Warning: Minor spoilers for Tom Clancy’s Jack Ryan are in play. If you haven’t started Season 4 of the Prime Video series yet, you’ve been warned. 

Fans have known that Abbie Cornish’s Dr. Cathy Muller would be returning for the final season of Tom Clancy’s Jack Ryan. However, it was just a question of where, when, and how that hung in the air. With Season 4’s debut on the 2023 TV schedule, fans actually get a definitive answer quite quickly, with Cornish loving how her resurgence surprises a major player in that world.

When I spoke with Abbie Cornish and Betty Gabriel during the Jack Ryan press junket, the three of us delved into the world of the women who help keep John Krasinski’s ultimate boy scout in check. That environment is already shaken up in episode 1, “Triage,” when James Greer (Wendell Pierce) is stunned to see Cathy back for the first time since Season 1.

As Ms. Cornish told CinemaBlend ahead of this week’s Season 4 premiere, the handling of this seemingly random surprise was the crux of what excited her the most about returning. More specifically, she explained that delight as follows: 

Cathy’s surprise dinner date is another one of those moments that remind the audience the sly sense of humor some may not expect from Jack Ryan, both on and off camera. The look of shock on Wendell Pierce’s face, matched with the wry handling of the matter by both Abbie Cornish and John Krasinski, makes for a nice homecoming for fans settling back into what’ll eventually become an explosive finale.

It's a moment that also sets up the potential future of the Ryan-verse, as those familiar with Tom Clancy’s novels would know. In their literary form, Dr. Cathy Muller and Jack Ryan are indeed married, with a couple of children that are present throughout the books. We've even seen that on screen, most notably through Anne Archer and Harrison Ford's respective tenures in those roles. But we’re not quite at that point, or even sure if we’ll get a hint as to whether Tom Clancy’s Jack Ryan decides to commit to that plot point. 

The series that’s drawn Prime Video subscription holders into its web of counterterrorism drama is an origin story for the John Krasinski incarnation. So the veteran analyst we’ve seen in some previous variants is still cooking, with Season 4 tying this story off. No matter the revelations that are made in throughout this final season, there is a way that Cathy and Jack’s relationship may crop up in the future.

Projects in the Ryan-verse and adjacent IP are still in play, thanks to Michael B. Jordan’s Rainbow Six movie, as well as Michael Peńa’s potential spin-off series following team member Domingo “Ding” Chavez. How involved John Krasinski will be, or if he’ll be involved at all, is yet to be determined. But if there’s ever a chance for Dr. Cathy Muller to return, it sounds like we can count on Abbie Cornish to proudly be along for the ride. 

The adventure isn’t over for Tom Clancy’s Jack Ryan yet, though, as this weekend marks the first of three two-episode releases on Prime Video. With the finale set to go out on July 14th, there’s still plenty of time to freshen up your knowledge of the first three seasons, or to start your journey if you haven’t done so already.

After Tom Clancy’s Jack Ryan ends its run on July 14th, John Krasinski will have played the character for four seasons and 30 episodes. The fifth actor to have played Tom Clancy’s titular hero, he’s also leaving behind the longest-running incarnation of the character so far. While the final opinions of the fans will have to wait until next month’s grand finale, the cast of Jack Ryan have shared their feelings on how Krasinski’s portrayal will be remembered. 

Don’t worry, you’re not venturing into any spoilers for the June 30th premiere of Season 4, or any of the subsequent two-episode drops leading to the Jack Ryan finale. However, there are some fun anecdotes and compliments, thanks to the fact that I was on hand to ask after such feelings personally.

The press day of the Prime Video subscription driver connected me virtually with cast members like Michael Kelly and Wendell Pierce, who respectively play Mike November and James Greer themselves. As two of the longest-running cast members on the series, Pierce and Kelly have seen John Krasinski’s handling of the Tom Clancy’s Jack Ryan machine personally. They shared their feelings with CinemaBlend:

Michael Kelly: "I think he will be remembered as the guy who did it the best. Maybe I’m biased, I love what those other guys did. I think they were great. But I think given John had a slight advantage in that we were able to do the story in long format. All the other guys had to do it in an hour and a half, we were able to tell the story over four seasons of eight episodes a season, or six this season.

"To me, John I felt brought not just the humanity of Jack Ryan, and the intelligence. He’s an incredibly gifted action star as well. But the humor, right? He brings that little extra thing that he does so well, the ability to blend all three of those things: he’s an action star, funny, and very connected to humanity and the righteous way. I think that he was able to blend those three perfectly and that’s my opinion. And sure I might be biased, but I think he’s the best one."

Wendell Pierce: "John had the vision for the show. He’s a producer on the show, and he was able to pull together all the departments, and pull together all the actors and directors, and the scripts. And really, everyone shared the vision Jack Ryan. To be able to do that in the long form, so you can take advantage of it, so you don’t have to sell any element short, and really develop it in a way, like a visual novel, knowing that the audience is gonna stick with you. And he’ll be remembered for that, pulling together the vision."

Serving as an executive producer on the series, John Krasinski is not only a driving force in front of the camera, but he’s also lent his prowess to the production side of Jack Ryan’s streaming run. His respect for the material has always been apparent, right down to Krasinski’s reaction to meeting with the CIA on behalf of the show.

Someone who also appreciates that dedication is Abbie Cornish, as the hands-on approach of the Krasinski-era of Jack Ryan is part of why she thinks the Amazon Prime franchise will endure. Returning for Season 4, her Dr. Cathy Muller gets to pose more personal challenges to our hero, especially because of how she happens to reappear in his life.

Sharing the room, and the love, was actor Betty Gabriel, another returning figure in Tom Clancy’s Jack Ryan. Reprising her role of Elizabeth Wright, Gabriel's character faces some huge obstacles through her and Dr. Ryan's new positions as Acting Director and Acting Deputy Director of the CIA. Even in the light of such gravity, Betty was able to still crack a joke when explaining to CinemaBlend why she thinks John Krasinski will be remembered as Jack Ryan: 

Betty Gabriel: "Oh, I think he’ll be best remembered for his height. You know, you can see him from across the country. I think he’s just got this way of bringing levity to quite severe, serious situations. I think the newer generations have had the luxury of content and news, and that sort of being filtered through a humorous lens, if that makes sense. The Jon Stewart shows … and Trevor Noah. You have a lot of comedic news shows, and you have a lot of information coming at you. I think he’s able to operate on that wavelength that’s quite lightning quick, and slightly funny." 

