Mission: Impossible 6 doesn’t come out until July 2018 and I haven’t seen one second of Vanessa Kirby’s acting in it, but I’m already pushing for her to win an Oscar in 2019. I mean, in the kissing scene that was shot yesterday in Paris, Vanessa truly had to struggle for her craft while holding in her breath to keep herself from inhaling the bullshit fumes that constantly waft out of Tom Cruise’s mouth. Tommy also deserves some credit. It must’ve been very weird for him to have a nose touch his face. He’s not used to noses touching his face. He’s used to the noses of Scientologists shoving into his butt cleft as they lick on his royal Scientolohole.
Vanessa Kirby from The Crown is one of the female leads in M:I 6, which is filming right now, so course there were rumors that 54-year-old Tommy wants to make 29-year-old Vanessa his next Robo-Beard Bride. That rumor popped up again this week when the paparazzi just so happened to take pictures of Vanessa and Tommy kissing on each other while filming a scene. One of Gossip Cop’s sources say that they’re not dating.
I totally believe Gossip Cop’s sources. Vanessa and Tommy aren’t dating, because Tommy doesn’t date! He auditions and interviews, thankyouverymuch. Sure Tommy may ask Vanessa out to dinner, but when she gets to the “restaurant,” she’ll find the place empty and the overhead lights turned on. The only thing sitting at her place at the table will be an e-meter, and as a Scientology auditor asks her to spit out her deepest and darkest secrets, Tommy will gently stroke her head. No, he won’t stroke her head to make her feel more comfortable. He’ll be looking to see how soft her skull is because Scientology doctors will need to get in there to install a tracking device.
And that first picture in the gallery of Vanessa crouching down while gazing up at Tommy like the tall (in his head) Emperor of Scientology that he is… Tommy probably loved that and will now do whatever it takes to get Vanessa to sign her name on a relationship contract. Ruuuun while you still can, Vanessa!
Interesting that his first long interview in years goes to a French Magazine….also interesting that this hasn’t been picked up by any American magazines… (they all think he’s a deadbeat dad like you do, ed)
Translation is via google so won’t be perfect but that also makes it unintentionally funny in parts (especially the bit I highlighted in red at the end… that’s genuine google, lol)
Thirty years after Top Gun, twenty years after the first Mission: Impossible, the biggest cinema star in the world, is still and always him. Tom Cruise, the “film making machine” launches with La Momie
The new franchise “Universal Monsters” before Mission: Impossible 6, shot right now in Paris. The opportunity to test it as a “machine to speak cinema”
On the plan of the great directors, Tom Cruise is no longer quite at the top. Since it is established that he began his career thirty-six years ago (first film: Taps, in 1981), it is permissible to divide it into three installments of twelve. nineteen eighty one-
1992: Coppola, Scott (Ridley), Scott (Tony), Levinson, Scorsese, Stone. 1993- 2004: Pollack, De Palma, Kubrick, Woo, Spielberg, PTA, Mann. 2005-2016? Abrams, Singer, Zwick, Mangold, Bird, Kosinski, Liman, McQuarrie. The fourth would start in 2017 with Liman (still), McQuarrie (still) and Kurtzman … In terms of big signatures, it’s clear, Tom Cruise pauses. In billions of dollars in revenue, on the other hand, it continues to accumulate. More than $ 8.78 billion to date (source boxofficemojo.com), without lending its voice to any Pixar toys or DreamWorks animals. 8.78 billion, nearly half of which was won during the third phase of his career, the least rich in monumental authors, the one where Tom sometimes shared the star (Cameron Diaz, Emily Blunt, Jeremy Renner) but But the vision. The Mummy would be almost the most striking proof of this. This is the first part of what is to become the amalgam of Universal, an arborised world devoted to the monsters who made the stu- dio glory in the 1930s-50: Frankenstein and his fiancée, Invisible man, Dracula, the creature of the black lake, etc. Broadly speaking,
Residents of Hotel Transylvania, transformed into twenty-first century cinema, where every self-respecting studio must have its “extended universe”, otherwise Disney (which has two) will juggle itself with the billions. Billions, as we have just recalled, Tom Cruise is a bit of a specialist. This is the reason why the responsibility of launching the new franchise rests on his worn jacket. Since his signature at the end of 2015, director producer Alex Kurtzman has released the necessary ballast: since there is Tom Cruise in it, La Momie (in which, misreading reader, Tom does not play the title role) Has become by definition a “Tom Cruise movie”
With his partner Chris McQuarrie to the screenplay and the star himself in the editing room.
