Val Kilmer has had a very unique acting career. He’s played the leading man in major hits such as “Batman Forever,” “The Doors,” and “The Saint” while also portraying memorable, scene-stealing character roles in “Tombstone,” “Heat,” and “Top Gun.”
He also showed a flair for comedy with his performances in “Real Genius” and the Zucker Brothers’ brilliant “Top Secret.”
But his career as an actor all but ended in 2015 after he lost his voice after undergoing treatment for throat cancer. The treatments reduced his voice to a creaky rasp and he uses a feeding tube because he can no longer eat.
VAL – Official Trailer (2021) Val Kilmer Documentary
Kilmer’s struggles with life after his cancer treatment are documented in a moving new documentary “VAL” that follows his life through his personal home movie footage. The film shows how he’s grown as a person and persevered after losing such a valuable part of his craft.
After the film was finished, Kilmer’s representatives contacted Sonantic, an AI company, to see if they could digitally recreate the actor’s voice. “So that’s what we did,” said Zeena Qureshi, CEO and co-founder of Sonantic. “Val’s team wanted to give him his voice back so that he could continue creating.”
In the past, vocal recreations such as those used by Stephen Hawking or Roger Ebert sounded more like robots than humans.
However, Sonantic’s recreation of Kilmer’s voice using old audio of him speaking pre-cancer treatment sounds like the actor we remember.
“From the beginning, our aim was to make a voice model that Val would be proud of,” John Flynn, CTO and Co-founder of Sonantic said. “We were eager to give him his voice back, providing a new tool for whatever creative projects are ahead.”
The company says that its engineers pulled audio of Kilmer speaking, cleaned it up, and removed any background noise. They then ran it through “voice engine” algorithms which learned how to speak in Kilmer’s unique tone and rhythms.
The software is so sensitive that it can derive emotional patterns from the words to give them the proper inflection.
The great news for Kilmer is that he can use artificial intelligence to speak in a way that’s familiar with his fans. “It’s exclusively his model. He could use it for personal use or professional use if he wants to,” Qureshi said.
“I’m grateful to the entire team at Sonantic who masterfully restored my voice in a way I’ve never imagined possible,” Kilmer said in a statement. “As human beings, the ability to communicate is the core of our existence and the effects from throat cancer have made it difficult for others to understand me. The chance to tell my story, in a voice that feels authentic and familiar, is an incredibly special gift.”
Kilmer’s fans can look forward to him appearing in the long-awaited “Top Gun” sequel that’s coming out in November. After he initially wasn’t cast in the film, Kilmer made an impassioned plea to the film’s producers and Tom Cruise to reprise his iconic role as Iceman.
“As the Temptations sang in the heydey of Motown soul, ‘Ain’t too proud to beg.’ The producers went for it,” Kilmer recalled in his memoir, “I’m Your Huckleberry.” “Cruise went for it. Cruise couldn’t have been cooler. … Tom and I took up where we left off. The reunion felt great.”
With her latest song “Rumors,” Lizzo dove head-first into her new era of music. But the single’s release didn’t go as smoothly as she had hoped. A flood of hateful comments criticizing everything from her music to her body were thrown at Lizzo. So much so, that Facebook reportedly even had to step in to delete some of the unkind words. After a heart-tugging message to fans on Instagram Live, Lizzo is taking one more step in dispelling haters.
The singer sat down with Good Morning America for an interview about her “Rumors” video’s backlash. The singer said that, for the most part, she doesn’t let negative comments affect her. But at a certain point, it’s too much:
“I don’t mind critique about me, my music. I don’t even mind the fat comments. I just feel like it’s unfair sometimes, the treatment that people like me receive. […] Some people are like, ‘Don’t let people see you with your head down, sis.’ My head is always up. Even when I’m upset and even when I’m crying, my head is always up. But I know it’s my job as an artist to reflect the times, and this sh*t should not fly. This shouldn’t be okay.”
The singer continued to note that Black women’s achievements in the music industry have historically been swept under the rug. “Black women have been in this industry and innovating it for ever. It is unfortunate that we are the ones who do suffer from the marginalization the most and the erasure the most,” she said. “I feel like, if it weren’t for the internet, if if weren’t for social media, I could have been erased. But I chose to be undeniable, and I chose to be loud, and I chose to be great. And I’m still here. It’s difficult.”