Abbie Cornish: "What a great character for him to play and embody. Even later on in the seasons, John was so integrated in terms of story, and writing, and co-creating, producing; all of this kind of stuff. It really is an empire, and I think he’s a great Jack Ryan."

The more serious piece of Betty Gabriel’s assessment makes perfect sense, especially when recalling the fact that during the early days of the COVID-19 pandemic, John Krasinski kind of had that gig carved out. Thanks to his creation of Some Good News, the former star of The Office became even more notable in pop culture’s landscape. Eventually, Krasinski had to sell the show, with part of the reason being that Tom Clancy’s Jack Ryan tied up his schedule, and he could no longer host.

Who knows what the future holds now, as Dr. Ryan’s days of adventure are coming to a presumed end? I say presumed because while Jack Ryan is packing up, the in-development spinoff with Michael Peńa could always bring John Krasinski in as a guest star, should it need to do so.

As he helped wrap this collection of memories, Peńa was joined by co-star Louis Ozawa. Playing the role of antagonist Chao Fah, Ozawa’s character eventually gets to know his enemy through a Clancy-verse chess match that’s reminiscent of Clear and Present Danger. But in real life, the actor actually has a personal connection to Krasinski, which he used as part of how the series lead will be remembered:

Louis Ozawa: "I think his cerebral nature. He’s a smart dude. I first met John 20 years ago at Brown University, and he’s a smart guy. Witty, super sharp, as we all know. … I think that’s what people take from it. There’s always a little sense of humor, even in the most dire situations, and that’s great. Super charming. … I buy that he’s the smartest guy in the room." 

Michael Peńa: "I think it’s the fact of, maybe it has something to do with his history, like he was on The Office. He was that guy and then he transitioned into the Jack Ryan of it all, maybe it’s the perception of who he is, and who he is as a person, that I think he just fits this character perfectly. Like when you see the first season, and you see him in the boardroom and he’s coming up with these ideas, you buy it. … That he’s thinking outside the box. Everyone’s looking at the same image, but he’s getting something different out of it. I love that. That’s something that you still see, even in this season. It’s hidden in plain sight. And that’s what’s great about the show, is that you can solve it along with Jack, if you can think like Jack."

No matter which version of Tom Clancy’s Jack Ryan you favor, you need to believe him both in the field and in the boardroom. When the actor who plays him next has to say he’s “just an analyst,” they’re clearly going to have a tough act to follow. Maybe for those reasons, John Krasinski might be able to stick around for some follow-up appearances, as the world of the Ryan-verse is still going, whether he’s at its center or not. 

Considered to be one of the best Prime Video series, Tom Clancy’s Jack Ryan kicks off its fourth and final season in the 2023 TV schedule, starting June 30th. Unlike previous seasons, the six episodes will be rolled out in pairs, over three weeks leading to July 14th’s explosive wrap up. So if you need time to dig into why James Greer is so thankful about Jack saving him in Russia, there’s an opportunity to do just that. 

There are few filmmakers out there today as exciting as Martin McDonagh. The Irish playwright first got into the game with his Oscar-winning short Six Shooter in 2004, and since then has delivered two movies that can be called nothing short of genius: 2008's In Bruges, and 2012's Seven Psychopaths. Now he's back with Three Billboards Outside Ebbing, Missouri, and the trailer makes it look like yet another piece of dark comedy gold.

This debut trailer was posted online by Fox Searchlight, and after watching it I feel the need to see the film immediately. The incredible ensemble alone is enticing (Frances McDormand, Sam Rockwell, Woody Harrelson, John Hawkes, Abbie Cornish, Caleb Landry Jones, Peter Dinklage, and more), but this footage also includes multiple laugh-out-loud moments... and not all limited to McDormand kicking teenagers in the crotch.

Based on an original script by McDonagh, the movie picks up months after the death of a young girl named Angela Hayes. The case has gone cold and the police have all but completely stopped investigating, but Angela's mother, Mildred (McDormand), is not willing to stand by and do nothing. Her first act of rebellion is to purchase ad space on three local billboards, not only loudly asking why her daughter's murder hasn't been solved, but also directly calling out Sheriff Bill Willoughby (Woody Harrelson). Soon a full blown conflict erupts as Mildred does everything in her power to keep the cops' mind on finding her child's killer.

In addition to having some wonderful familiar faces from Martin McDonagh's past work (Sam Rockwell, Woody Harrelson, and Zeljko Ivanek were all in Seven Psychopaths), what really makes this movie sing is just the writer/director's auteur voice. Few filmmakers use profanity quite so elegantly, and Frances McDormand's delivery is simply perfect. We may not get a better line this year than "This didn't put an end to shit, you fucking retard; this is just the fucking start. Why don't you put that on your Good Morning Missouri fucking wake up broadcast, bitch?"

Truly the only disappointing part of this Three Billboards Outside Ebbing, Missouri trailer is the fact that it doesn't feature the movie's release date - but that's mostly tied into the fact that Fox Searchlight hasn't announced one yet. We're likely seeing this trailer now because Woody Harrelson stars in Fox's Wilson, which is out this weekend, but that doesn't necessarily mean that the film is coming out soon. McDonagh's past features have been released in February and October, respectively, so there's no real pattern to grasp on to there. If there winds up being hope that the movie could bring home a few Academy Awards, it's possible that we may not get to see the dark comedy until some point in the fall.

Are you as excited as we are for Three Billboards Outside Ebbing, Missouri? Hit the comments section below with your thoughts, and be on the look out for release details.

Two Rabbits director Alfonso Poyart continues to bolster the cast for his psychological thriller Solace. After casting leading men Jeffrey Dean Morgan and Colin Farrell, we now know the actress who’ll be acting alongside them, and it’s a familiar face from Farrell’s Seven Psychopaths days.

Bloody Disgusting says that Abbie Cornish has been cast in Solace, which is expected to begin filming in May. The site even has a plot synopsis for the film, which will reportedly be about...

It’s unclear who Cornish will play, though we already know that Farrell is playing the serial killer, Morgan has the role of the FBI agent, and that Anthony Hopkins is playing the doctor lured out of retirement for the final case. Here’s the catch: Both Hopkins and Farrell’s characters have psychic abilities, and they end up playing a mental cat-and-mouse game as the authorities race to keep up.

