult following. Many have hailed Cruise's performance as one of his most complex, calling the film 'ahead of its time' and 'visually haunting.' The Times Square scene remains one of its most talked-about moments, not least because of the extraordinary price tag attached. — ashotmagazine (@ashotmagazine) A remake of the 1997 Spanish film Open Your Eyes , Vanilla Sky is part science fiction, part psychological thriller, and part philosophical drama. Cruise plays David Aames, a wealthy publishing tycoon whose life spirals into disarray following a traumatic accident that leaves him disfigured. After reconstructive surgery, David's perception of reality begins to blur—his relationships, memories, and even his own identity seem questionable. The film co-stars Penélope Cruz, Cameron Diaz, Jason Lee, and Kurt Russell, and includes an original soundtrack featuring a song by none other than Paul McCartney. While it didn't win over all critics, it left a lasting impression on many fans who appreciated its ambition, atmosphere, and unconventional storytelling. If you're curious to see the scene that made New York stand still—and cost a fortune doing it— Vanilla Sky is currently available to stream on Paramount+, Amazon Prime Video, YouTube, and NOW. Whether you're a Cruise devotee or a fan of offbeat thrillers, this is one film that proves great cinema sometimes begins with just one man running through an empty city—and a director bold enough to make it real.
Hindustan Times
04-05-2025
- Entertainment
- Hindustan Times
When Times Square had to be shut down to shoot this Tom Cruise film, cost the makers over $1 million
Tom Cruise is one of the biggest stars in the world. In 2001, he was already one of the leading stars in Hollywood when his film Vanilla Sky was released. The film was met with mixed reactions, but over the years audiences have grown to love the film's themes. Did you know, the film contains one of the most expensive shots in cinema history when the makers spent more than $1 million for a scene of Tom Cruise walking through an empty Times Square? (Also read: Tom Cruise, 62, shares what he eats for breakfast before jumping off planes, buildings, mountains for Mission Impossible) In the scene, which is a dream sequence featuring Tom Cruise, his character is seen walking down an empty Times Square crossing and connecting with himself all over again. Now, Times Square is one of the busiest places in the world and it was practically impossible to clear it out at any part of the day. So, to film the sequence, the production team had to reportedly secure a permit to shut down Times Square for three hours on a Sunday morning. This cost over $1 million. As per Screen Rant, the makers paid $1 million to use blockades in order to avoid any tourists and traffic from coming into the scene for that allotted time. A post shared by Filmfest (@filmfest__) The scene got an added degree of relevance during the pandemic in 2020, when the Times Square was seen empty for the first time in years. Reflecting on this, director Cameron Crowe had told Vulture in an interview in 2020, 'We were told so often when it happened, 'Take a good look. This will never happen again.' We heard that a lot. 'This is only gonna happen once, so you better do it right.' Which was kind of the theme of getting that shot together. It's extremely eerie. And what's super eerie is that all of the video [advertising] that's part of Times Square now — it wasn't to that extent at all when we shot the movie. Our original thought was, 'How can we project his psyche onto these buildings?' And we did some early CGI stuff to [project] things onto the buildings, so he's lost in this kind of Cuisinart of his thoughts and feelings. But when I saw Times Square emptied out [in 2020], it was like — his psyche stuff is part of the culture now. There are ads on all of the buildings, and they have a visual conversation with other stuff on other buildings. And now, nobody is there. It's extremely eerie. It looked very strangely, oddly familiar.' Vanilla Sky also starred Penelope Cruz and Cameron Diaz. It grossed over $203 million worldwide at the box office during its time of release.
