Bryce Dallas Howard is reflecting on her not-so-nice collaboration with a contentious filmmaker.

The Jurassic World star detailed her nasty exchange with polarizing Danish director Lars von Trier on the 2005 drama Manderlay in a new interview with British outlet The Times. 

Howard said that as soon as she arrived in Norway to begin filming the project, the director began talking smack about her dad, Ron Howard, to try to get under her skin. “He started insulting me: ‘Your father’s a terrible filmmaker,'” she recalled von Trier saying. “I went, ‘Lars, what are you trying to see?’ and he said, ‘Your angry face. I don’t know what it looks like.'”

Howard claimed that von Trier then splashed a glass of water in her face after trying to piss her off with his rude remarks. “So I threw a glass of water in his face,” she said. “He goes, ‘Why did you do that?’ and got up and left.”

Representatives for von Trier did not immediately respond to Entertainment Weekly‘s request for comment.

Howard added that despite the presumed aggression of the interaction, she was somewhat amused by it. “That was my introduction to the Lars von Trier experience, but it wasn’t like I went to my room and cried or anything,” she said. “I was sort of delighted by it.”

Elsewhere in the interview, Howard explained how her connection with her acclaimed father has impacted her ability to find acting work. “I happen to be in a situation where there are multiple layers of privilege,” she admitted, noting that Ron Howard’s parents, Rance and Jean Speegle Howard, were also actors. “So I got to have access in a way that, even if you were born into it, most people wouldn’t.”

The actress-director reiterated that her family has been a boon for her Hollywood trajectory. “At the beginning of my career people would ask — and I was always so shocked by this — ‘Do you feel it’s been a disadvantage?'” she recalled.’ “And I was like, ‘Disadvantage?’ When you’re an actor, you need to capture a casting director or director’s attention, but when you’re someone who’s related to someone else, there’s an inherent curiosity there.”

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Howard also shared her reaction to watching her dad return to acting on Seth Rogen and Evan Goldberg’s Apple TV+ comedy, The Studio, in which the child-star-turned-director played a grumpier version of himself. “I was nervous for him. They shoot everything as a one-er [one-shot take] and you can’t really fumble-bumble anything, but he was so dialed in,” she said. “It was really fun being behind the monitor and hearing Evan and Seth get so excited. It just made me really proud of him.”

Would you want to know how you’ll die?

It’s a question you might find yourself asking after watching The Life of Chuck (in theaters now). Based on the Steven King novella of the same name, the film ends with the titular character (played by Tom Hiddleston) walking away from an attic where he may have just seen an apparition of himself at the end of his life. 

The film tells the story of Charles Krantz, a dance-loving accountant who tragically dies from a brain tumor at 39. Chuck’s life unfolds for the audience through three acts, presented in reverse, with the final act telling the story of his childhood. 

In Act III, young Chuck (played by both Benjamin Pajak and Jacob Tremblay) is forbidden from going into his attic by his grandfather, Albie Krantz (Mark Hamill). We learn that in that attic, Albie has seen ghostly apparitions showing the deaths of himself and his loved ones, and he doesn’t want Chuck to be traumatized by similar visions.

But after Albie dies, teenage Chuck can no longer contain his curiosity. When he enters the room, he briefly sees an older version of himself in a hospital bed, hooked up to a monitor. Thanks to the reverse chronological storytelling, we know by this point in the film that young Chuck is indeed witnessing his own demise. But does Chuck let this phantom haunt him into adulthood?  

“Any premonition of death or the end of his life doesn’t scare him or suppress him,” Hiddleston tells Entertainment Weekly. “His choice in that moment is to live as fully as he can, which is the choice we all ought to make all the time. None of us know the day or the date that our lives will end. And if we think about it, we live with that uncertainty every day.” 

The reveal in Act III that Chuck has seen his final moment gives extra weight to earlier portions of the movie – specifically his spontaneous dance on the street in Act II. “Chuck is an accountant who on the inside is a dancer, and he contains multitudes, but he’s there to show us that we contain multitudes, to remember the infinite possibilities that we’re all born with,” Hiddleston says.

“You can try anything in life as long as you don’t hurt other people,” he continues. “Your life is yours to live and yours to explore, and yours to be curious about. And that curiosity is actually what sustains you.”