With the success of shows like Hannibal on NBC and The Following on FOX, it’s no surprise why Hollywood is exploring new ways to bring serial killers back to theaters. And this one sounds different enough to keep us interested. Cornish, meanwhile, can next been seen in the RoboCop reboot, which won’t be in theaters until 2014.

If you think of Madonna's name in relation to movies, you probably think of her performance in Evita, maybe her turn as Breathless Mahoney in Dick Tracy. If you're particularly unlucky, your brain might dredge up memories of Swept Away. Regardless, most of the associations between "Madonna" and "movies" aren't going to suggest this is a person ideally positioned to be writing and directing a movie of her own. Nevertheless, that's just what she's doing with the historical drama W.E., which tells the story of the star-crossed romance between King Edward VIII and American Wallis Simpson. Madonna both directed and co-wrote (with Alek Keshishian) the film, and with its December 9th release date fast approaching, the Weinstein Company has released a new trailer.

At first blush it looks promising, especially if you're a fan of this sort of historical romance. It's got a solid cast, including Abbie Cornish, Richard Coyle, James D’Arcy, Oscar Isaac, Annabelle Wallis and Andrea Riseborough. The only things working against it, frankly, are Madonna's unproven filmmaking skills and the unfavorable reviews from its premiere at the Venice Film Festival. After that chilly reception, she agreed to make some cuts to the film, so perhaps that bit of gardening will work in W.E.'s favor?

Hopefully the final version of W.E. will win moviegoers over. Regardless of whether you like Madonna as a performer, the story of W.E. is an interesting one, and I'll be curious to see how she intertwines the historical romance with the more current timeline.

W.E. opens in Los Angeles and New York on December 9th, then goes into wider release on February 3rd.

One is facing a ticking clock and needs to find a way to escape in order to avoid being lobotomized. The other is a hospital veteran who is fully cognizant of the punishment that they could face should they get caught. But without Babydoll (Emily Browning) or Sweet Pea (Abbie Cornish), there is no Sucker Punch.

This past Sunday the two actresses took part in a roundtable interview with journalists, including myself, to discuss the Zack Snyder film, which comes out this Friday. Check out the interview below, in which they discuss the training process in preparation for the role, the musical number that ended up getting cut, and daydreaming.

I just saw you a couple of weeks ago in New York for Limitless, and I wouldn’t have recognized you between the two roles. Can you say briefly how you conceive the difference between these two women that you’re playing?

Abbie: Yeah, I’m in two whole different worlds between Limitless and Sucker Punch. Sucker Punch was such an experience of its own. The training leading up to it, the type of film that it is, the concept, which is just so different from anything else I’d ever been a part of before. It’s kind of hard to contrast and compare them because I feel like they are such separate entities.

Well you’re a normal, ordinary, contemporary woman in Limitless, and in this you’re a tragic, person who’s not even in an orphanage, but a mental hospital.

Abbie: The back story with Sweet Pea and Rocket, played by Jena Malone, (they’re sisters), so the back story was that Rocket had done something that Sweet Pea took half the blame in order for her not to be on her own. And I think Sweet Pea was hoping that they would go into the asylum for a bit and then they would be let out, but that wasn’t the case and they’ve been in there for a while. And it’s a strange situation that Sweet Pea’s in, essentially, she shouldn’t be in there. And the protection and the care she has for Rocket is overwhelming in so many regards. And I think Sweet Pea’s kind of squashed herself in that place. There’s a survival instinct in regards to that environment where she’s kind of put all the beautiful things about what it is to be human, what it is to be alive, deep down inside her and has had to protect the inner child, has had to protect the sensitivities, and develop really tough outer shell to kind of stay in the hierarchy that she’s in within that system. So it was definitely an interesting character to explore, and an interesting character to explore in all those different dimensions. And I mean you could think about it and talk about it forever and still be discovering new things.

Congratulations on being in almost every frame of the film, it must have been quite exhausting. And not only are you busy acting, you’re busy singing. Was that something that was talked out at the beginning, is it something that worked through the character? How did that work in for you?

Emily: Well music was always going to be a big element in the film. Originally there was going to be a song within the film, you know there’s a scene of us singing and I think that will probably be in the special features of the DVD. So originally when I auditioned for Babydoll Zack asked me to put myself on tape singing, which I’d never done before, but I mean I just really wanted to work with Zack and I really loved the script so I did it for him, I put myself on tape and he obviously liked it, I have no idea why, he decided I was capable. Then after I got the part, I think it began because we were talking about that The Smiths were my favorite band and Zack said, “Oh yeah I know Morrissey.” I was like, “Uh…that’s the coolest thing I ever heard” and was kind of amazed by that. Then a couple of weeks, I mean I asked him, of course, to tell me everything, ever, about Morrissey, but then we kept talking about that and after a while he said, “I got the rights to a Smiths song for the soundtrack.” I was like, “That’s incredible, that’s awesome.” He said, “Do you want to sing it?” So I was like, I mean, I was terrified of course there’s so much pressure there, but I couldn’t say no to the fact that Zack trusted me and thought that I would be capable of doing something like that. It was flattering, it was an honor. So I recorded the song with Marius and it worked out. And then Zack asked me to sing another song and then they asked me to sing another song and it just sort of happened pretty organically.

So did you train?

Emily: No.

Were you able to get any feedback from Morrissey?

Emily: Well Zack said that he’s heard it and he was happy with it. I hope that’s true because that would be the biggest compliment of all time. Maybe Zack just wanted to make me feel a little less nervous about it.

What was the song that you guys sang in the scene where you guys sing…

Emily: It’s a soul song, it’s called “Ooh Child”, and it’s by a band called the Five Stairsteps but Nina Simone did a cover of it and Beth Orton has done a cover of it and I think it’s been covered a lot of times by a lot of different women.

What do you think these women, there’s a thing in Entertainment Weekly where, it’s one page where Zack is quoted as, “What do these five girls represent?” and the first thing that he said was about the idea of freedom. For both of you can you try to talk about what these characters are supposed to represent in the context of this movie?

Abbie: I think from Sweet Pea’s perspective it’s such a journey that she goes on in there and the sisterhood is very strong within the film and I think there’s a message there, I think, what I talked about before, about the way she’s chosen to survive in this environment and what that’s done to her. You can transpose that into life and situations that people might find themselves in life and this idea that we live within the world, we live within a society, we live within certain cities, certain cultures, environments, that of course are gonna influence us and affect our days. And so how to deal with that. What is the process of dealing with that. And I think for Sweet Pea that idea of freedom is something that she is disillusioned about and so that journey of spreading the wings, of being able to breathe again, of being able to feel again, connecting to herself again, is her journey. So speaking for my character it feels like it was about that. About someone who went from where she is at the beginning of the film to opening, and to feeling, and to breathing.