Watch Lizzo’s full interview on Good Morning America above.
Lizzo is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
The world owes Neill Blomkamp an apology. First, they rejected (generally speaking) his 2015 masterpiece, Chappie, and these days they can’t stop asking him about his Alien movie that languished in development hell for years, or his Robocop prequel that he dropped out of.
Even in prepping this piece, a big part of me wanted to headline it “Neill Blomkamp Is Tired Of Answering Your ‘Alien’ Questions.” That’d be the provocative headline, the most surefire way to sell the interview and get people to read the piece, my ostensible goal. And yet, it would also, in a way, be doing the exact thing that my subject just asked me politely not to do. I suppose I can sacrifice a few clicks for the man who gave us Chappie.
Neill Blomkamp, by the way, is only 41, and the South African/Canadian already has an Oscar nomination (for co-writing District 9, with his wife Terri Thatchell) so there isn’t much sense pondering what-ifs and potential sequels. This month, the former special fx prodigy tries his hand at horror in Demonic, which takes place inside a computer rendering of one its characters’ minds (where a demon may also live).
Blomkamp, who wrote this one alone, says Demonic grew out of both a desire to shoot a movie during COVID, and to utilize a technology called “volumetric capture,” in which 260 cameras are arranged in a grid that captures the actors from all points of view. It turns subjects into these sorts of geometric shapes that shudder as the perspective jumps from camera to camera. Influenced by movies like Paranormal Activity and The Blair Witch Project, Blomkamp says he worked backwards to try to explain VolCap’s unique renderings.
It’s somewhat ironic employing so much complex, cutting edge tech in the service of a movie inspired by hand-held, low-budget horror films. Yet it fits with Blomkamp’s usual retro-futuristic style — he’s been doing dusty, lo-fi futurism at least since District 9. Tonally it’s also a big departure, a straightforward horror film without many jokes, spare and sober and unsettling in stark contrast to Chappie‘s candy-coated madness.
I spoke to Blomkamp this week about what Demonic means for his future, the challenges of working with VolCap, and which high-profile sequel projects he isn’t allowed or doesn’t want to talk about.
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This is your first feature since Chappie. Were you stung by the critical reaction to that?
I think I was more not into the audience not liking it. I think the audience rejecting it was more problematic.
When you say that, what is your gauge for the audience rejecting a movie?
Well, I think any conversation about it is just always cloaked in negativity somehow. And I think people have a point of view of a film and it just locks in place and that’s the way that it is. So most of my interactions to do with it are quite, marginally negative, I would say. I think it was a case of misunderstanding the tone — or me not presenting the tone correctly and them rejecting it. But it’s all good. I mean, it’s like, you have to experiment.
I like to think of myself as the Internet’s foremost Chappie defender, but do you think–
I know. Your review cracked me up a lot. Because it felt quite spot on, but it was… it’s just hilarious.
I mean, I loved it. But do you think it had anything to do with Die Antwoord being at the point in their fame cycle where there was a backlash against them, and then the movie coming along right at that point?
I don’t think so. I think it’s more a case of how the film was trying to put forward these incredibly serious, massive questions about the nature of existence, and it was wrapped up in this kind of bubble gum, South African rap, pop color lunacy. I think that people didn’t want to see those two elements gel together, that they shouldn’t coexist. I think that was more of the issue. In other words, you could’ve put in rappers from anywhere, right? And the reaction would’ve been the same.
In Demonic, it seems like there’s less humor and that you, I don’t know, you “played it straight,” so to speak. Do you think that your Chappie experience had anything to do with that choice?
I don’t think so. I mean, I’m pretty sure I’ll come back to the craziness of Chappie, for sure. It’s just a case of… I was really inspired by Paranormal Activity and Blair Witch Project. I like the no-joking seriousness of those and that’s where it came from tonally. It was just wanting to be more direct, I guess.
Is there irony to the fact that there’s this sort of straightforward, horror, low-budget influence to it, and yet, at the same time, you’re using all these really sort of complex technologies to create that?
