be any more faithful?Matthew Perry was afraid the audience would no longer be his friends if he cheated on his on screen wife Monica Geller, played by Courteney Cox.After his death in October 2023, Lisa Cash, the actress cast as his would be fling, revealed that Perry nixed a storyline that would have landed them together in bed.“We had rehearsed it and everything, and then the day before we were shooting in front of a live audience, I was told that [Matthew] went to the writers and said the audience would never forgive him for cheating on Monica,” Cash told TMZ. “He was probably right.”According to Cash, 54, the Season 5 episode titled “The One in Vegas: Part 1″ probably “would’ve changed possibly the course of the show and his character.”Although the 1999 episode might have changed the trajectory of her career if the scene would have happened, Cash wholeheartedly believes Perry made the right decision.
Wim Wenders, Thierry Frémaux Signal Support For Actors Strike As It Hits 100 Days Mark: “The Universal Dimension Of This Strike Is Underestimated” – Lumière Film Festival
21.10.2023 - 13:29 / deadline.com
Wim Wenders and Thierry Frémaux signalled their support on Saturday for the Hollywood actors strike as the industrial action hits its 100th day.
“I understand the actors who all want to profit a little more… rather than there being just a dozen big names who have high salaries… while all the others earn nothing or very little,” Wenders told a press conference at the Lumière Film Festival.
The German director is guest of honor at the 15th edition of the festival, spearheaded by double-hatted Cannes Delegate General Frémaux in his role of director of the Institut Lumière in Lyon, preserving the legacy of cinema pioneers Auguste Louis Lumière.
Frémaux seconded Wenders’s words.
“The dimension universal of this strike is perhaps underestimated… France, which has a reputation of struggle and putting up a fight, can also look with admiration at what is happening in Hollywood for something that touches us all.”
Wenders lived in the U.S. for just over a decade from the mid-1970s onwards, making films such as Hammett, part of The State Of Things and his 1984 Cannes Palme d’Or breakthrough picture Paris, Texas.
The director elaborated on his thoughts around moves by the U.S. studios to reduce risk by relying on sequels and franchise spin-offs, as well as costs via technological developments such as artificial intelligence.
“This belief at the big studios that we can reduce risk by re-using ideas that already worked… it’s complete “b*llshit… it empties out the enormous creative potential that exists in Hollywood,” he said.
“If I realize that a film has as its reality another film, I leave because I’m wasting my time. I think a film has to find its own story and not a story already told by someone else because it worked,” he
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