So she’s a prostitute at the beginning. I mean it’s never really said, and I thought it’s a PG-13 movie, maybe they don’t want to say you’re turning tricks or something.

Abbie: But the reality of the film is a psychiatric ward, it’s an asylum, and so that sub-reality is almost like a projection of the way Babydoll is seeing it. Her fantasy, her mind.

Emily: In my mind, Babydoll, the character went into the, I mean I suppose this is clearer in the original version of the script, the abuse that…I think it’s clear in the montage at the beginning with the stepfather what’s about to happen to these girls. And I think for me, Babydoll, at the beginning of the film is sort of her own, she doesn’t understand her own sexuality and it’s being used in this negative way in terms of the stepfather. And that’s why, for me, at least, that the journey from the asylum into the brothel, in Babydoll’s mind, that’s why her darkest fear of being in this place becomes a sexual thing, because that’s something that she’s been frightened of. And I think over the course of the film, she learns to own and control her own sexuality and not be objectified. Because I think within the world of the brothel, these girls are being objectified, not in the film itself but within that story the girls are being objectified and I think moving on into the battle scenes it’s about them owning, not allowing themselves to be objects anymore and owning their own strength.

Was there ever any plot to allow us to see even a little bit of your supposedly awe-inspiring dancing? Or would that remove the mystery.

Emily: Absolutely. I think someone referred yesterday to the suitcase in Pulp Fiction, that, like, you don’t want to know what it is because your imagination can always create something far more amazing. And then it’s individual to each audience member and each person that watches it, seeing the dance would have taken away some of the magic, especially for me dancing!

Do you have any dance background?

Emily: I have a little bit, I did dance classes when I was younger. But I don’t think I’d put anybody into a trance.

So most of this film deals with being lost in your own thoughts and your own fantasies. Do you use that as a coping mechanism in any way?

Emily: I’m a massive daydreamer. I’m constantly lost within my own fantasies and my own thoughts personally, and I think maybe that is sort of represented in what we do for a living, the fact that we make believe everything and we escape into these other characters for a living.

Do you think that too Abbie?

Abbie: You know, it’s interesting because this question has come up a few times and when I think about the things that I do to escape, they are the things that make me feel most connected to myself. So for me there’s a juxtaposition there. What do I do to escape, do I listen to music, make music, I paint, I surf, I take photographs, I watch a film, and all of these things are for me, the core of who I am and so it’s such an interesting thing for me, you know?

I was shocked in the notes it said you guys started training four weeks before?

Abbie: No, we had three months.

So how much wirework was included in that?

Emily: We started wirework in Vancouver, because we did a month of training in Los Angeles, Jena Malone and myself, then we went to Vancouver, we did a month, and then the last month Vanessa and Jamie joined us. So we kind of started the wirework in Vancouver and it was very specific to that stunt, that moment in the film. It wasn’t like martial arts where we’d go in and for the first month and a half, with the martial arts training, we were just training technique, learning all of these repetition of sword strokes and different forms of martial arts, just getting there. And it wasn’t until a month and a half before we shot that we started to hone in on the choreography and all the pieces and so it was really intense.

Emily: We didn’t spend that much time on the wires though really considering what we actually had to do, this crazy four-story drop. And it was like free falling, it was kind of amazing, it was like an adrenaline rush.

Scary?

Abbie: We were feeling pretty tough by then, it was scary but in the best possible way, in the way that a rollercoaster is scary.

Emily: Yeah, it was like going to Six Flags or something.

Abbie: We felt entirely safe, it was never like, “I am fearing for my life,” it was just like, “My guts are in my throat.”

And it was some of the guys from 300, right, training you?

Emily: Yeah, Zack a lot of the time, when he finds people that he really enjoys working with, they’ll work with him on the next film. So we were really lucky because the crew that we had on Sucker Punch, a lot of those people had worked with Zack numerous times and so it’s such a solid, well-oiled machine. It was great to walk into that.

You felt safe, you didn’t feel like you were in Spiderman: The Broadway Musical.

Emily: Not at all.

Do you want to be in more of Zack’s movies now that you’re in a couple?

Emily: Sure it would be amazing.

Abbie: It’s the best experience I’ve ever had on a film. We all just had so much fun and made such great friends and it’s like a little family.

When you’ve got a movie about a guy on drugs, what better way to show his softer side than to give him a girlfriend? Well, not only does Abbie Cornish do just that for Bradley Cooper’s character in Limitless, but her own has quite a bit of depth as well – and a heck of a fight sequence.

Cooper is Eddie Morra, a guy who gets hooked on a new illegal drug called NZT. The little clear pill gives the user the ability to use their brain’s full potential ultimately making them smarter and stronger. Cornish’s character, Lindy, is Eddie’s former flame. She ditches Eddie after he hits an all-time low, but the two reunite when Eddie becomes super Eddie courtesy of NZT. However, Eddie’s new life isn’t entirely noble and he gets mixed up with some shady characters and, of course, Lindy gets a little too involved for her liking.

With Limitless hitting theaters on March 18th and Sucker Punch arriving on the 25th, Cornish is in full press mode and came ready to spill on anything and everything from her awe of Robert De Niro to her tactics when choosing roles. Check out all of that and much more in the interview below and be sure to keep an eye out for Cornish’s big moment in the film. You won’t believe the lengths she goes to!

Can you tell us about the character of Lindy and how you came to this project?

Abbie Cornish: Neil Burger sent me the script a while back and he really wanted me to do it and I thought it was a really interesting film and I felt like the character had room to grow and evolve within the scenes that were already written because it is a small part. So, as an actor, you always want to have a journey to go on, you want to have something where you can sink your teeth in and get your hands dirty. And so I felt like that was possible with this role and I was a fan of Bradley Cooper’s. We had never met and through the process of making the film, we became really good friends and I just thought Neil, as a director, would be a very present and caring and collaborative director. The genre of the film was something I hadn’t explored before and also the idea of this drug and what it could do and the possibility that it could really exist in our everyday lives. Even though it’s far-fetched, at the same time it kind of felt possible and real.