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Despite the movie’s supernatural ending, Hiddleston hopes audiences leave theaters on a hopeful note. “I think it inspires an instinct to live, [and] think, ‘Well, I have now. I have the present moment. I have the people I love.’ You start to be grateful for what you have and inspired to live as fully and as joyfully as you can, with the awareness that life also contains some of the hard stuff. It contains struggle and pain and loss and grief, but it also contains joy and connection and love and inspiration.” 

He adds, “If you can hold onto that, you’re living.”

The Force was not with Al Pacino when he turned down the role of Han Solo in Star Wars — a choice he opened up about in his memoir Sonny Boy. Recently reflecting on that fateful decision further, the Oscar winner now jokes that he was simply doing Harrison Ford a favor.

“I said, ‘I think I’m in the mood to make Harrison Ford a career,'” the legendary actor quips to Entertainment Weekly while promoting his latest film, The Ritual (in theaters now), alongside his costar, Dan Stevens.

Strolling down memory lane, Pacino recalls his relationship with the so-called “Movie Brats,” a group of pioneering directors including Steven Spielberg, Martin Scorsese, George Lucas, Francis Ford Coppola, and Brian De Palma, who helped pave the way for the New Hollywood movement of the mid-’60s to early ’80s.

“Zoetrope started in San Francisco with Spielberg and De Palma and Francis Coppola, and Scorsese,” Pacino explains. “They were in the late-’60s making this. They were real idealists coming into the ’70s with great films all over the globe. So it was a wonderful place that I actually saw, I went to the building and everything before I did Godfather with them,” he continues, referring to the Sentinel Building in San Francisco, purchased by Coppola as the headquarters for American Zoetrope.

“So I loved their work, but I was doing a show on Broadway at the time, and they handed me this script, and I thought, I don’t understand,” he said of reading the Star Wars script for the first time.

“[I thought], I must be out of space myself,” he joked. “But I looked at this thing and I sent it to Charlie Loughton, my friend and mentor, actually. I said, ‘What do you make of this?’ He was pretty wise and he said, ‘I don’t get it, Al. I dunno. I don’t get it.’ I said, ‘Well, I don’t either; what are we going to do? They offered me a fortune, but I don’t know. No, I can’t play something if I don’t speak the language.'”

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Fortunately, everything worked out in the long run for all parties involved. Pacino continued his iconic career, starring in films including Norman Jewison’s And Justice for All, William Friedkin’s Cruising, and De Palma’s Scarface. And, of course, the role of Han Solo in 1977’s Star Wars: Episode IV – A New Hope went to Ford, transforming him into one of Hollywood’s most bankable leading men.

Pacino also wasn’t the only actor Ford had to beat out to win the part of Han Solo. Sylvester Stallone has spoken about auditioning and being rejected for the role, and you can even watch Kurt Russell’s audition tape. Burt Reynolds told Business Insider in 2016 that, like Pacino, he was offered and turned down the part. “I didn’t want to play that kind of role at the time,” he said. “Now I regret it. I wish I would have done it.”

There’s divine casting, and then there’s divine casting.

In the case of Bill Murray, who plays the Almighty himself in The Phoenician Scheme, it’s the latter. “I don’t know that we chose Bill to play God,” writer-director Wes Anderson tells Entertainment Weekly, pausing to gleefully add, “possibly God did.”

Jokes aside, Anderson says the casting was a match made in heaven. “What I will say is when Bill walked onto the set in his robes and his beard, he could barely move. And yet he seemed very comfortable, and he occupied his throne in a relaxed manner. It just didn’t seem that he was faking it. We knew very quickly he was going to be an informal God who is creating without making a show of it.”

The film follows Benicio del Toro’s wealthy businessman Zsa-zsa Korda, who appoints his only daughter, Liesl (Mia Threapleton), a nun, as sole heir to his estate. As Liesl, Korda, and his tutor, kooky bug lover Bjorn (Michael Cera), embark together on a new enterprise, they come up against several bonkers assassination attempts, presumably from Korda’s many enemies. Each time, Korda enters a sort of liminal space —a black and white heaven —where he experiences moments of personal growth and introspection. Here, he encounters Murray’s God… among other things.

“I think some of the most important changes in Benicio’s character Zsa-zsa are taking place during these sort of visions that he’s having as he repeatedly dies, or keeps getting assassinated,” Anderson explains.

To create this heaven — a first for an Anderson joint — he knew he wanted it all to be real. “We wanted it to all exist in front of the camera, to not use computer visual effects, to have it all be there,” he says, adding, “and so we made something kind of like a 360-degree stage, a set of clouds painted, sculpted, and we created a sort of Biblical troupe for these scenes.” (Other members credited in this troupe include F. Murray Abraham, Charlotte Gainsbourg, and Willem Dafoe.) 