It’s now been four hours since Premier waits for him by eating apples and sandwiches in a meeting room at the Warner Studios on the outskirts of London. Why all this time? “We were not sure when it would be available. ” Why there? “We finish the montage of La Momie, and the first cut of American Made, the film we just toured with Doug Liman,” he explains. The building opposite is home to the Harry Potter Exhibition, but we will not be allowed to go there. Even to pee,
You have to ask permission, the security people in Warner jackets have been very clear about it. Here, “top-secret” films are being shot at this very moment. At the end of a corridor, we can see Mark Hamill in discussion with George Lucas, who wears a suit of Ewok. We are immediately signed an inter-galactic embargo not to reveal this extraordinary information to our readers.
The man who was worth billions
We awake with a start of our siesta. It’s up to us … Tom Cruise is there, in the midst of an extinct plateau where a TV team has just put a few
Interviews filmed with the international press. Without seeing the superstar who held out his hand to say hello, First, the only paper called, cut the road to enter the make-up tent where the interview will take place. Everyone is shocked by this stupendous crime of lèse-majesté, except the said star, a great smile in the form of a wink, which seems to say: “Yeah, it’s me, you do not dream – and You put a wind on me. ”
He often smiles, thanks a lot, thinks (very) strongly, laughs (too strongly), exactly like in the movies, just like Tom Cruise, the guy who weighs $ 8.78 billion in box-
Tom Cruise and Alex Kurtzman on the set of The Mummy.
National (source our collective unconscious). Speaking to him, we realize that we never even wondered whether we really love Tom Cruise or not. He is the greatest star in the world, probably the most popular actor of all time, but not in the sense of affection for him, rather in the style of the films he makes. And his films, we see them all, always. In the room, at home, in the plane, we do not miss any. This guy is definitely very very strong.
” It’s okay? Thank you for coming, thank you for being here. It was not too tiring to travel this morning? He was told that he had not been to Heathrow Airport since
The inauguration of the Eurostar, more than twenty years ago, especially since Première is now ten minutes walk from the Gare du Nord. “WHAT! But it’s dingo, why would they take you on the plane in these conditions? It’s no matter what! But otherwise, Eurostar is how? Good ? I never took him in the real world. Only in Mission … “This inaugu- ral exchange before sitting does not look like anything, but it is very revealing: Tom Cruise is interested in you, he is worried about your well- be. But he’s Tom Cruise. He says
“Mission” to talk about Mission: Im- possible, because he is allowed to call this movie by his name. And he said it with a smile, the fucking smile he had for Top Gun and on which he could have built his entire career, had he not decided to reinvent it and reinvent it again . That smile that seems to say, “I know who I am, I know how you feel when I am in front of you. Yeah, it’s me. That’s my Tom Cruise’s face. Are you going to be able to recover? We’ll have to try, anyway-
FIRST: When I told my son
Of 9 years that I was going to interview
Tom Cruise, he turned to
His mother, incredulous, asking:
“Mom, is not it?” ” (He smiles,
Proud enough, while finding it almost normal). I realized that he learned to read subtitles with movies
Of Tom Cruise, as I did before him. It says something about …
TOM CRUISE: … on the passing generations?
And on your place in popular culture. For more than
It’s fantastic. Fantastic. A privilege.
A privilege ?
Huge. Put yourself in my place. At 4 years already, I wanted to make movies. I did not imagine it could be possible, but I dreamed about it. Then I see myself at the age of 18, turning Taps and saying, “Damn, here we are, I dreamed, I’m there. I did not take a comedy class. I did not take a film course. All I was doing was watching movies. So Taps was a decisive moment. We had weeks of rehearsals, and I went to squat in each department. If I never made other films again, at least I would have seen how they were made. And here I meet Owen Roizman (one of the leading operators of the 70s, especially on “French Connection”, “L’Exorciste” or “Les Trois Jours du Condor”). And I know very well who it is, because I saw all his films … There is also (the director) Harold Becker, (producer) Stanley Jaffe and all these artisans: the guys who train On the waterfalls, those who work on the script again and again. For me, a script was a finished, connected object. I did not imagine it was a living object,
“AT 4 YEARS ALREADY, I WANT TO DO
“EVEN YOUNG ACTOR, I ALWAYS
POSITION TO CHOOSE. ”
In perpetual evolution. You see ? The process! It was the first time I was aware of it, that I was able to evaluate it and look at the cinema from this angle. Not to mention that I am the kind of person who will stand in Roizman for hours, to ask him why he has chosen such a goal, such light, the film he uses, why he chooses to frame as Or at such and such a point in the film. Same thing with the screenwriter or the director. Ah, Harold, it makes me think of this anecdote: one morning, I went to town and I had my hair shaved. Without asking anybody. I go back on the tray and Harold makes a cardiac arrest: “Damn Tom, but what the hell have you done?” Me: “Jemesuisdit would be good to my character. (He laughs, as stupefied by his own audacity.)