How does it feel to have your name above Robert De Niro’s name on the poster?

It’s interesting, I remember when we did the script read-through, the seats were very much like this, but close together so if you imagine the seats being like this (pulls the chairs closer together) and there’s a little card that says “Abbie Cornish,” there’s one here that says “Robert De Niro” and one here that says “Bradley Cooper,” and Bradley sits down and I sit down and we were talking over Bob De Niro’s chair to each other like this and then all of a sudden I look and I saw his placard and I said to Bradley, “Look, in a moment this chair will be filled by Robert De Niro.” I said, “How surreal is that?” He goes, “I know, I can’t believe it,” and it was just that moment of realizing that. We were leaning over his chair and that moment of realizing and all of a sudden we were making sure his chair was ready for him. [Laughs] It was just the most amazing thing for me because, as an actor, his performances are incredible. He’s such a talented and amazing actor and has had such a wonderful career. I think when you meet him, for me, it was like this fog for a moment, or more so, it sounds silly [laughs], but when people talk about near-death experiences, their life flashes before their eyes; when I saw Robert De Niro’s face, all his characters and his performances flashed before my eyes and then that and I saw this man who is Robert De Niro. It is, of course, surreal and wonderful and amazing and awesome.

Would you ever take NZT yourself?

I think if you could have the ability to take a drug like that without any side effects, without any consequences, without having to face addiction and all that sort of stuff; if you can just go on an adventure with it and feel what that is like. If you could open your mind and utilize 100% of your brain for a moment and feel that. I feel like so many of us have these infinite lists of things to do. I want to learn a language, I want to learn how to play the piano, I want to evolve as a painter, I want to run faster. Whatever it is, I feel like we always have these aims and aspirations and so the idea of taking a drug where within half an hour you could read a novel or within two hours learn a language or learn how to play the piano overnight and read classical music, it’s kind of fascinating. Imagine that. I don’t know why I would ever say no to the concept of that.

There’s also a very serious side to this concept because we’ve got kids today taking drugs to perform better in school. Can you weigh in on that topic?

Yeah, that was something I was talking about today actually. The closest things to it that I can think of are things like Ritalin and Adderall are these drugs that make you focus that are meant to accelerate the process of study and learning and all that. It’s interesting. For me, I very much feel that each is to their own. I feel like you can have a debate about it and you can express your own personal opinion on whether you yourself would want to do it or not do it or whether you’re against it or for it, but at the end of the day, how much can you really judge someone else’s existence and their life and what it is that they choose to do? I think as long as it’s not harming anyone else, I don’t know how much judgment can be placed upon it. I kind of feel like that with a lot of things in life. You know, I’m a vegetarian and very much active in regards to how I feel about animal rights and protecting animals and giving animals a voice, but at the same time, I appreciate and respect other people’s decisions to eat meat. The only thing that I hope is that people are educated, that they’re aware, that they’re living a conscious lifestyle. The only time where my hair stands up on its ends is when someone is very ill-informed, when they’re arrogant, when they haven’t educated themselves and they feel like they know what is right, but at the same time, they haven’t explored the truth of the situation.

How do you choose what roles you do and does it affect you personally if a movie does or does not do well commercially?

I’ll answer the second question first; I feel like I’ve been really blessed with the career that I’ve had and the work that I’ve been able to do as an actor because it originated from a place of films like Somersault where it’s a smaller budget film, great director, very hard working crew and you make that film with your heart and your soul. You don’t even think about what’s going to happen with it. I remember making Somersault and I didn’t even think about what was going to happen with the film when it was actually a film. I just thought about the film we were making.

Was that the first movie you made?

That was the first lead role in a feature film. I’d done a couple small roles in films and I’d done a bit of television, so it felt like the first time. And I remember when that film finally came out and then I got this phone call that said we were going to Cannes, I couldn’t believe it. It’s the most amazing, awesome thing that we went to Cannes, then we went to Tokyo and we went somewhere else. It was so beautiful and so amazing. And so I think that is always alive within me where, for me, the process of making a film is where all the energy goes and what’s really important and I feel that if you’re passionate, if you pour yourself into it and you’re surrounded by people doing the same thing that it doesn’t matter. And not a lot of people have seen Somersault, but I’m so proud of that film. That, for me, I don’t really think of things in those terms. Even with Sucker Punch, it’s a $100 million dollar film, it’s Warner Bros., I’ve never done a film like that, I’ve never been in a movie of that budget and you see big billboards everywhere and it’s on the internet, it’s on the television; it still feels the same to me. The process of making it was the same and I really care about the people I made it with.

Then the first question, choices that I make, yeah, it’s kind of the same thing. I make choices based on my instinct, I make choices based on the story, the character, the people that I’ll be working with. The more I work actually, the more I realize how important it is the people you make the film with.

So the decision-making process doesn’t correlate with the work you’ve just done?

No, not at all. And you know what? In the last couple of years, I’ve worked with some really, really awesome people and developed friendships and relationships that I will take with me for the rest of my life. For example, on Sucker Punch, the five of us girls bonded like you wouldn’t even believe and Zack Snyder and Deb Snyder, just the way they make films. I don’t know if you guys have done conferences with them, but you just get a sense very fast that they’re like a team and so when you work with them, it feels like you’re part of their family. We were all so sad when we wrapped on that film, because we felt like the family was sort of breaking up and I still stay in contact with everyone. For example, Jena Malone, she’s one of my best friends. It’s wonderful that feeling to me. Sometimes I call it play, sometimes I call it work, because it’s not defined just as work because it’s so enriched.

While promoting the film Limitless, Bradley Cooper brought up an interesting topic: the character an actor plays winds up reflecting upon that actor. Basically at one time Cooper was seen as the nice guy from Alias then the jerk from Wedding Crashers and then the good looking smart aleck from The Hangover. Nowadays Cooper is most directly associated with Phil thanks to The Hangover’s continued success, but he’s gearing up to turn that image upside down yet again with his latest film, Limitless.

Cooper plays a guy named Eddie Morra, a writer who was once on top of the world with a book deal, but now sees that deal winding down with no book to show for it. Everything changes when Eddie comes across a new illegal drug called NZT. He pops one pill and is granted access to his entire brain, allowing him to recall every touch, taste or smell he ever encountered, digest information at an incredibly accelerated rate and ultimately always be steps ahead of the competition. Sounds too good to be true, right? Of course. Like most drugs, NZT has its downsides and they’re deadly. If Eddie is going to stay alive and continue to build upon his newfound success, he’s going to have to keep the NZT flowing.