I know, it is weird. I mean, it’s like those two things shouldn’t exist at the same time. But it’s because the film is a result of wanting to shoot something during the planet being shut down. And so there were all of these separate elements that I had in my head that I wanted to use at some point, and it was like, this was just the stew that they went into. So the volumetric capture VR stuff I wanted to use, but because of the glitchy early developmental nature of VolCap, I didn’t know how to put it into a film unless it was justified as being a prototype piece of technology in the movie, in the narrative. But it’s almost like if you have the VolCap idea up on a shelf somewhere, and then you have the idea of wanting to do a smaller self-financed Blair Witch Project filmand combining them… it’s like, that’s what happened.
So this grew directly out of the limitations of the pandemic…
Yeah, yeah, no. It was a case of… I mean, going back more than a decade, I always wanted to shoot a tiny horror film. I just loved the way that Paranormal Activity was made. And so I always had that in the back of my head and then this seemed like a perfect opportunity to do it, around March or April when it was clear that normal production was halted and so people figured out what was the best way to approach it. It felt like an awesome time to just do something like that.
What did you have to do differently on set as a result of it shooting during quarantine?
It wasn’t really quarantine, yet, it was more just the beginning of COVID. I don’t think lockdowns had happened. The issue was getting… Carly [Pope, star of Demonic] lives in the US and she had to cross the border and then she had to quarantine. There were things like that. But I mean, other than actors quarantining, the only other thing was just the typical stuff that you see on set now about sanitization stations and masks and the way you cycle in and out of sets and stuff like that.
You were working on an Alien project, sequel, whatever. Were you disappointed in not getting to do that? What did you think about the movies that they ended up making?
If it’s possible, I really don’t want to talk about Alien. I’m just so done with the whole discussion and it seems like it just never goes away. Alien, Robocop, District 10, I’m just like, “I can’t talk about it.”
Is that just you’re done with the studio process to a certain degree?
No, I don’t think so. I don’t have a problem with the studio process. I think the issue, just to be aware of going into stuff, is when it’s a piece of relatively large IP, that can cause complexities down the line.
Now we’re kind of in a situation where almost every studio project is driven by a piece of large IP.
Yeah. But I mean I think you can still make original stuff and that’s fine.
So with this, the volumetric capture system, how much different was it working with actors while you’re doing this versus when you’re not using that technology?
It’s ridiculously difficult. They’re in, essentially, a prison cage of 260 cameras, and they can’t move, they can’t really cross the set. It’s a four-meter volume, so it’s very confined. It’s the worst situation you could imagine filming in, basically. And it’s hard for them. I mean, it’s awesome that Carly and Nathalie were able to pull off what they did in there because it’s not an easy environment. It’s much more difficult than motion capture.
What are the major differences between this and the way motion capture is done?
Well, motion capture puts the performance that you’re gathering from the actor onto a different model or avatar that they are driving, right? So that can look like anything. It looks like whatever the artists design. Volume capture is more like capturing three-dimensional video. So the actors look exactly the way they look and it’s unmodifiable. They come in in full hair and makeup and wardrobe and they get captured in that way.
It seems like you tried to create a glitchy, like the feel of new technology in the film.
Well, that was a product of knowing that that’s how volumetric capture would look, but I sort of worked backwards. It’s like, “It’s going to look glitchy, so how do I write it into the script to be acceptable that it looks glitchy?” The look is the way that it comes out. It’s like, that’s how it’s captured, so you just have to embrace that.
Are you thinking of going back to more horror after this are you going to go more back towards sci-fi?
No, the thing I’m doing next is more, yeah… It’s more bigger science fiction. So yeah, I’m pretty excited about it.
Is there a certain freedom on something like this where you don’t maybe necessarily have to promise as much just because it is cheaper to make?
I don’t know. I mean, it didn’t necessarily feel that different other than we just had way less resources, you know? Yeah, I mean, going back to Chappie, it’s like, the issues with it are, the audience was coming down on choices that I had made. It’s not really like there was an issue with the studio if that makes sense. Shooting this is the same kind of process. It’s just at a smaller scale.
Right. But you don’t think you have to promise bigger things when you’re trying to get money for a bigger project?
No, I don’t think so. You mean in terms of scope? In terms of spectacle?