Knew so much that I had not even asked her permission.
It’s a good story.
Because today you
Do not ask for permission from anyone. This type of decision is yours.
OK, that’s probably true.
For a long time, you have turned under the direction of big names. The films revealed their approach to you as a star or actor. Now it is your vision of yourself that is expressed, including in The Mummy that you do not produce yet. It’s an interesting idea. (He thinks.) A guy like Sydney Pollack, I knew him when I was 18 years old. I wanted to meet him because I loved his films. I was not A kid, but I went to my agency, CAA, who represented a lot of people, and I got interviews with directors, screenwriters, actors, to talk to me about Their films. I wanted to know. Know why it worked in some cases and not in others. Know how they managed to make it work, and evaluate the active part I could take in this process. A film, when it is successful, is a collaboration. It’s not my film, it’s “our” film. I always say it to the teams when we start a turn. I gather everyone and I explain to them that we must all contribute together.
Except that you’re the guy who says it …
OK, maybe. I’ve done a lot of films, worked with a lot of great talents. It makes sense that it weighs in the balance. But on the substance, my opinion has not changed. I do not want to look too arrogant, but even as a young actor, I have always been in a position to choose the films I wanted to make. I was not the guy forced to take the offers that presented themselves. And then I wanted to bump! The most possible. Do, do, do.
ALEX KURTZMAN “THE MOMIE IS A” TOM CRUISE
MOVIE “A SPECIAL PEOPLE. ”
Member of the close custody of J. J. Abrams, screenwriter
Of Mission: Impossible III and Star Trek, Alex Kurtzman muscle
His game by realizing The Mummy, the foundation stone of the new franchise “monsters” of Universal. He talks about his Cruise-system experience. U BY FRÉDÉRIC FOUBERT
FIRST: You worked
A first time with Tom Cruise
As a co-author of Mission: Impossible III, you direct him today in The Mummy. The difference,
Is that in one case it is producer, in the other not …
ALEX KURTZMAN: Yes, but it does not change much, actually. Tom brings on each project the same requirement, the same meticulousness. The most striking thing about him is his acute knowledge of cinema. Both its history and its technical aspects. He has worked with the greatest directors, he’s been at the top for so long … If you’ve grown over the last thirty years, you’ve necessarily grown old in front of Tom Cruise’s films. But what I find most admirable is that it always makes the experience different. It’s hard to keep on renewing after thirty years. He succeeded by putting all his collaborators to the test, pushing them to surpass themselves.
The scene of the Mummy crash. While writing the script, Tom comes to see me, I make him read this scene, and he says to me: “Great.
We’re gonna shoot it. But in truth! “Uh … Excuse me, Tom ?!” – “We’re going to shoot in a real plane in free fall. And that’s how we ended up filming in “zero gravity” … Well, this is a rather extreme example, but it’s quite revealing of how Tom apprehends the things.
I love, in the trailer, the moment
Where he screams in the airplane.
We had never seen it like that … Another good example of how Tom works! To be able to send everything at the last minute to better im- provisate. The scene was turned, and suddenly I said to him: “Now howl! He looked at me, a little surprised, with the air of saying that it was really not the kind of house. But I insisted: “You are still close to death. And he started screaming … I love it when he finds himself in such a situation. It reminds me of the scene of Jerry Maguire where he is fired and humiliated before all his colleagues. Or when he sings Free Fallin ‘with full lungs. He is never afraid to get into embarrassing or a little silly situations. This makes its performance very human.
The Mummy is still
A rather special Tom Cruise movie. It’s a movie of monsters, the beginning of a new franchise
For Universal …
Yes, but it’s fitting with Tom’s ambition to offer a different experience each time. It seemed like a cool, unexpected challenge, a bit strange on paper. In fact, the tone of the film is rather composite: it is both a horror film and an action film, with a real emotional dimension and elements of comedy. We quickly agreed on the idea of trying lots of things. Some will walk, some will not, and one will agree on the final tone. Tom and I also agreed on the fact that we always loved the films of Universal monsters, which, beyond the fun, were often overwhelming, very deep.
In the interview he gave us, Tom Cruise talks about his cut
Of hair, always a primordial element of characterization
Of his characters. This is the
Of decision that he takes in solo
Or you discuss it between you?
We’re talking about EVERYTHING with Tom! The costumes, the photo, the characters of Annabelle Wallis and Sofia Boutella, the color of the wallpaper … And his hair, yes, of course. When one has such a kind of hair, it’s normal to want it to be enhanced, right?