During a recent press conference Cooper went into depth about his character and NZT in addition to the actual filmmaking process and how he shot one of director Neil Burger’s many visual tricks. Cooper also recalled his very first encounter with his co-star, Robert De Niro, and touched upon The Hangover and how that film’s success changed his life and enabled him to take on projects that he’s passionate about, like Limitless. Read about all that and more in the interview below.

Can you tell us a little about Eddie Morra? How’d you see him as a character and come to choose this role?

Bradley Cooper: I read the script maybe eight months ago that Leslie Dixon wrote based on this novel by Alan Glynn, an Irishman who wrote I think in 2001 or ‘04 called The Dark Fields. I didn’t read the novel until after I got the role. I didn’t even know it was a novel, but she wrote this incredible script with a phenomenal character. And I met with Neil Burger because I just thought, ‘Oh, wow, to play a guy that goes from A to Z like that would just be incredible,’ and so I met with him and just tried to basically pitch him why I had to play it and I think about six months later, we got the offer to do it and then it was about just hopefully getting it made.

I liked the idea that when we meet [Eddie], it’s not that he feels sorry for himself at all, he’s just actually resigned to the fact that his life is such that his potential wasn’t fulfilled and that’s where we meet him that day. It was cool when he had a book contract when he was 25 and he talks about how great it’s going to be, but when he’s 35 and it still hasn’t been written, it’s just not cool anymore. To then see a guy who goes from this sort of complacency to then having power and what he does with that power and what his plan is, which I still don’t know. His plan was not to make money at all. He says when he comes out of the water, ‘I had a plan, money was going to allow me to get there.’

Once Eddie takes the drug, he finishes his book, but goes through a career change. If you had access to this drug that made you potentially limitless, do you think you’d still be an actor?

I think for sure I’d definitely try to learn as many languages as I could right away and then I would probably, after that, much like he did, learn as many instruments as I could. After that I don’t know, but I’d probably try to get money so I could go around and utilize that. But it would be incredible to just like start jamming with all these great musicians and communicating with people wherever you are in all the different dialects. I don’t know what I’d do after that, but I would still be an actor. Even director. I’d probably start finally getting off my ass and facing the fear because all I really want to do is direct movies anyway; I just haven’t done it.

Like what?

There’s this one story that I absolutely love, but yeah, just to do stories that I love. You have to as a director. There’s got to be something you want to tell and that’s the engine which spurs all of the work you have to do in order to create the story, but you have to love some sort of nugget of what you’re telling to be a filmmaker.

This is very much your thing; most of the film rests on your shoulders. What challenges does that create for you personally? What do you expect from yourself?

I want to answer that in two ways. One, I didn’t feel like it rested on my shoulders because I didn’t direct the movie. It’s Neil Burger’s film. I was allowed the opportunity to help be the guy on the field to play this character who the story revolves around and I loved it, which might end up being my downfall. I made myself a very small window of what I enjoy in this business, which is I love being a big part of the storytelling process. It really fulfills me. Whether or not I’ll get that opportunity again, I don’t know. I hope to, but, you know, if this movie’s successful then I probably will. If it’s not, it’ll be harder to, but I absolutely loved it. I found a hook with Eddie early on, reading the script so I never felt the pressure of, ‘Oh my god. How am I’ – I just couldn’t wait to get out and play him each day. I tend to speak very fast and so I liked these paragraphs I had to memorize and speak because when he’s on the drugs, there’s no “you know” or stutter, anything. He thinks in these succinct paragraphs that just come out. Neil shot a lot of those in one so there was no cut. It was almost like doing a play. I loved that experience.

Regarding roles, when it comes to dramas like Limitless versus something like The Hangover, which is comedic, what mindset do you use to prepare for either role?

Same mindset. It’s playing a role and whatever that happens to be, it may demand different ways in, but the structure’s the same in terms of you have to prepare. Acting’s acting whether it’s comedy or drama; there’s a music to it and the music changes with comedy.

What’s the difference between a kind of adrenaline rush that focuses you when you’re acting and the experience of the drug that gives you access to all of this extra information and knowledge?

I made things specific for me because the idea of reading up on the way neuropathways operate in one’s brain and how synapses functions wouldn’t serve me in terms of organically inhabiting that idea. I had to find something specific for me, which had nothing to do with anything like that in order to play whatever that expansiveness is in my mind. I didn’t choose the feeling of adrenaline from doing something whether it’s playing a sport or getting into a fight or acting on stage just because, to me, my experience sensory-wise with that is – maybe I should have. I probably should have. It would have been better. [Laughs] But it feels like I’m on a drug when those endorphins are released and for me. NZT, it wasn’t a drug. It didn’t feel like it was on a drug; it was just clear and focused. There was a calm to him, to me, when I was doing that that I worked on. And he actually says that when he says, ‘I wasn’t high, I wasn’t wired, I just knew what I wanted to do and how to do it,’ and that was it right there, focused.

You spoke earlier about your choice of storytelling and how you feel the necessity to have a kernel that you love. If you could term that kernel an essential truth, what would it be?

The nugget, well, if it’s a truth, it’s love because I have to love something in order to have it mean something to me, but it changes for everything. There was a moment in the script that I read where I though, ‘Oh yeah, I have to do everything I can to try to play that role.’ It was one moment.

SPOILER ALERT

What was it?

It was when he drinks the blood. I thought I’d never seen that before and if it’s pulled off, the movie works. If it doesn’t, it fails. And in that moment, if the audience is laughing at the movie, the movie doesn’t work, but if they’re laughing because, ‘Oh my – what the hell’s going on, I feel weird,’ and, ‘this is crazy,’ that’s a good thing. But for Eddie, it’s an example of how low or where he’s willing to go to survive and to maintain whatever it is that power that he has and I just sort of loved that, ‘Wow, how do we get from this guy in the beginning of the movie to that moment?’ For every movie it’s been a moment. For Hangover it was the phone call, when I called Tracy.

Did the finished product coincide with your vision of it?

Yes! The blood drinking? Yeah, I mean, we had to adhere to ratings and stuff like that, so it wouldn’t be exactly, but yeah, I’d say so.

END SPOILER ALERT

Can you tell us about Eddie’s enhanced abilities?