Yahoo
04-05-2025
- Entertainment
- Yahoo
One of Tom Cruise's Ex-GFs Allegedly Ships Him With His Alleged New Lady Ana de Armas
2025 has been the year of unexpected celebrity romances. While we all know what's going on between new lovebirds Elizabeth Hurley and Billy Ray Cyrus, another celebrity duo has everyone questioning everything. Earlier this year, Tom Cruise and Ana de Armas sparked romance rumors after being seen on Valentine's Day, but they were quickly shut down after she was seen holding hands with Manuel Anido Cuesta, the stepson of Cuban President Miguel Díaz-Canel. However, weeks have gone by, and Cruise and Armas keep helicoptering in together, and hanging out. Apparently, they're doing this so much so that one of Cruise's exes literally ships them. Insiders told DailyMail that Penelope Cruz, who dated Cruise from 2001 to 2004, is 'happy' for them. The pair met on the set of their film Vanilla Sky in 2000, but amicably split in 2004 after their busy schedules (and allegedly his ties to the Church of Scientology). However, they've remained pals to this day, and not only that, she's been pals with Armas since they co-starred in the 2019 movie WASP Network. More from SheKnows Penelope Cruz Used This Foundation on the Set of American Crime Story to Get a 'Smooth & Flawless' Look - Now 25% Off 'Ana has said that Penelope is happy for her, she approves,' an insider said to outlet. 'They know each other from the movie and also they have friends in common in Madrid from when Ana lived there for a while.' So it seems Cruz is a big fan of the two dating! Now, De Armas was seen on Valentine's Day with Cruise in 2025, and in March 2025, Cruise and Armas arrived in London by helicopter. They were seen laughing with Heliport staff, both donning casual looks, and were spotted together at the same heliport on the night prior, per People. Since then, they've been pictured together on helicopter rides numerous times. Most recently, in photos obtained by DailyMail, they flew in together days before her 37th birthday. And it's rumored that they'll be going to the 78th Cannes Film Festival together! The insiders added, 'She has been traveling with Tom to busy cities like London, but he always makes her feel safe because he is thoughtful and he has a ton of security. He never puts her at risk, she is completely taken care of when she is in his company.' Now, it's unclear if they're dating, or if she's dating Cuesta. Because earlier this year, sources told People that the three of them, as well as their agents, all dined together in London, 'discussing potential collaborations down the line.' And they noted that de Armas and Cruise 'appeared to have no romantic connection, just friends.' However, insiders claim it's something else entirely; and it's pretty clear Armas won't comment publicly on it. In a previous interview with Variety in 2022, she talked about how her public breakup with ex Ben Affleck made her want to be less vocal about her dating life. 'I'm just interested in my work. I want to be remembered for that,' she said. 'The other side, I'm not interested.'Best of SheKnows The Very Best Looks at the Met Gala of All Time 13 Things to Know About Beyoncé & Jay-Z's Oldest Daughter Blue Ivy Carter Heidi Klum, Amanda Seyfried, & More Celebrities Who Gracefully Handled Wardrobe Malfunctions
Boston Globe
27-01-2025
- Entertainment
- Boston Globe
Lynne Taylor-Corbett, ‘Footloose' choreographer, dies at 78
'I was never really suited to be a ballet dancer,' she said in a 1977 interview with The New York Times. 'But I had a gift for theatricality and movement.' Advertisement She also had a gift for connecting with audiences, as demonstrated by her work on such exuberant Broadway musicals as 'Chess' (1988) and 'Titanic' (1997), Hollywood movies 'Vanilla Sky' (2001) and 'Bewitched' (2005), and entertainment-minded ballets 'Seven Deadly Sins' (2011), a New York City Ballet production of a 1933 work by Bertolt Brecht and Kurt Weill, originally choreographed by George Balanchine, which she directed and choreographed. Get Starting Point A guide through the most important stories of the morning, delivered Monday, Wednesday, and Friday. Enter Email Sign Up 'My goal as a dancer and choreographer is to be understood,' she told the Times. 'Dance should not be a cerebral experience that the dancers have and the audiences watch. I want dancers to communicate something and have the audience receive the same thing.' A pioneering female ballet choreographer in a largely male domain, she prioritized emotion as much as technical precision in such crowd-pleasing works as 'Chiaroscuro' (1994), for City Ballet. 