” I NEED
TO CONFRONT ME
TO ALL KINDS
There is a form of know-how that can only be achieved with practice. It’s like children. They are told what to do or not, but they have to realize it for themselves, right? There, only, they touch the reality of the finger. “Oh damn, oh shit, was that it?” This is even more true with cinema, a profession where one has no right to be afraid of making mistakes.
When we go to a movie of
Tom Cruise, whatever the genre
Or the director, there is a sort of
Contract, as a definition
Of what should be mainstream cinema. A bit like Jackie Chan
At the peak of his career.
I say that I am a big fan
By Jackie Chan.
Me too, dammit, me too. What a genius. (He sits up in his seat and tightens us
Tom Cruise in The Mummy.
The hand.) A genius! He went to draw Harold Lloyd, Chaplin, all classical vaudevillesque tradition, and he gives himself entirely to his public. I love it. An incredible guy.
Like him, you became the embodiment of a certain idea
First, I’m glad to hear that, and thank you for that. From the beginning, all I wanted was to entertain the audience who was traveling to see my movies. Being able to make sure of the level of what was offered. Because the public is me. Me when I was a kid. I wanted to engage in cinema, in front of films of all genres, very different from each other. In my career, I chained Rain Man and Born a July 4, you see? Until then, starting from Top Gun, it had been a
Logical tunnel, one movie after another, where I was playing in a similar registry. Well, Rain Man, we worked on it for two years, with four directors, I had already learned a lot about different approaches to storytelling. But to go to Born on the 4th of July was still something else! In the industry, I was told that it was a huge mistake, that it was going to ruin my career, but I said, “Look, there are all kinds of stories I want to tell. I need to confront it. “A guy like Bruce Springsteen, when he released Nebraska … You know this album?
Yes, very well.
It was different from everything he had done up to now, different from what people expected of him. But, for him, it was this record, at that moment, and he imagined that there might be another audience to appreciate it. Born on July 4, it’s the same. I had to progress technically to do it, then to play at Kubrick, after Copopa or Scorsese. And then at one point, I started thinking about Mission: Im- possible because I wanted to rub myself more physical action. I felt capable, I wanted to establish a different relationship to the camera. With De Palma, we developed this idea, trying to create a special relationship between the camera and me, in extreme contexts or places. I was confronted with a new style of narration and entertainment. It was the very first film I was producing too, so do not forget it.
About you, a friend said to me:
“You have to ask him how
He developed his way of running. (He laughs.) Ah!
That’s a good question, is not it?
In an interview, John Wayne explained that at first he did not know what to do with his hands and that he eventually found some key postures. (Cruise began to imitate his hands on Wayne’s typical hips;
He looks pleased with him.) His step, too, was worked. And you,
it’s the same. We have the impression
That everything is working. Your approach. Your way to run. Your Way
To play with your jaws …
(He laughs incredulously.) My jaws? You mean when I squeeze them because the situation is very intense?
Or very emotional, yes …
So, OK. All these things you notice come from one and the same idea. I look at the composition. (He mimics a frame with his hands and seems to be in it.) I reflect on what this image is meant to tell, what emotion it is supposed to convey, what impact it must have on the audience. As a filmmaker, the aim is to master the exact meaning of this image. (He is always in the frame, as if his gaze
Measured exactly where the plan begins and ends, and how it should fit in.) This image is based on framing, composition, light, depth of field, but also the position of the actor in the middle of everything And how these elements work together to guide the spectator’s gaze within the plane. The gestures or gimmicks you evoke are all born out of this reading of the dynamics of the plan and of the place I occupy in it as an actor. That, you have to master it to the maximum, without asphyxiating the spectator. In my films, I always try to give him a place. I do not jump into the face permanently, I ask for participation. For example, I’m looking for character laughs.
That is to say ?
Gags related to knowing the character well. Who need to be invested with him in the narrative to grasp the joke. This is the kind of gag that falls a little flat in a TV clip or in a trailer but that just tapes, taken in the context of the film. When it is successful, the viewer says “Ah, wow! “Because he bursts out laughing and at the same time measures the path that led him to that point.
There’s a good example in the first Jack Reacher, when you take off your shirt. Rosamund Pike looks at you like a nut who shows off his pecs. And you say to him:
“But no, I just washed my only shirt. (Throughout the scene description, he seems to cry laughing,
To the Tom Cruise.) That’s a laugh character but also an actor’s laugh, right? Yes. YES! You play with certain accepted ideas, certain perceptions. And McQuarrie knows this better than anyone else. We play on the expectations of those who know us well, who follow our work closely and who will be able to realize that we are making a mockery, that I do not care about myself. Not to mention the more or less subtle homages to filmmakers or films that we adore. A film must run on heaps of levels. Guys like you or me, who love cinema so much, we want to find ourselves on certain references, to slap in the hand, to make winks complicit. But on the other hand, I do not want to make movies just for us, I want to make them for everyone and that everyone finds its account.