Yeah. Or just in terms of having more freedom to play around, I guess. I mean, it seems when you want money for a bigger project, you have to make certain promises, and if you decide to change them later you’re in trouble or something.
Yeah. I don’t think so. I mean, it’s just a process of figuring out the story, figuring out the budget, and seeing if the studio is willing to pay for it. The only thing really that happens there is just making sure that there’s a star that can support the level of budget. But once you’re off and making it, it should be fine.
‘Demonic,’ from IFC Midnight and Neill Blomkamp, will be in theaters, on Digital Rental & VOD on August 20, 2021. Vince Mancini is on Twitter. You can access his archive of reviews here.
Less than a week after unleashing the final batch of episodes in all of their back-stabbing, last-minute-twisting, muscle-gleaning glory, HBO Max has officially renewed FBoy Island for a second season. The streaming service had already boasted about the numbers for the reality show’s premiere, and now they’re ready to take another trip to the island with a new batch of “FBoys” and “Nice Guys,” who will compete for a shot at love — or a buttload of cash. Per HBO:
“With a title like FBoy Island, we knew we would get the audience’s attention and we’re thrilled that they’ve responded to the self-aware, comedic nature of the format, proving that they are excited by this fresh approach that puts women in control,” said Sarah Aubrey, Head of Original Content, HBO Max. “Season one undoubtedly kept the audience guessing but we have even more big twists in store for season two. To the next batch of Fboys, beware, we’re coming for you!” added Jennifer O’Connell, Executive Vice President, Non-Fiction and Live-Action Family, HBO Max.
Comedian Nikki Glaser is locked down to return as the host for the new season, so naturally, she put her own spin on the renewal using her comedic wit that was easily one of FBoy Island’s highlights.
“I couldn’t be happier about returning to FBoy Island for season two,” Glaser said in a statement. “The only downside is that it confirms my greatest fear: that there are more than 12 Fboys on planet earth.”
Featuring 12 FBoys and 12 Nice Guys, FBoy Island tasked three women with not getting played by the FBoys as they looked for love in the Cayman Islands. However, the show routinely switched things up, which led to some tense and dramatic moments as the three ladies struggled to choose between going with a Nice Guy or taking a gamble on reforming an FBoy, who might have been lying the whole time just to get a shot at $100,000. It was great TV, is what we’re saying.
To put it simply, IPAs should be the official beer of the last gasp of summer. These are the kind of beers that makes us want to scream out that we’re simply not ready for pumpkin-spiced everything just yet. Or the cold, for that matter.
Jake Conover, general manager at Bruz Beers in Denver, Colorado has thought about this concept so much that he even has specific flavors and aromas he looks for in an end-of-summer IPA. “I like Amarillo and Citra hops in my late-summer IPAs,” he says. “Spicy, juicy, orange floral aromas but lower in bitterness.”
We tasked a handful of our favorite bartenders to tell us their picks for IPAs that taste exactly like the last days of summer feel.
Revolutions Anti-Hero is outstanding with its hoppy, herbaceous, floral notes. It’s not overpowering and has a great finish. It’s like late summer in a can.
Also, always support local!
Elysian Avatar Jasmine IPA
Elysian
Austin Zimmer, bartender at Le Prive in New York City
Since I’m a fan of Jasmine green tea — it’s an exceptional flavor for summer — I would say the Avatar Jasmine IPA by Elysian Brewing. It might not be very common but the subtle and sweet jasmine notes blend well in this beer.
Woodland Empire City of Trees IPA is a West Coast IPA that has all that you’d want for that style — pine, citrus boldness — but also has a whole lot more going on. This is their flagship beer, and they colored outside the lines of what makes a West Coast IPA what it is. It has a dark golden color with ever-so-slight unfiltered cloudiness. Classic citrus and pine are followed by flavors of peach, melon, and tropical fruits like pineapple and guava. The slight malt sweetness brings out a floral quality that, when mixed with the fruity flavors, is quite nice and still very welcome in a pine-forward, hoppy beer.
Woodland does cool stuff. They aren’t the only Idaho craft brewery that likes to push the boundaries of what beer can be — Barbarian Brewing, Lost Grove, Sockeye, Payette, and many others are very creative — so we feel super fortunate.
