Photos: ‘Anyone But You’ Captures


Written by jen on February 20 2024

Nearly 900 UltraHD screen captures of Glen in Anyone But You have been added into the photo gallery. Be sure to purchase the film on your choice digital service!

Film Productions > 2023 | Anyone But You > Captures

Glen Powell and Sydney Sweeney Take Us Behind the Scenes of Anyone but You


Written by jen on December 13 2023

VANITY FAIRThe headline-making costars peel back the curtain on their romantic comedy, from the screening of My Best Friend’s Wedding that inspired them to a When Harry Met Sally–esque cameo from Powell’s parents.
Few films generate as much prerelease buzz as Anyone but You, a romantic comedy starring Glen Powell and Sydney Sweeney that made early headlines thanks to rumors of an offscreen romance between the costars. Both actors have shrugged off the speculation, a tactic Powell credits to one of his famous former costars.

“I remember after I did Top Gun, Tom Cruise gave me some advice,” he tells Vanity Fair. “He said, ‘When this movie comes out, things are just going to get really loud, a little more chaotic. It’s your job to just turn down the volume. You can hear it at whatever volume you want.’ That’s been a great piece of advice for me, because it helps you to just enjoy the journey. You can turn it up or you can turn it down and just sort of coast, because at the end of the day, it’s all noise.”

Directed by Easy A’s Will Gluck and adapted from a script he cowrote with Ilana Wolpert, Powell and Sweeney star in the film as Ben and Bea. After a brief romantic encounter goes sideways, the couple is forced back together for their loved ones’ destination wedding. The characters are named after Benedick and Beatrice, the warring coleads of Shakespeare’s Much Ado About Nothing. The iconic duo was last brought to life onscreen by then married couple Emma Thompson and Kenneth Branagh in 1993.

“I grew up loving rom-coms,” Sweeney, who is best known for her roles on TV’s Euphoria and The White Lotus, tells VF. “There’s just such a beautiful nostalgia to them, and I miss leaving a theater filled with happiness and joy and love and wanting to go back and see it again. I really hope that everyone can feel the amount of love and excitement and how special this experience was onscreen.”

Both Sweeney and Powell wanted to harken back to “the theatrical rom-com, something with big scope and big heart and big laughs,” he says. “Not a lot of people think that thing is meant for theaters anymore, and we set out to prove them wrong. And I think we did it.”

During production in Sydney, Australia, cast and crew screened 1997’s My Best Friend’s Wedding, which featured performances by two more Anyone but You stars: Dermot Mulroney and Rachel Griffiths, who play Bea’s parents. Mulroney imparted some valuable wisdom to his castmates: “Don’t look down on the rom-com,” he said, according to Powell. When he made the movie, Mulroney continued, “I felt a little weird about it as a man being in a rom-com.” He advised his costars not to follow his lead: “Really embrace this movie, because to represent love for people on the big screen is one of the greatest privileges of your career.” Mulroney hadn’t seen the film since 1997, says Powell, “so it was an interesting, emotional time capsule to be with him.”

Their characters pay tribute to another genre classic—1989’s When Harry Met Sally—during a witty exchange on an airplane. In that film’s famous diner scene, director Rob Reiner’s mother, Estelle, coyly delivers a now classic line: “I’ll have what she’s having.” Anyone but You’s version involves Powell’s actual parents—Glen Sr. and Cyndy—who also appear in the film, sitting nearby as Sweeney’s character inadvertently straddles a snoozing Powell. “All the moves that she’s doing right to my face are done right in front of my parents on that airplane,” Powell says with a laugh. “My parents make a cameo in every movie I do. But Sydney was really very instrumental in giving them that placement—she got them VIP access, as she does with everybody.”

Plenty of awkwardness ensues during Ben and Bea’s fake-dating conceit. At one point, while plotting how they’ll pull off their ruse, Bea says, “we’re all in seventh grade when it comes to this shit.” When asked about their own adolescent follies, Sweeney remembers when a childhood friend with whom she was “madly in love” gave her a ring on Valentine’s Day. “Then everyone was making fun of him the next day, and he stomped it,” she says. “It broke my heart.”

An amused Powell chimes in. “He had Sydney Sweeney as his fiancée in seventh grade—he lost it, and lost the deposit on the ring?” he asks. “It feels like a sad rom-com in itself. That’s going to be the redemption story that we’re really talking about. He’s going to put together the pieces of that ring and come back for Sydney’s heart.”

Powell and Sweeney keep bantering as they reminisce about shooting in Australia—nights spent camping out on the beach, and a day of filming that they’ll never forget. At one point in the movie, Ben and Bea are all dressed up for a pivotal conversation outside of an iconic Australian landmark. “That day while we were shooting that scene, Barack Obama happened to be visiting the Sydney Opera House,” says Powell. “I’ve never had a set visit from the president before. As a grand romantic gesture, I brought Barack Obama. Just one of those Barack Obama slow claps in the distance.”

As they wait for Anyone but You to hit theaters December 22, Sweeney and Powell hope audiences feel as strongly about the film as they do. “A great rom-com is really the kitchen sink of the feels,” says Powell. “You get two people that hate each other, and then they love each other so much, and they’re vulnerable. Then they laugh…. The reason why people get sentimental about rom-coms is that it really is everything that movies should be. You want to revisit them. It’s like comfort food.”

They also hope viewers will leave the theater quoting some of the film’s most memorable moments—or singing a few off-key renditions of Natasha Bedingfield’s “Unwritten,” which gets a lot of airtime in the movie. “[If] my career does not go well, I’ll be singing this at birthdays and bar mitzvahs for the rest of my life,” Powell jokes. “I’ll be on Cameo, singing ‘Unwritten’ for anyone.”