“IN MY FILMS, I ALWAYS LOVE TO LEAVE
PLACE TO SPECTATOR. ”
OK. Some films use this compositional storytelling when the composition of the plan and the cutting make history. This is the big difference between a Mission: Impossible and a Rain Man or an American Made, that is being finished with Doug Liman. In this movie, I play a little chat and mouse with the camera, as if I said “catch me if you can” to the operator, Caesar, the brilliant guy who shot this Brazilian movie, damn .. .
César Charlone? The City of God? Here. Deadly. Brilliantly filmed. Brilliantly told. He is chief op on American American. A film like this has nothing to do with the level of detail required by a Mission: Impossible, where everything functions like a Swiss clock. Each
Detail in the account framework, the discipline of the composition must be absolute. (He redraws the close-up frame around his face and seems to look down on the left behind him, like an animal sniffing a danger.) The slightest look must have a reason to be. And it is only by putting in place the proper composition that we will be able to communicate what it means. Nothing to do with a movie like Rain Man, where you’re just in the setting to play the stage. It is not at all the same kind of performance. Understanding and respecting these differences is what is most fascinating.
How do we learn that?
In doing so. I was lucky enough to find myself on a plateau with Scorsese, while he was putting up the billiard scenes of La Couleur de l’argent. Normally, it does not repeat. But he Made an exception on that film, because (Paul) Newman loved it. Scorsese was excited. I saw him put everything in place, repetition after repetition, so that each billiard sequence was different. In the end, none of them resembles each other and each tells the story, the mood of the characters, the precise moment in which the drama is. This lesson, I scrupulously applied it to the scenes of action that I was able to do subsequently. Nowadays, many are doing the catchment rather than putting in place a rigorous division. The discipline of a Scorsese or a Spielberg is lost. When I started, we were still shooting with one camera. And then the influence of the English pubards began to be felt, we began to turn with several devices, then more and more often in long focal lengths. (A technique that catches the scenes in flight, without much concern for fittings.) I talk to the directors and I say to them: “Above all, do not get used to using four cameras! “You have to put the scene in place and choose the right axis, because it’s still the best way to get the public into an environment with the characters.
I WANT TO BAT IN CROPS
«I WANT TO MAKE FILMS OUTSIDE A SCORSESE
FROM ALL OVER, FOR
OF THE USA. »OR ONE
DIALOGUE WITH THEM
ON THE CINEMA. ”
You are a bit of an expert on
The question of English pubards!
Thanks to my experiences with the Scott brothers, for sure! Except they knew exactly what they were doing. I worked with Ridley on Legend, what was I, 19, 20 years old? We were shooting in the James Bond studio. He had made us see Dream of a summer night, the version of 1935, and other films. On the board, I thought (he grins): “Thin, I do not see how this stuff can work. Ridley said, “Look into the lens, you’ll understand. But I understood only in front of the rushes how he painted with the light. He knew exactly how the film would react to the lighting. I could not believe it.
At Première, we had the theory that on Mission: Impossible, you collect the categories of filmmakers: the great old De Palma, the Asian virtuoso John Woo, the television prodigy J.J. Abrams, the genius
Of the animation Brad Bird, the super scriptwriter Chris McQuarrie. And there, bam! You drag our theory into the air by doing the sixth with the latter. (Sound laughter.) Wait to judge. All
Will depend on what happens to be done this time. (His gaze lights up, kind of you’re going to see what you’re going to see.) Believe me, maybe it’s the same director, but it’s still going to be very different. It starts in three weeks, in Paris (the interview takes place in March). I’m looking forward to it, this is the first time I’ve been shooting there.
Are you going to have short hair or long hair? It always starts with this decision, no, a Tom Cruise movie?
Yes, it’s a bit true … They will be a little longer than now.
So a bit more than in the 5.
How do you make that decision?
We look at where I am, how I was in the film that I shot just before … There, it had been a while that I was blocked along the length of The Mummy, of which we have just finished the last shooting. Sometimes there are more specific reasons. For Mission: Impossible 2, John Woo had wanted my hair to be long, in the perspective of action scenes.
Oh good? At the time, we were all
Sure it was your decision!
