Liz Smith spoke to Tom Cruise this week about Valkyrie, his forthcoming Nazi tale, and United Artists, his sputtering studio.
On the latter, Tom offers the usual “no-hard-feelings” pablum about partner Paula Wagner’s departure, and then denies responsibility for the studio’s failings: “I don’t run United Artists; I just own it.”
John Miller and the folks at JP Morgan handling UA’s financing should be happy to hear that–especially since that means no one‘s running the studio.
Then Cruise turns to Valkyrie and tries to sell the film by describing it as “original” AND “suspenseful” and noting that it’s “an important story.”
“The moment I read the screenplay I knew it was an important story, and as it’s a true tale of heroic resistance to one of the great villains of history, I can’t imagine that people won’t want to see it.”
Hate to break it to you, Tom, but “important” true stories don’t necessarily make successful films, even if they are “original” and “suspenseful.” In fact, those sorts of stories usually end up at the bottom of the box-office heap (see the well-reviewed-yet-largely-unwatched A Mighty Heart.)
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