Anything he’s ever seen or tasted or smelled since basically in the womb he can recall in an instant and utilize for whatever way he wants and then by the end, this idea that the drug has evolved in such that he’s able to utilize physics in every possible way so that he’s able to read the temperature of where he is when putting his hand on his skin. Somehow he’s able to have a connection with the blood and the flow and whether there’s a blockage and stuff like that. You know, normal shit. [Laughs] And looking at behavior. He could tell that that guy was texting and then he was able to figure out there’s sixty feet and in order to stop the truck and the way the breaks worked that 30 feet wouldn’t be enough, that he’s going to rear end that taxi. So it’s not like he’s omniscient at all. It’s just all logic, but he could do it like that. [Snaps]

And he can see really far.

Well, I mean, not like Superman. But if you saw someone texting, you could probably see their head’s down, but they’re driving. It’s as if you weren’t looking at Carl Van Loon, you were literally watching that van, you could probably tell 60 feet out, 30 feet out that he’s texting. It’s not like his vision all of a sudden has improved because of the drug at all, it’s just how he’s able to utilize his brain.

You’ve always been a successful working actor, but with The Hangover your career really took off. How’d you experience this? Did you ask yourself, ‘Why now?’ And I read somewhere you wanted to become a chef when you were young.

Why am I not a chef? [Laughs] Clearly being a part of a movie that’s so financially lucrative provides opportunities and that’s what that movie did for everybody. And with that comes a higher profile, so you have paparazzi; that was a new thing. You just have to learn to navigate. The great part is that I was able to do a movie like Limitless. Maybe Relativity wouldn’t have hired me to do it if I hadn’t been part of The Hangover, which was so successful. I love cooking. [Laughs] I was more interested to play a chef than to be a chef, so I think that told me early on that acting was where I wanted to go.

There are a lot of rumors that Charlie Sheen is going to be your co-star in Hangover 2. Confirm, deny and also, what are your thoughts about working with him?

Well, unless they have a time machine and we can go back to Bangkok, my understanding is that we already filmed that movie, so I’m not quite sure. It’s an interesting thing to start spreading, but you’d have to be a part of the Starship Enterprise I think in order to make that happen.

Would you want to work with him possibly in the future?

Yeah, I mean, you know, sure.

The Hangover franchise has a major effect on your on screen image. Has that caused you any concern about being locked into a genre?

It doesn’t scare me only because I operate pretty simply; I want to work with great filmmakers and great actors and get better as an actor.

Doing a TV show like Alias, for example, I played probably the nicest guy in the world, this guy Will Tippin who’s a journalist, and I would audition for movies during that time and afterwards and normally the feedback would be, ‘He’s such a nice guy, Bradley. I don’t really see an edge, but such a sweet guy. Please tell him we loved meeting him.’ And then David Dobkin took a real chance and hired me as the heavy in Wedding Crashers to play a sociopathic bad guy and then it became, ‘Bradley, he’s an asshole, right?’ I mean, really! ‘Because it seemed like he’s really an asshole.’ [Laughs] ‘Ah, he wasn’t acting. I could tell there was something really deep going on.’ [Laughs] It’s beyond my control who’s going to cast me or how you’re going to pigeonholed, so for me, it’s just I want to keep doing different things because I want to get better, so hopefully I’ll be hired to do them. So Hangover was a huge success; will it mean that I’ll be cast in movies like that? No, because I won’t do movies like that. But then it also might mean I’ll never work, so we’ll see.

How was it getting to work with Robert De Niro?

Talk about icing on the cake. Never when I first got the movie did I think that Carl Van Loon would be played by Robert De Niro. And my past with him, without him knowing it, goes back a long way, [laughs] just because he’s the reason I became an actor, pretty much. I went to school at the Actor’s Studio MFA program here in New York and he came to our school and I asked him a question and that meant like the world to me because –

Do you remember the question?

I wanted to ask him the question I asked, but I was so scared that it was such a stupid question that I was going to ask some bullshit question about The Mission. There’s a scene in The Mission, this profile shot when he’s with the epee and I was going to say like, ‘Hey, did you train with swords’ and some stupid thing and right before, because we had the microphone thing like this, someone stood up and asked him about The Mission and I thought, ‘Well, I can’t ask him about The Mission.’ So then they came to me and I was sort of standing there and all of a sudden the real question I wanted to ask him came out which was, ‘When you were doing Awakenings,’ there’s a scene where he wants to go for a walk and he has to be interviewed by the medical panel and he’s trying so hard to be normal but whatever he was taking, it started to not work anymore and so he started to get the ticks and one tick was his right hand and he would make up for it by pretending to brush his eyebrow and he was like this when he was talking and I thought, god, it was so genius and I asked him, ‘Is that something you saw people do because they were embarrassed by their ticks, make up for it some way or is that something that just happened?’ And then he literally went like this, he went, [imitating De Niro] ‘Yeah, I didn’t, uh, no I didn’t see anybody do that, but, uh, that’s a good question.’ [Laughs] It was like a beam of light shot into my chest! I was so excited! I never sat down, too and I looked around like, ‘Did everybody hear that? He said that, right?’ Yeah, so that was the first experience with Robert De Niro.

At the beginning of the film, did you ever feel like Eddie, like you were down and out?

Sure. Absolutely. Oh god, yeah. As a human being, yeah. If anybody’s in touch with themselves, do you feel worthless at points in your life and things aren’t going to happen the way you wanted them to? Yeah.

When was that for you?

Today. [Laughs] Just now. Just when I was speaking to that lady.

So, you doubted your career?

Oh, of course!

What was it like doing the scenes where you’re shooting yourself multiple times? How much time did you spend doing those?

That was all Neil Burger who directed the movie who came up with all that. I had only seen in Being John Malkovich. It was very time consuming and it was a movie that we were slammed for time. It was a very get-up-and-go and so it was very sort of mathematical, but I really enjoyed that. I like having to act within the structural confines. There’s something interesting about that because you have to go here and here and you have to be able to be organic in that little space. Not necessarily that stuff because I was just cleaning the apartment.

Writer Leslie Dixon has had a hand in quite a few prominent films from Overboard to Look Who’s Talking Now to Freaky Friday. See a trend? The majority of Dixon’s work falls within the comedy genre. So what’s she doing penning a thriller? Limitless is actually the result of a spontaneous trip to the bookstore.