'Lynne's ballets are inhabited by people — people with emotions of love and loss, joy and sorrow, regret and redemption,' Melissa Podcasy, a principal dancer who often worked with Ms. Taylor-Corbett, said in an email. Her breakout ballet, 'Great Galloping Gottschalk' (1982), based on the work of 19th-century New Orleans composer Louis Moreau Gottschalk, underscored this principle. Her production, for American Ballet Theater in New York, received a decidedly mixed review from Anna Kisselgoff in The New York Times, but Kisselgoff acknowledged that it was 'cheerful and uplifting' and a 'whopping success with the public.' Advertisement 'The full house, in fact, gave Miss Taylor-Corbett and the ballet the kind of delirious reception reserved for occasional masterpieces, and this 'Great Galloping Gottschalk' certainly is not,' Kisselgoff wrote. 'It is primarily a surface crowd-pleaser.' But that was the point. 'I want to take dance out to a much larger audience,' Ms. Taylor-Corbett said in 1977. 'It's not an elite art.' Her desire to enchant reached its apotheosis with the hit 1999 Broadway musical revue 'Swing!,' which she both choreographed and directed. Simply taking the reins of a major production was an accomplishment for a woman in those days. 'Swing!,' a survey of the many forms of swing dancing that flourished during the big band era, was 'a celebration of our American folk dance.' she said in a 2013 video interview. The show contained no dialogue; its narratives were expressed exclusively through music and dance — including a particularly acrobatic bungee number. 'It's crafted not as a revue in a linear way,' she said, 'but as a giant party.' In a less-than-charitable review for the Times, Ben Brantley called 'Swing!' 'a musical revue that takes its exclamation point seriously,' arguing that it 'seems to take place in some squeaky-clean, confectionary limbo.' Even so, the show earned Ms. Taylor-Corbett nominations for multiple awards, including Tonys as both choreographer and director. Lynne Aileen Taylor was born Dec. 2, 1946, in Denver, the second of six daughters of Travis Henry Taylor, a high school vice principal, and Dorothy (Johnson) Taylor, a music teacher and Juilliard-educated concert pianist who gave Lynne her early introduction to music and dance. After graduating from Littleton High School in Colorado, Lynne headed for New York, where she made ends meet as a hatcheck girl for a Mafia club and an usher at the New York State Theater (now the David H. Koch Theater) at Lincoln Center, the home of New York City Ballet. Patrolling the aisles gave her an opportunity to study the work of master choreographers Jerome Robbins and Balanchine. Advertisement Although she fell short of her dreams of becoming a prima ballerina, Ms. Taylor-Corbett made a mark as a dancer. She toured Africa and the Middle East in the late 1960s as the only white member in Alvin Ailey's celebrated dance company. After leaving the company, she danced on Broadway in shows including 'Promises, Promises,' the 1968 musical by Neil Simon and Burt Bacharach, and Cy Coleman and Carolyn Leigh's 'Seesaw' (1973). She was later an understudy for the Cassie role in 'A Chorus Line.' Slowly, however, she began to see her future in choreography, although she also continued to dance for several years. 'Five years ago my career meant my legs and arms and body,' she told the Times in 1977, 'and today my intellect and mind count, too.' Her career took a turn in 1972 when she helped found the Theater Dance Collection, a company that used narrative, poetry, and songs with the goal of 'changing the image of dance, to making it entertaining as well as art,' the Times said. Its founders jokingly referred to themselves as the 'derrière‐garde.' She later carved out a place in Hollywood — not to mention 1980s lore — by laying down the steps for Kevin Bacon's famously acrobatic solo dance in 'Footloose' (1984), Herbert Ross's feel-good film about a Midwestern teenager hoofing his way past small-town repression. Advertisement In addition to her son, Ms. Taylor-Corbett leaves five sisters, Sharon Taylor Talbot, Kelly Taylor, Janny Murphy, Leslie Taylor, and Kathleen Taylor. Her marriage to Michael Corbett, a music executive, ended in divorce in 1983. In recent years she had become consumed with 'Distant Thunder,' a Native American-themed musical that she created with her son, a Broadway performer himself, who starred in an off-Broadway production that had a limited run last fall. 'Distant Thunder,' featuring actors of Native descent, focused on a member of the Blackfeet Nation who was removed from tribal lands as a boy, only to return years later as a successful lawyer with ambitious plans. The subject matter lay beyond her immediate life experience, but Shaun Taylor-Corbett said, his mother always sought to push past her comfort zone to tell new stories. 'Every life requires a certain amount of invention,' Lynne Taylor-Corbett said in the 2024 video interview, 'but the life of a freelance artist requires constant invention. I mean, how do any of us become who we are? I believe it's important to tell our stories, and leave behind what wisdom we can.' This article originally appeared in