Richard Linklater’s Hit Man Gets Inside the Mind of a Faux Killer for Hire


Written by jen on September 01 2023

Film Productions > 2023 | Hitman > Stills

VANITY FAIRThe director and Glen Powell team up for this noir action-comedy based on a true story about a man with many personas.
Texas Monthly’s October 2001 piece “Hit Man” found an immediate fan in writer-director Richard Linklater, captivated by the story of Gary Johnson, a supposed contract killer in Houston who was actually working with law enforcement. The colorful piece by Skip Hollandsworth portrays a man who was a master of disguises and creating characters in order to convince his clients that he was a cold-blooded killer for hire. “I love this character, but I wasn’t sure of the movie,” Linklater, a Texas native, tells Vanity Fair. “We’ve got a great character, great incidents, great moments, all these great characters, but I didn’t know if it really went anywhere.”

Linklater, who previously adapted another Hollandsworth article into his 2011 black comedy, Bernie, starring Jack Black, loved the strange, funny situations Johnson would find himself in, but he wasn’t ever able to figure out a third act for the story. “I’d had meetings on it over the years and stuff, but it just never really went anywhere,” he says. “It just didn’t cohere as a story.”

Then, during the beginning of the pandemic, his friend and Everybody Wants Some!! star Glen Powell asked him if he’d ever heard of the “Hit Man” story in Texas Monthly. They started spitballing ideas and had their epiphany: The story could go a new, fictional direction based on a small moment toward the end of the article. Finally, they had their third act, and built a genre-bending film that is at times noir, comedy, romance, and thriller. And with a complicated character at the center of it for Powell to dig his teeth into as a leading man, Hit Man also explores deeper themes. “It seemed to be all about identity,” says Linklater of Hit Man, which will debut at the Venice International Film Festival on September 4. “He’s playing these characters, he’s undercover. Who is he?”

“In law enforcement circles, he is considered to be one of the greatest actors of his generation, so talented that he can perform on any stage and with any kind of script,” Hollandsworth writes in his article. He describes Johnson as a chameleon who is able to shift his characters based on the type of client he’s meeting. The sting was simple: Johnson would meet with a potential client and get the client to verbally confirm they were hiring Johnson to murder someone. Their entire conversation would be recorded, and used as evidence. After Johnson left the meeting, the client would be arrested.

For Powell, who cowrote the script with Linklater, the dark comedy, which is set in New Orleans, was an opportunity to play a character who was often playing a character. Sometimes “there was just a whole blurry line between Gary and Ron, which increased over time,” says Linklater.

In the film, “Ron” is one of Johnson’s personas that he uses when meeting a potential client. He’s Ron when he meets a beautiful woman (Adria Arjona) who wants her controlling husband killed. But Gary feels sympathetic toward her, and advises her to leave him rather than have him killed. From there, Gary—still pretending he’s Ron—is pulled into a complicated ruse when he continues to interact with the woman and their lives get more and more entangled.

Ron, a charismatic, confident man with a dark side, couldn’t be more different than Gary, a mild-mannered teacher in his real life, when he’s not moonlighting as a cold-blooded killer. “Glen, the thorough professional he is, was reading books on body language and he thought Ron would walk a little different than Gary, and he also had a lot of fun with the accents,” says Linklater. “Every movie needs something that’s kind of difficult to pull off or something that seems especially challenging.”

As research, Linklater and Powell listened to the recordings of Johnson’s sting operations, meeting a cast of unbelievable characters who felt almost too strange to be real—and perfect for film. “We could have done a lot more of those,” says Linklater of capturing the wide range of clients hoping to take out a hit. “There’s an alternate movie that’s just all these people at that moment. These rich society ladies, with their nice dresses, sitting down in a nice hotel room talking about how to kill their rich husband they’re sick of.”

Linklater found the conversations fascinating because the clients were having these life-and-death discussions “so matter of factly,” he says. “It’s almost like they’re all acting in their own little crime movie when someone’s suddenly working with a mobster. I thought it was all so dark and funny in the strangest way.”

Linklater was also able to speak with Johnson on the phone while working on the script. For being an undercover hit man, he was surprisingly well-known, attending court proceedings and being featured in news articles. “It was like two different worlds,” explains Linklater. “People that are doing the hits aren’t reading the paper.”

Linklater describes Johnson as “the chillest dude imaginable” who had no issues with his story being told in a film. “He was just the most nonplussed guy,” he says. “We would talk about baseball or something, but he was a man of few words actually.”

When Linklater was about to start filming, he tried to reach out to Johnson again to let him know it was finally happening. But when he couldn’t get in touch with him, he found out from Hollandsworth that he had died.

But Johnson’s story lives on, even as fiction. With Hit Man, Linklater is able to go beyond a quirky framing device to look at how one individual gets lost in the many personalities he takes on, and may be able to change for the better because of it. “How much can we change? Can you change? Are we fixed as people?” says Linklater. “At times, I felt I have changed a lot. No one seems to notice.… But I think that you kind of can change. You can be better. It’s worth trying at least.”

Hit Man will debut at the Venice International Film Festival on September 4 and the Toronto Film Festival on September 11. It is currently seeking US distribution.

First Look at ‘Hitman’


Written by jen on July 24 2023

Our first look at Glen in Hitman has hit the internet and the high quality still has been added into the photo gallery!

The film is slated to premiere out of competition at the Venice Film Festival, well as the Toronto International Film Festival in September.

Film Productions > 2023 | Hitman > Stills

Photos: ‘Devotion’ Captures


Written by jen on January 09 2023

1377 UltraHD screen captures from Devotion have been added into the photo gallery. Be sure to purchase the film on your choice service or stream on Paramount+!

The film will also have a 4K Bluray release on February 28th, so pre-order your physical copy today!

Film Productions > 2022 | Devotion > Captures

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