Oh no, it was Woo! He said, “I want you to have long hair, so they’ll be moving when you’re on the bike. ”
The interview comes to an end,
I rephrase my first question:
The last time you shot under the direction of a great “author” was when you chained Michael Mann’s Collateral, and
The War of the Worlds, by Steven Spielberg. Since then, you have worked with less established people.
Already, the word “author” sounds bizarre in my ears, concerning an adventure as collec- tive as a film. Secondly, each project is specific. There was no calculation, no great decision to change course. It just happened that way.
Coincidence, then? Just after
The two films in question,
David Fincher was to shoot Mission: Impossible III. You tell us why it did not happen?
I’m not too sure … Frankly, I admire his talent as a filmmaker.
But you must have a Mission movie. Otherwise, drop it, it’s not for you. There are a number of elements in this franchise that should excite you, the Swiss watchmaking side that we talked about, the taste for travel, and so on. I wanted to make films outside the United States. At the time of the first Mission: Impossible, to go to Prague with an international casting was not obvious. Everyone said, “Oh, but what are you doing?” They all wanted to be shot in Hollywood! But I, even a kid, wanted to travel, to see the world, all those crazy places that made me dream in movies. I wanted to bathe in different cultures and meet people from all over, to talk to them about cinema. Because I really love it. Thank you again for coming here for this interview. And do not forget to say hello to your boyfriend from me.
Since a few weeks,
A specter haunts Paris: Tom Cruise stormed the capital for
The shooting of Mission: Impossible 6. And to affirm a little more its status of superstar.
At the end of the interview,
Tom Cruise had launched a
Sympathetic invitation to
First: “Come and see me
On my next shoot. A good
Part takes place in Paris; We can continue
the conversation. »The battery of agents and intermediaries
Made that one never got the sesame …
The sesame? “Code name: Gemini”. This code, it has suddenly cracké; At the same time as the inhabitants of the peaceful XVe arrondissement of Paris who began to swing
Photos on Twitter. Stretched streets, overexcited bystanders, inflamed social networks, exasperated residents. It is not every day that avenue de Ségur is witness to such a madness: last month, this residential quarter usually desert was invested by hundreds of technicians to
A chase sequence of M: I 6. Engine twitches, tire track on the asphalt, crane camera,
And Tom Cruise, in weightlessness, hanging on a harness
To perform a waterfall from a motorcycle above
a car. A trifle for the actor who will realize
(According to producer David Ellison)
“The most spectacular cascade of his career”
On the Parisian soil. Or in its airs. Several helicopters
Were spotted flying over the Department of Finance,
Where should be the main scene of action of the film
Of Christopher McQuarrie, while Tom Cruise was photographed on the roofs, surrounded by RAID agents. Thirty-five days of filming in the French capital,
25 million euros in economic benefits for the City. But it’s not just about money. Hooked above the fifteenth, above the cars and fans,
We see the ambition of Tom Cruise: to be the last Hollywood superhero, actor, producer.
A star-system all by itself.
The Church of Scientology and its celebrity members are about to be rocked with a scandal the likes of which the controversial organization has never seen.
In an earth-shattering world exclusive, RadarOnline.com has uncovered a 300-page highly confidential FBI file that finally confirms that the federal government secretly launched an intensive nationwide investigation into the church over claims of “human trafficking”.
The horrifying details of this probe – and why it was suddenly and mysteriously abandoned with no explanation – have been a kind of Holy Grail for critics of the church.
Journalist Lawrence Wright first mentioned the investigation in a 2011 New Yorker article, but after that, the trail seemed to go cold.
Scientology spokeswoman Karin Pouw insisted in 2013, “The church has no knowledge that this ‘examining’ ever occurred.” And at the time, the FBI, US Attorney’s Office, and Department of Justice ALL refused to confirm the investigation took place. But now, Radar finally has uncovered the proof – and it could bring down the church at last.
“I don’t think the timing could be worse for Scientology,” journalist and noted Scientology expert Tony Ortega told Radar.
On the heels of HBO’s Scientology documentary Going Clear, and Leah Remini‘s Scientology documentary series, Ortega, founder of The Underground Bunker said, “This is going to be devastating.”
The federal investigation began in utter secrecy, with the filing of an FBI agent’s request “to open a sensitive investigative matter” on October 5, 2009, regarding the Church of Scientology and “human trafficking.”
The agent reported there were whispers of “underground labor camps that resemble ‘concentration camps,’ where [Scientologists] live and work in slave-like conditions around the clock” facing “severe limitations of civil liberties, including physical abuse, which has become mainstream.” (Scientology has always denied the existence of labor camps, as well as incidents of abuse within the church.)
From there, the FBI quietly but diligently set about their work, seizing several items of relevant “property” and interviewing more than a dozen former Scientologists across the country.