Burial Surf Wax IPA
Burial
Emily Lawson, bartender at owner of Foxhole Public House in Bentonville, Arkansas
Brouwerij West Bounce IPA is a true West Coast IPA. There are hops, hops, and more hops. Citra, Mosaic, and Centennial hops make this packed full of citrus and floral flavors. It’s beautifully balanced but still hop-forward. It’s delicious and satisfying on a hot day and will accent your picnic in the park very nicely.
Beachwood Amalgamator IPA
Beachwood
Stephen Sylvester, bar manager at Piccalilli in Culver City, California
My pick is Beachwood Amalgamator. It has a light body, but heavy Mosaic hops bring out flavors of blueberry countered by dank resin and citrus. Beachwood is based out of Long Beach and is one of our house favorites, especially as summer draws to a close. The close proximity also means we can get our kegs super fresh which is important for IPAs.
Marz Jungle Boogie IPA
Marz
Justin Frierson, beverage director and operating partner at Eleven | Eleven in Chicago
I have a local favorite: Jungle Boogie by MARZ Community Brewing in Chicago. It’s definitely a break from tradition as this brew is not bready or cracker-like. Nice, balanced wheat and pineapple notes are really what sets it apart. A perfect blend of citrus, bitterness, and hops.
Sidenote, I enjoy selling this beer because of its distinct labeling.
21st Amendment Blah Blah Blah IPA
21st Amendment
Lauren Paylor, owner and co-founder of Focus on Health in New York City
21st Amendment Blah Blah Blah is my late summer pick. This 8 percent double IPA is loaded with hops like Centennial, Cascade, Equinox, Motueka, Mosaic, and Citra. It’s also dry-hopped with Citra, Mosaic, and Idaho 7 for a floral, resinous spring flavor.
Kona Hanalei Island IPA is one of my favorites which was inspired by the scents and tastes found on the island of Kauai, one of my favorite islands. I can’t help but think about Hawai’i when drinking this beer. You will taste passion fruit, some guava, and even orange on the palate. And even for non-IPA drinkers, this is an easy drink without overpowering bitterness. The floral-fruity aromas help balance the bitterness out which really makes this my favorite IPA.
This 7.5 percent IPA might be available year-round, but we believe the best time to imbibe it is the late summer. Flavored with Bravo, Chinook, Mt. Hood, Nugget, Cascade, and Citra hops, it’s crisp, refreshing, and full of notes of lime zest, orange, and subtle floral and pine tree flavors.
As a Drizly affiliate, Uproxx may receive a commission pursuant to certain items on this list.
MTV has announced the first run of performers coming to the 2021 VMAs. On your screen this year will be Lil Nas X, Olivia Rodrigo, Lorde, Machine Gun Kelly, and Camila Cabello, with more likely to be announced in the weeks ahead. This will be Rodrigo’s debut VMAs performance after snagging five nominations this year. Meanwhile, Lil Nas X last performed at the VMAs in 2019, performing “Panini.”
Lorde, meanwhile, will do a world-premiere performance from her upcoming album Solar Power, and Machine Gun Kelly will give his new single “Papercuts” its live debut. Cabello will reportedly perform her single “Don’t Go Yet.”
The news comes just days after the network released this year’s nominees for the 2021 VMAs, with Justin Bieber and Megan Thee Stallion leading the pack. Thanks to his successful Justice release, Bieber holds seven nominations, including nods for Video Of The Year, Artist Of The Year, and Best Pop. Megan follows behind him with six nominations for categories like Video Of The Year and Song Of The Year. This year’s MTV VMAs is set to return to Barclays Center in Brooklyn for the first time since 2013. It kicks off September 12 and organizers expect to invite musicians and fans to join the event in-person.
On Tuesday night the Los Angeles Angels were in Detroit to face the Tigers, and as is often the case when the Angels play, Shohei Ohtani was at the center of attention.
The AL MVP frontrunner had a hit, scored a run, and was walked three times in what became an 8-2 Angels win, but unfortunately the discussion after the game was about an offensive accent used in the Tigers broadcast booth by analyst Jack Morris. Morris was asked what the Tigers should do with Ohtani coming to the plate and used a mock Asian accent that led to a Thom Brennaman-esque “sorry if I offended anyone” apology after the commercial break.