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“I think it’s sort of the way biblical settings and characters were portrayed during the Renaissance, I think that’s really what we’ve done,” Anderson adds. “I mean, we’re so familiar with the Renaissance representation of stories from the Bible, and ours is the black and white version of that.”

The Phoenician Scheme, which was co-written with frequent Anderson collaborator Roman Coppola, also stars Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Jeffrey Wright, Scarlett Johansson, Richard Ayoade, Benedict Cumberbatch, Rupert Friend, and Hope Davis. The film is now playing in theaters.

Earlier this week, we learned that Kiss, initially dubbed “the hottest band in the land” before they upgraded to “the hottest band in the world,” will soon share their story on the silver screen. Shout It Out Loud, named after a particularly catchy song on their fourth album, is due to start production at the end of this year or early 2026.

The film will be directed by McG, the Charlie’s Angels auteur whose last five movies have been Netflix releases including Rim of the World and Family Switch. Nick Jonas is currently in negotiations to play Paul Stanley, Kiss’ lead singer (but second banana to bassist Gene Simmons, whose casting remains a mystery, as spokesman for the group).

We’re going to be optimists and say we eagerly await the finished product. For those raising eyebrows at Jonas’ casting (and the Kiss Reddit page is a good source for that sentiment), one must recognize that while Kiss is considered a hard rock group — what with their demonic face paint, leather-and-spiked costumes, lusty tongue wiggling, blood spitting, and onstage fireballs — a lot of their music is just as poppy as the Jonas Brothers’ material.

That may sound like sacrilege, but when you break down what makes a song like “I Was Made for Lovin’ You” work, you’ll see it’s not that different from “Play My Music.”

Much like the Bob Dylan film A Complete Unknown, this upcoming project is reportedly about the early days of the group, watching Gene Simmons and Paul Stanley transform from two Jewish kids in Queens (Chaim Witz and Stanley Eisen) into “The Demon” and “Starchild.” We’ll likely see how the pair, with guitarist Ace Frehley and drummer Peter Criss, created their flamboyant, theatrical style, which, mixed with simple chords and prurient lyrics, eventually led to 14 platinum albums and 75 million records sold worldwide.

A Kiss movie has the potential to be a lot of fun, which is why we’re going to assume that McG and the roughly 700 listed producers on this project are eager for some notes. Especially since there already was a movie, Spinning Gold, that detailed Kiss’ pre-superstar years, which was pretty lousy. (It was more about record executive Neil Bogart, but Kiss is a big part of his story.)

To that end, here’s what needs to be in a Kiss movie.

Several behind-the-scenes sequences detailing the production of Kiss Meets the Phantom of the Park, the 1978 television film starring Kiss. For those who haven’t seen it, Kiss play themselves facing down an evil inventor who keeps his secret lair in an amusement park. It’s kind of a mix of The Phantom of the Opera and Westworld, and features a lot of sunny California girls and roller coasters.

We would also like a songwriting scene rivaling the Mozart-Salieri conclusion of Amadeus, but with Simmons and Stanley composing the lyric “You pull the trigger of my love gun.”

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We also insist that they include the moment (which many believe to be an urban myth) where the members of Kiss dripped some of their blood into the vats of red ink used to create a Marvel Kiss comic book. A notary was witness to it, to ensure that this really happened, and that fans who purchased a copy would know they had real Kiss DNA in their homes. (Imagine reading this comic after cleansing yourself with some Sydney Sweeney bathwater soap!)

Another highlight would be one of Simmons’ first television appearances, on The Mike Douglas Show, where comedian Totie Fields saw right through his Dracula act and the two started making Jewish jokes.

We’d also like to see the notoriously pugnacious Simmons accepting the fact that the band’s biggest hit was the syrupy ballad “Beth,” sung and co-written by Criss. (And that many people believe that the best song in the entire Kiss oeuvre is Frehley’s cover of “New York Groove,” which Simmons had nothing to do with.)

There should also be a montage of Jonas belting out some of Stanley’s signature screeching stage banter. (Do not click this unless you have an hour to kill and are in a location where you feel comfortable roaring with laughter.)

Similarly, please give us more details about The Elder, the never-produced fantasy film that gave us the uncharacteristic album Music From the Elder, Kiss’ attempt to create something similar to Pink Floyd’s The Wall.