By January 2010, the FBI reported in a briefing that they were expecting “the likely indictment of multiple subjects.” In May of that year, the Assistant US Attorney filed a report with the title, “Grand Jury Investigation of Operations Overboard,” the probe’s new name.
For the revelations from the explosive file, and why charges were never filed, stay with Radar!
Documents detail FBI investigation of Scientology that never resulted in charges
The FBI conducted a criminal investigation of the Church of Scientology in 2009 and 2010 that focused on allegations of human trafficking, according to documents released Wednesday.
The inquiry never resulted in charges against the church, but the documents — posted by the entertainment and gossip website Radaronline.com — say agents focused on the Sea Org, the church’s low-paid, military-style workforce.
According to one document, former Sea Org members told agents that the church “tricks” people into the organization with promises of good living conditions, but later houses and holds them “at secure locations where they work 15 hour days in various positions for Scientology based companies … given no days off and are permitted only limited and monitored contact with anyone outside of the camps where they live and work.”
The documents buttress a 2013 report by the Tampa Bay Times detailing a sustained and methodical FBI investigation of the church, with agents traveling to several states, questioning dozens of former Scientologists, obtaining surveillance video of the church’s remote headquarters in the mountains east of Los Angeles, and even contemplating a raid of that facility.
The Times based its report on interviews with 15 people who talked to FBI agents. But church officials dismissed the account, said they had no knowledge of such an investigation and questioned whether it ever occurred.
The documents released Wednesday are the first official affirmation that the investigation took place.
In a statement, church spokeswoman Karin Pouw said the investigation’s “rapid termination” was proof that the allegations by former members were false. She questioned whether release of the documents constituted news, noting that the case “was closed seven years ago with no finding of wrong doing.”
She added that the church has learned the investigation was conducted by “rogue agents,” including one who was later disciplined.
Radaronline said it acquired 300 pages of documents from the FBI through a Freedom of Information request. The website posted only three of those pages Wednesday, but its managing editor, Melissa Cronin, alluded to other documents in her story.
The story said that in January 2010 FBI agents expected “the likely indictment of multiple subjects.” Four months later, the story said, an assistant U.S. attorney filed a report indicating that a grand jury investigation was discussed.
In an interview Wednesday, Cronin provided a general description of the remaining pages, which Radaronline expects to publish in parts over the next three weeks. The documents describe a wide-ranging investigation that began in October 2009, she said, shortly after a series of Times reports detailing physical and mental abuse of staffers who labored at the highest levels of Scientology under extreme and controlling conditions.
Cronin, citing the documents, said the agents traveled to multiple locales, including Hawaii, Portland, Ore., Texas and Clearwater, the church’s spiritual headquarters. Multiple officials were involved in the investigation, she said, including agents in the FBI’s Los Angeles and Washington, D.C. offices and officials from the Justice Department and U.S. Attorney’s Office.
She said the documents made clear that the agents immersed themselves in Scientology’s culture, learning its practices and its unique lingo. “It was a serious and well-researched investigation,” she said. “They became experts on the case, they took it seriously.”
The documents, she added, included discussion of a possible raid of the church’s facility east of Los Angeles and how former Sea Org members had told the agents it appeared the church knew it might be coming. Also included, she said, was discussion about church members being trained in destroying documents, creating “cover stories” and “playing dumb” to thwart any government agents who came calling.
Said Pouw, the church spokeswoman: “No raid occurred because the FBI knew that such an action would have uncovered nothing more than peaceful members of a religious order going about their religious mission.”
In May 2010, according to Cronin’s story, an assistant U.S. Attorney filed a report titled “Grand Jury Investigation of Operations Overboard,” a reference to the code name for the inquiry. After that, she said, the trail goes cold. No more documents.
What happened to the investigation? And why didn’t it result in charges?
For its 2013 report, the Times interviewed experts who said the likely reason was a ruling in August 2010 by a federal judge in a civil case brought by two former Sea Org members, Marc and Claire Headley. The couple had sued the church, saying its harsh punishments and controlling tactics kept them from leaving for years.
The judge ruled in part that the First Amendment’s guarantee of the free exercise of religion prevented the court from delving into whether the church’s discipline methods were reasonable. To do so, the judge said, would “entangle the court in the religious doctrine of Scientology and the doctrinally motivated practices of the Sea Org.”
In any criminal case brought against the church on the same issues, the experts said, the burden of proof would have been even higher and not easily met.
News of the FBI investigation first surfaced in February 2011 when journalist Lawrence Wright mentioned it almost casually in a story he wrote for The New Yorker magazine about former Scientologist Paul Haggis, the film director.
