Name: #阿湯哥 終於得到奧斯卡PART2｜阿湯哥不只是拍電影，他就是電影！《#鳥人》導演太會講，聽著聽著就哭了｜【爆米花看電影】25-11-17
Uploaded: 2025-11-19T00:11:48.000Z
Duration: 12 min 12 s
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Basic passive voice

Writing a four minute speech to celebrate Tom Cruise's 45 year career is what is known in this town as Mission Impossible.

I'm an honor at the light, but you owe me one, my friend.

So the only possible thing I can do is to share a story.

25 years ago, I was still a first time director and I began hearing that Tom Cruise, yes, Tom Cruise had seen my first film, Amores Perros, and

was screening it at his home every week, inviting friends to watch it.

And I was astonished and I assume the stories were exaggerated.

Then the film received an Oscar nomination and I still had not met him.

In fact, I didn't meet him until 12 years later when I crossed paths with him on a stage at Paramount.

And when I introduced myself to thank him for.

For his selfless generosity, he shook my hand firmly, looked straight into my eyes with those laser sharp retinas and with relentless precision, speed and intensity, he described, scene by scene, every performance, line, edit and camera angle he loved of the film.

He knew more about my film than I ever did.

Many of you in this room may have probably had a similar moment with Tom is very impressive.

And 25 years later, having shooting a film with him for several months in London, it's even more remarkable because I know it's real.

Because he knows films aren't built on ego, they are built on eye contact.

And for a pessimistic person like me, I didn't know actually what to do with so much sunshine and so much confidence.

And I doubt I will ever find someone like him.

To tell you the truth, people often describe Tom Cruise in the language of force or grandiosity.

Big stunts, big box office, big legend, big long career.

But tonight, based on my experience, I want to measure him in millimeters.

Because what's truly defined Tom Cruise is not how far he runs or how high he jumps.

It's how precisely he decides to move those tiny calibrations.

The tilt of a chin, the half breath before a sprint.

The millimeter between silence and revelation.

The shoulder, his hand, the hip, the pause, the diction, the intention on every word, every flicker of thought in his eyes, every rhythm of movement.

That's where his real and invisible craftsmanship lives on.

His face resides the language of emotions.

His artistry is built on micro decisions and all of it is carefully engineered as his most dangerous stunt.

We spent months rehearsing every detail for a complicated sequence.

His character has plenty of fast dialogue and demanded emotional shifts, physical transitions and changing gear from satire to madness with intricate blocking.

And just in the fourth take, what I witnessed, what we all witnessed that day, was unreal.

You remember, he was meticulously choreographed, yet feel completely improvised.

While trying to understand how he was able to do that, I realized that the big difference between him and anybody else is that he's used to performing under extreme pressure, where every move, every millimeter can mean life or death.

And honestly, that kind of intensity doesn't stop when the camera do.

One day we were eating Mexican food and I saw him pull of the most dangerous stunt of all.

This man ate more chile than any Mexican alive.

He ate raw green serranos like they were popcorns, the dangerous chiles, habaneros as cherries, one after another.

I, a proud Mexican, I was crying with one just bite of it.

And this guy was looking at me and saying, it's refreshing.

Even Guillermo del Toro doesn't need so much, you know, Anyway, and that's something to say.

He just doesn't say because ice is out there.

One story that he told me has an image that still fascinates me.

After finishing Taps in 1981, his first film directed by Harold Becker, Sean Penn, invited him to stay at his mother's house in Los Angeles.

That one night, the two of them, both 20, 21 years old, drove from Malibu to Hollywood and park outside Jack Nicholson's home.

These two kids brought down the windows and started to smoke a cigarette while dreaming and imagining what it would feel like to be him.

Ten years later, Tom was inside the same Jack Nicholson house reading lines for A Few Good Men with him and got the part.

And Jack was saying, okay, kid, I got what you are saying to me.

When he was forgetting a line, every frame of his life says, perfection is in luck.

Karma in Sanskrit is popularly understood as meaning fate.

Something preordained for each one of us and out of our control.

Tom became master of his fate by becoming the master of his own actions.

For me, some of those emotional stones he does are far scarier because exposing yourself without a net is the most dangerous thing of all.

In Born of the fourth of July, directed by Oliver Stone, some Tom surrendered every trace of vanity, playing paralyzed and showing us that courage doesn't always look like flight.

In Eyes Wide Shot with Stanley Kubrick, he dove fearlessly into ambiguity and restraint, performing in the grammar of silence.

In Paul Thomas Anderson Magnolia, he became a symphony of contradictions.

Control and collapse, cruelty and confession.

When his character breaks down by his father's deathbed, there's no stunt, just mercy, showing us that the most courageous thing a man can do on camera is cry without permission.

In Cameroon's Crow, Jerry Maguire, he mastered the subtext.

When he shouts, show me the money, his soul is screaming, show me the meaning.

And I won't talk about the last crazy, hilarious Les Grossman in Tropic Thunder because Ben Stiller told me there are too many studio executives in the room tonight, so I will not go there with Christopher McQuarrie.

During the last decade, he turns risk into ritual.

Every jump, every climb, every cockpit dive says to the audience, I have done the impossible so you can believe in the possible again.

He risks his life in every take so the rest of us can risk caring again.

Subtitles ListPlay Video

#阿湯哥終於得到奧斯卡PART2｜阿湯哥不只是拍電影，他就是電影！《#鳥人》導演太會講，聽著聽著就哭了｜【爆米花看電影】25-11-17

rhythm

contagious

practice

exaggerate

#阿湯哥 終於得到奧斯卡PART2｜阿湯哥不只是拍電影，他就是電影！《#鳥人》導演太會講，聽著聽著就哭了｜【爆米花看電影】25-11-17

rhythm

contagious

practice

exaggerate

#阿湯哥終於得到奧斯卡PART2｜阿湯哥不只是拍電影，他就是電影！《#鳥人》導演太會講，聽著聽著就哭了｜【爆米花看電影】25-11-17