The film must also show Simmons and Stanley’s true métier. Recording albums is one thing, but finalizing merchandising deals is where Kiss truly shined. From shirts and posters and lunchboxes and figurines to the most final of purchases, the Kiss Kasket.

To that end, we should also see how Kiss will live forever, as the members of the group have uploaded their likenesses (and maybe their consciousness?) into digital avatars.

Goonies never say die, and the ’80s cult classic from a story by Steven Spielberg has lived on in fans’ hearts for 40 years.

Hitting theaters on June 7, 1985, Richard Donner’s adventure romp follows a group of “reject” kids from the “Goon Docks” of Astoria, Ore., who discover a burnt-edged map belonging to Capt. One-Eyed Willy. From there, they journey through a bunch of hidden caves and “booby traps” in search of pirate gold to save their homes from foreclosure.

Many of its then-child stars — like Josh Brolin, Sean Astin, and Ke Huy Quan — have grown up to enjoy major career successes, but, for a generation of moviegoers, everything circles back to The Goonies. And now, they have more to cheer about: A sequel produced by Spielberg and Chris Columbus (the screenwriter of the original) is officially in the works.

To celebrate four decades of The Goonies and the upcoming follow-up, catch up with the OG cast — but first, you’ll have to do the Truffle Shuffle.

Kelly Clarkson wants y’all to get your minds out of the gutter.

An interview with Benicio del Toro on the latest episode of Clarkson’s eponymous talk show went hilariously off the rails when she asked the Oscar winner if continuity was, ahem, “real hard in that area” for his bathtub scene in The Phoenician Scheme… and the studio audience reacted exactly the way you’d expect.

“You get so into trying to figure out the riddle of getting it right that you just forget [you’re in the bathtub], and then the next day you’re all crinkly like a prune,” del Toro told Clarkson of the scene in question.

“How do you not look like a prune by hour one?” Clarkson wanted to know.

“You get a good hair and makeup person to take care of it,” del Toro told her, to which Clarkson remarked that she “prunes up like 20 minutes in” the water. “Yeah, continuity… must have been real hard in that area, yes,” she added.

As del Toro and the audience immediately started to laugh, Clarkson realized the accidental innuendo. “No, no, no!” she shouted, standing up to comically chastise the audience. “I did not mean… I am way too tired,” she said with a laugh.

“I did not even mean that, I meant you’re pruny. Nasty people. No, no, that’s not on me. Usually it is,” she added, as the audience continued to laugh at her expense.

Del Toro previously opened up to Entertainment Weekly about the bathtub scene, which serves as the opening credits scene to the new Wes Anderson film. In the scene, Zsa-zsa Korda (del Toro) is shown recovering after his latest assassination attempt. Shot in slow motion from overhead, the sequence features a bandaged and bloodied Korda eating, reading, and smoking in his bath as assorted nurses and household staff flit around him as if in a ballet.

Initially del Toro, who had to sit in the tub for an estimated eight hours, had his doubts. To achieve the scene’s hypnotic slow-motion effect, Anderson asked his actors to move unnaturally fast, leading del Toro to question whether the technique would translate on screen. “So if I’m smoking, I got to smoke fast. If I eat, I got to eat fast,” the actor recalled. “So I said [to Anderson], ‘What? I mean, doesn’t that defeat the purpose? If you’re doing it in slow motion, we might as well shoot it normal.’ And he said, ‘No, no, no, it’s going to be different.’ I said, ‘Okay.'”

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In the end, the choreography paid off. Del Toro explained, “When I saw it, it’s just like, it is different than just shooting at a normal speed. It is different. It has this quality that is unique — it’s kind of like a musical in a way, without dancing, let’s put it that way. But the movement and the way it is, it’s a beauty.”

He added, “That’s one of those things that you think you’ve figured it all out. And here I am doing another movie with a great director, and he’s telling me to do this, and I go home, and I’m glad I was a prune for about five days after that sequence. It’s just really a cool sequence.”

The Phoenician Scheme is in theaters now. Watch Clarkson’s unintended double entendre above.

This article contains spoilers for Ballerina.

It’s not quite time for Norman Reedus to bow out of the world of John Wick — that is, if Ballerina director Len Wiseman gets his way.