Limitless is based on the book The Dark Fields by Alan Glynn. The film stars Bradley Cooper as Eddie Morra, a down and out writer who happens upon an illegal miracle drug called NZT. He pops one pill and unlocks portions of his brain the average human’s incapable of accessing, giving him the ability to absorb information at an incredible rate and recall memories dating back to being in his mother’s womb. Like most drugs, NZT has its risks; it’s highly addictive and should you stop taking it, you’ll certainly become ill and likely die. Not only must Eddie maintain his NZT supply, but fight off a jealous loan shark, maintain his new high-profile Wall Street image and do whatever it takes to hold onto his girlfriend (Abbie Cornish), too.

Based on her extensive repertoire, it’s quite obvious Dixon is a natural storyteller, but that ability isn’t limited to writing screenplays; Dixon is packed with fun anecdotes about making Limitless. Hear about everything from Dixon’s tactics for acquiring the rights to the book to developing the film’s tensest moments to her plans for the future in the video interview below.

After wearing two hats on three feature films, Interview with the Assassin, The Illusionist and The Lucky Ones, writer-director Neil Burger decided it was time to narrow his focus and just direct. Conveniently enough, writer-producer Leslie Dixon had a script on her hands, but no director. They joined forces and the result is the wildly intense and visually vivid thriller Limitless.

The film focuses on a drug called NZT, a pill packing the power to give a person the ability to use 100% of his or her brain. For Eddie Morra (Bradley Cooper), that means the ability to emerge from the foggy slump of an uninspired writer and step into the illuminated world of a high-powered financial consultant.

Yes, the character development starts with what’s in Dixon’s script, but from there, it’s all up to Burger and he certainly seized the opportunity to use the mind-bending nature of the topic to his advantage. While we get film after film saturated in CGI and all sorts of digital effects, it’s not very often you come across a piece that uses those resources in a realistic manner. Well, brace yourself because that’s exactly what Burger set out to do in Limitless and the results are wholly consuming and make for a fantastically tense and engaging end product.

How does he do it? Hear about that and much more straight from Burger himself in the video interview below.

You’d think that after releasing maybe the largest promotional poster ever the other day that Warner Bros. would cool it with the marketing of Sucker Punch at least on the poster side of things for a little while. Well, apparently there’s a reason we’re not paid to market films because they’ve gone ahead and released yet another visually stimulating poster for Zack Snyder’s next romp.

With heavy shades of greens and browns, video game fans will likely confuse this for a poster for the long talked about Bioshock film until their double take confirms that that’s not a big daddy in the background. The poster still reminds us of what we’re going to get once the movie drop in March: high flying action, dragons, and five hot girls ready to make the burliest of dudes feel like little girly men.

Thanks to Yahoo! Movies for getting this out.

A few weeks ago we were trumping up the "battle of the blondes" between Blake Lively and Scarlett Johansson as they both vied for the lead female role in Gravity, the outer-space thriller from director Alfonso Cuaron that's already set to star Robert Downey Jr. Angelina Jolie had originally been on board for the film but bailed several months ago, and even with Downey Jr. on board the producers were apparently struggling to come up with someone to replace Jolie.

We all knew Angelina Jolie was one of a kind, but apparently she's so unique that Warner Bros. searched through all of Hollywood's starlets only to try and get Jolie back again. Deadline reports that after testing the likes of Lively, Johansson, Sandra Bullock, Marion Cotillard, Carey Mulligan, Olivia Wilde and nearly every other hot young actress you can name, the studio went back to Jolie with a better offer, and she still passed. Apparently Downey Jr.'s role is small compared to the female lead, and they need a gigantic female star to carry the film-- and there's no bigger star right now, once again, than Jolie.

Running down the list of all the other projects Jolie has in mind, from the Bosnian war love story she plans to direct to Salt 2, Deadline speculates she won't come back to Gravity no matter what, and I have to agree. Now it's just going to take one of those actresses to have the chutzpah to say not only can she act like Jolie, but she can open a movie all by herself like Jolie-- when, of course, no other female star has that power, especially for action movies. Maybe by passing Jolie is trying to help breed a new female action hero to follow her lead. It's too bad Warner Bros. didn't trust themselves or their property enough to actually give it a shot, though now they'll have to. I hope Naomi Watts or Abbie Cornish or whoever they cast-- I'm rooting hardest for Cotillard--gives 'em hell and proves Jolie right.

The eagle eyes over at The Playlist always have their eyes out for scoops from unlikely sources, which is how they picked up on a report on French film site Tout le Cine that Madonna has added her 13-year-old daughter Lourdes to the cast of W.E., her sprawling, somewhat experimental biopic about English King Edward VIII and his affair with American Wallis Simpson.

There's also a bit of scuffle about whether or not Ewan McGregor has signed on to play Edward-- Perez Hilton has claimed that he is, but a source tells Gossip Cop that the story is absolutely not true. Either way, Vera Farmiga is still on board to play Simpson, and Abbie Cornish has a role in the film as well. Does Madonna figure that both women are good role models for her daughter, and that explains the casting?

The next time you take a group photo, make sure you have a token black guy, or risk being called a racist. That’s what’s happening to the folks at Vanity Fair who had famed photographer Annie Leibovitz do a photoshoot with a group of up and coming young starlets, all of whom happened to be Caucasian.

This is of course, unacceptable, particularly during black history month. Most magazines have better sense. You won’t see any white people on the cover of Ebony Magazine (unless of course they’re covering Michael Jackson), they know what’s up. But not Vanity Fair. They’re out of touch and in their racist craze they took Abbie Cornish, Rebecca Hall, Anna Kendrick, Carey Mulligan, Amanda Seyfried, Kristen Stewart, Emma Stone, Mia Wasikoska, and Evan Rachel Wood and put them on the same page together. They should have known that if you’re going to have that many white women in a room they’d better be lesbians. From now on, hopefully Vanity Fair will have the sense to take their cues from “O” Magazine and just put Oprah on the cover.

This isn’t Vanity Fair’s first racist photoshoot either. The seem to take pictures of a bunch of white women quite often and only occasionally do they remember to bring in someone with a tan. But now, with Barack Obama in the white house, finally we have the means to stop it.

It hasn’t always been this way at Vanity Fair. They used to have their priorities straight. In fact back in 2001 they hired Annie Leibowitz for a far more noble task when she photographed a group of models, and white women weren’t invited. Get a look at what Vanity Fair was like before the racism right here.

But these days Vanity Fair is more racist than ever. Here’s a look at their latest clan rally cover. See more racist photos from the shoot over there.