The Times reported that one of the agents became angry with a former Scientologist who had cooperated with the FBI but also helped Wright confirm the investigation. The leak had destroyed years of work, the agent complained.
Cronin said her interest in Scientology dates back 10 years, since she began reporting about celebrities, some of them church members. Curious about the FBI investigation, she requested documents from the agency in 2014. The FBI, she said, would send back rote responses telling her it had many requests to process.
Years passed and she abandoned any real hope of seeing the records. Then two weeks ago, she said, she received a small cardboard envelope in the mail with a CD inside, no cover letter. The envelope indicated it was from the FBI, and the CD contained three PDFs totaling 300 pages.
Cronin said she was stunned “to finally see the proof of it and to see how intense an investigation it actually was.”
Contact Thomas C. Tobin at [email protected] Follow @ThomasCTobin.
Cannon Scientology facilities CLOSED
A series of Scientology Church operated facilities have been permanently closed in Cannon County and three suspects charged in the case.
“The Cannon County Sheriff’s Department would like to make the general public of this county aware that the Scientology facilities are closed and not operating in Cannon County,” a statement from the Sheriff’s office said.
The 16th Judicial District of the state of Tennessee, Cannon County, has charged three suspects in the case. Two of the three, Dennis Flamond and Hans Snyder Lytle, entered guilty pleas in General Sessions Court on two counts of false imprisonment.
The third suspect, Marc Vallieres, was charged with two felony charges of facilitation to kidnapping in Circuit Court. Vallieres pleaded “by information” in Circuit Court.
Circuit Judge David Bragg ruled in this final disposition of the cases that “all facilities in Cannon County are closed and will not operate any resident facilities in Cannon County, TN.”
Faculties were discovered on Sunshine Lane and on Sycamore Creek Road.
A 911 emergency phone call provided the Sheriff’s Office with the opportunity to go inside the facility which they described as a double-wide trailer with several tiny cabins located behind it.
“We proceeded up the hill through a gated, makeshift paddock that is secured externally with a steel latch.” The officers reported the individual who called them was looking out through a Plexiglas window.
“He is locked inside the cabin with no way to remove himself from the building. The caretaker unlocks the door and lets us enter the cabin.
“The cabin is bare there is a small pile of sheets in the corner, there are no obvious amenity for life, ” the officers reported.
The man being held there tells the officers he is being held against his will and is given unknown medications. He explains that he is there to have rehab and get cleansed though Scientology.
“He states that he has been there for nine months and is being mistreated and falsely imprisoned and all he wants is to go home.” the officers said.
The man then shows his room to officers.
“It is a small room with a single bed in it, the bed is bare except for a one sheet that he covers up with, his bathroom is the only room with a light.”
When the officers stepped out of the little cabin, the door is locked back and they return to the double-wide trailer where the caretaker (identified as Dennis Flamond} gives them a history of the person. He also tells them the manager of the facility is currently in Los Angeles undergoing courses. He refuses to give them his contact information.
Cannon County Emergency Medical Service is called and officers to get to speak to the manager who is identified is Hans Snyder Lytle.
“I explained to him that no one on this facility is a licensed healthcare provider and no one here has power of attorney over him so if he feels that he needs to go to the hospital, then he will have to be transported,” Investigator Brandon Gullett said.
After transporting him to the Emergency Room, Gullett and Deputy Turney return to the Cannon County Sheriff’s Department to begin their investigation. Initially, the officers contact the subject’s mother, who lives in Beverly Hills, CA.
“We relay to her the events and she is in disbelief, she has never actually seen the facility and is only aware of the conditions from what is available on the Internet, which is presented in an entirely different manner than actual living conditions. After about approximately 15-20 minutes of explaining what is going on there she believes us, and at the time of our last conversation she was getting a plane ticket the next morning for Tennessee,” Gullett said.
At this point, the officers began to contact all of the appropriate agencies including Adult Protective Services, Sheriff Darrell Young and the District Attorney General. A search warrant is obtained and the hospital is notified about other potential patients.
When officers returned to the address on Sycamore Creek with a search warrant for all of the premises, they discovered that the personnel was in the process of packing up and moving out. The locking mechanism was removed from the front gate.
During the search of the facility, a female patient was discovered. She was transported to Saint Thomas Stones River Hospital and parents notified.
Deputies found the building at 3343 Sycamore Creek road heavily fortified. The officers used a ram to force the door open and several boxes of evidence were discovered, cataloged, photographed and confiscated by Inspector Gullett.
Later in the day, officers discovered Hans Lytle following a search at an address on Cedar Crest Lane. He was taken into custody on multiple charges