The Walking Dead star Reedus made his John Wick debut in the spinoff movie Ballerina as Daniel Pine, an assassin who would do anything to protect his young daughter Ella (Ava Joyce McCarthy) from becoming a killer herself. Daniel is only in two scenes in the movie — one at the beginning where he works with Eve (Ana de Armas) to try to keep Ella away from the Chancellor (Gabriel Byrne), and another at the very end when he’s reunited with his daughter while he heals from his injuries — but the director has an idea in mind that would bring the character back for a sequel.

“I cast Norman Reedus because I have plans for him,” Wiseman tells Entertainment Weekly. “And I would love to see him come back in a way that he’s now kind of indebted to her.”

Eve’s revenge mission ultimately leads her to save young Ella from the Chancellor’s plans to groom her into one of his assassins. She brings Ella back to Daniel for an emotional father-daughter reunion, and Wiseman hopes to continue to explore that relationship in another movie.

“I have a little bit of a plan for that,” the filmmaker says. “And then also how he’s connected, and what his family connection is [to the Chancellor’s cult].”

The director also has another idea for a sequel that would focus more on Eve now that she has discovered the truth about her origins: just like Ella, she was also stolen away from the Chancellor’s cult of assassins as a child. While her long-lost older sister Lena (Catalina Sandino Moreno) died during her fight with Eve, the filmmaker has plans to mine even more trauma for the young assassin with another family member.

“At one point I had [in the script] that she meets her mother, and we never got there,” Wiseman says. “We were maybe going to shoot the scene, but that’s always something that we hear, her mother’s dead, but in this world, you never know who’s really dead. There was an element of, when Eve does get the contract on her at the end, we don’t necessarily know for sure who put that contract on her. And if that path led to that, maybe her own mother [put the hit on her]. That would be brutal.”

Wiseman would love to see his “full fantasy wish” come true, meeting Eve’s believed-to-be-dead mother, especially after Eve destroyed her tribe’s town.

“Her mother still will need to return to that village and see it decimated, and her daughter has been killed,” the director says. “So the ramifications can come in many different forms.”

While the filmmaker doesn’t want to “curse” himself with planning too far ahead in the future, he hopes that the Ballerina (pointe-shoe-wearing) leg of the John Wick franchise is only just beginning.

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“I am hoping that everybody loves this character,” Wiseman says of de Armas’ titular killer. “I really just focus on the one movie at a time, but it would be great. I would love it if it were to continue. But I don’t think she replaces [Keanu Reeves’] John as a franchise lead. I think she’s a new character in the world to follow.”

Wiseman laughs as he adds, “I don’t think anybody replaces John Wick. I just don’t think it’s possible.”

Ballerina is now playing in theaters.

This article contains spoilers for The Life of Chuck.

The Life of Chuck isn’t your average apocalypse movie. 

Like the Stephen King novella that inspired it, director Mike Flanagan’s latest film is told in three acts, presented in reverse chronological order. However, the big twist, which slowly unfolds throughout the movie, is that the first act — the one depicting the end of the world — is all in the title character Chuck’s (Tom Hiddleston) mind. 

With the help of young Chuck’s (Benjamin Pajak) English teacher, played by Kate Siegel, the conceit is explained by Act III. But there are plenty of Easter eggs along the way to help the audience understand what’s going on. 

“Having as many details in the first section of the movie that pay off later, and you understand where Chuck encountered these things and how he populated this universe in his head, that was a really fun thing,” Flanagan tells Entertainment Weekly. 

The first act centers on Chiwetel Ejiofor’s Marty Anderson, a divorced schoolteacher who, despite a series of apocalyptic events unfolding around him, becomes strangely fixated on new billboards popping up around town, each thanking a man named Chuck for “39 great years.” After a sinkhole takes over the town’s busiest intersection, Marty and his ex, Karen Gillan’s nurse Felicia Gordon, can’t help but reconnect (she’s noticed the strange ads, too). When cell service, internet, and cable all go out, Marty walks to Felicia’s house, where they sit together to watch the stars blink out one by one. 

It turns out that the Chuck from the billboards is Charles Krantz, a local man who’s dying of a brain tumor at the heartbreaking age of 39. The universe containing Marty and Felicia is only in Chuck’s head — an amalgamation of people and experiences from throughout his life.

“We tried very hard to make it clear in retrospect that the first 40 minutes exist out of time, that all the technology people are using is from different eras and all kind of blended together,” Flanagan says. “Whether or not everyone is able to pick up those threads on the first viewing, we hoped it would encourage more viewings. There are a lot of little connections there that are fun to make.”