It remains stunning that someone paid to talk on television could think this would be OK, and the quick on air apology was not enough to keep Morris out of further trouble with his bosses at Bally Sports. On Wednesday, Bally Sports Detroit and the Tigers organization released statements on the comments, noting that Morris had been suspended indefinitely and was undergoing bias training and that neither Bally Sports nor the Tigers condoned such offensive remarks.
Jack Morris has been suspended indefinitely from Tigers broadcasts by Bally Sports Detroit pic.twitter.com/gukiMqAyBM
Hopefully Morris can genuinely learn from this and recognize why what he did was wrong, going beyond just saying he’s sorry for anyone offended but actually learn why it’s offensive and understand the importance of being respectful of all races and backgrounds. We’ll see how long the suspension lasts, but it’s good on the Tigers and Bally Sports Detroit to take this matter seriously and ensure Morris recognizes that as well.
It’s only been three years since Lil Nas X was catapulted into the limelight with his smash hit single “Old Town Road.” In that short time period, the musician has not only found major chart success, but he’s also pissed off religious folks, ripped his pants on live TV, and been sued by Nike for his “Satan Shoes.” Now reflecting on his career ahead of his debut album, Lil Nas X has some advice for aspiring creatives.
Lil Nas X has yet to unveil the official release date for his upcoming album, but he has confirmed it will be titled Montero, his birth name. The musician took to Twitter Wednesday to give some guidance for those looking to get a start in music. Though his fans had been endlessly pushing for his debut LP’s release, Lil Nas X said he is ultimately happy he decided to work at his own pace: “after being in the music industry for 3 years i’ll finally be dropping my first album, and i just want to say to all my creators listening ‘go at your own pace!’ never feel like you are behind. your time is for you and no one will get in the way of that.”
after being in the music industry for 3 years i’ll finally be dropping my first album, and i just want to say to all my creators listening “go at your own pace!”never feel like you are behind. your time is for you and no one will get in the way of that.
One of Lil Nas X’s fans replied to his tweet, apologizing for putting pressure on him. But Lil Nas X wasn’t bothered. As a former Nicki Minaj stan himself, the musician understands his fans’ impatience. He wrote, “all good, i understand u guys are eager for new music. i just really needed time to create the music i felt was true to me and that i genuinely loved.”
all good, i understand u guys are eager for new music. i just really needed time to create the music i felt was true to me and that i genuinely loved. ready to see the album cover jay?
Toronto rapper Smiley is just weeks removed from landing a huge guest feature from Drake on their “Over The Top” collaboration. Drake’s sharp bars are surrounded by Smiley’s own laid-back raps that steer through the song’s hard-hitting production. The track with Drake has brought attention to the rest of Smiley’s catalog which includes “In My Zone,” a track that also stands tall in his discography. The song, which he released back in April, is also one the Toronto rapper decided to perform for his first UPROXX Sessions appearance. In his performance, Smiley details his tunnel vision approach to life on the cautious banger.
While Smiley may be a new name to many, the Toronto rapper has been on the grind for the past three years. His 2018 debut project Buy. Or. Bye grabbed the attention of many as it unveiled raps that detailed a dark past. Additional attention would be brought his way when Drake quoted a line from his Smiley’s “Free Baby” (“Nobody really know what I been through”) during the height of his rap beef with Pusha-T. Since then, Smiley inked a deal with Warner Records and dropped his 2020 mixtape, YYZ-LAX. Now, he’s hard at work on his next project, Buy. Or. Bye 2 and with “Over The Top” and “In My Zone” leading the way, things are looking good for the Toronto upstart.
Press play on Smiley’s focused performance of “In My Zone” for UPROXX Sessions in the video above.
UPROXX Sessions is Uproxx’s performance show featuring the hottest up-and-coming acts you should keep an eye on. Featuring creative direction from LA promotion collective, Ham On Everything, and taking place on our “bathroom” set designed and painted by Julian Gross, UPROXX Sessions is a showcase of some of our favorite performers, who just might soon be yours, too.
Smiley is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
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