The second and third acts tell the story of Chuck’s life. Some of the connections are easy to spot: Marty and Felicia are chaperones at Chuck’s school dance in Act III, and Carl Lumbly’s Sam Yarbrough, who Marty encounters on his walk to Felicia’s, is the funeral director when Chuck’s grandfather (Mark Hamill) dies.

But other Easter eggs are a little more difficult to spot: Actress Violet McGraw plays a young girl on roller skates who Marty encounters on his way to Felicia’s house in Act I. In Act II, Hiddleston’s adult Chuck briefly passes her after his impromptu street dance. Marty drives the same car as Chuck’s grandfather, and the boombox in Felicia’s nursing office that plays a commercial about Chuck is the same boombox that Samantha Sloyan’s Miss Rohrbacher uses to teach Chuck and his classmates dance in Act III. 

All three acts are also populated by the same background actors, adding a sense of familiarity to every face in the movie. “I loved that they would come back and be visible throughout,” Flanagan says of the small pool of background performers, “that there was a sense of echoing of the present in the past and that we could really hopefully trace the seeds of this imaginary world as he first encountered them.”

If you didn’t pick up on all the tiny connections between the three acts, don’t worry – some of the movie’s crew members didn’t either. 

“We erred on the side of trying to allow most of the specific revelations to exist in the back half of the movie, but to not flinch away from the moments that could have revealed it in the beginning,” Flanagan says. “And even then, I had a handful of crew members, and I’ve read even a handful of reviews out of TIFF that didn’t get it and that didn’t figure that out. And so that makes me feel like we kind of hopefully hit it right in the sweet spot, because my thing was it can’t be too obvious and it can’t be too obscure.” 

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If you do opt to see the movie again with the aim of Easter egg hunting, Flanagan hopes you stay in your seat until the Act III scene when Siegel “grabs the audience by the face and specifically explains what’s happening” with references to Walt Whitman’s famous “I contain multitudes.”

He jokes, “I just feel bad for anyone who’s in the bathroom or getting popcorn during that.”

You talkin’ to me? Just to say good night?

Robert De Niro cold called his longtime collaborator and friend Martin Scorsese just to wish him sweet dreams, much to the director’s confusion and amusement. 

The phone exchange, which was captured on video to promote the duo’s appearances at the Tribeca Film Festival, is part of a broader TikTok trend. Known colloquially as the “goodnight” trend, the viral movement sees men surprise their friends by wishing them a good night in an out-of-the-blue phone call — a gesture uncommon in its casual intimacy among male friends.

In the video, Scorsese accepts a call from the Taxi Driver star. “Hello? Bob?” he asks.

“I’m calling to say good night!” the actor says. “And sleep tight.”

Scorsese appears a little confused but maintains polite composure. “Okay, thank you,” he responds.

De Niro then asks his friend to switch the call to FaceTime. Scorsese accepts, and asks the actor what he’s up to.

“Here’s what I’m doing, I’m watching this,” De Niro says, turning his phone camera around to reveal The Wiggles playing on TV. (For more on De Niro’s Wiggles obsession, read EW’s interview with the band here.)

“Oh, great, that’s really good,” Scorsese says upon seeing the Wiggles.

“I’ll see you. Seeya tomorrow,” De Niro says. “Sleep well, dear.”

Scorsese plays along. “Okay, thank you, my love,” he says, laughing. “Bye!”

The filmmaker then unpacks the bizarre call with his daughter, Francesca, who filmed the entire exchange. “He calls four times, then you finally pick up, you realize it’s him and he goes, ‘Hey, how you doin’? Fine, I’ll see you tomorrow, right, okay,'” he says, befuddled. “The whole thing, big mystery. He just took it into his head that he had to say ‘Good night’ today.”

Francesca eventually told her dad that the call was part of a TikTok trend, and the footage of the filmmaker’s reaction to that news was placed at the beginning of the video. “That’s what that was? A trend thing?” the director asks incredulously. “That he called to say ‘Good night’ to me?”

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The working relationship between De Niro and Scorsese dates back to 1973, when the duo collaborated on Mean Streets. The actor and director went on to work together on nine other feature films across six decades: Taxi Driver; New York, New York; Raging Bull; The King of Comedy; Goodfellas; Cape Fear; Casino; The Irishman; and Killers of the Flower Moon. Scorsese also directed De Niro in the 2015 promotional short The Audition, and the longtime friends both acted in Guilty by Suspicion and Shark Tale.

Watch the full video of Robert De Niro and Martin Scorsese doing the ‘good night’ trend above.