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Robert Downey Jr. Says Influencers Are Not ‘Stars of the Future’

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As content creators and mainstream Hollywood continue to intersect in the age of social media, Robert Downey Jr. doesn’t think influencers should be declared the “stars of the future.”

The Oscar winner recently sat down for an interview on the Conversations for our Daughters podcast, where he compared modern-day influencers with creatives who actually “want to build something” meaningful.

“It was also a time when in the late ’70s, early ’80s, dangerous though it was, there was this sense that the competition wasn’t so stiff that you shouldn’t even bother trying,” Downey Jr. explained. “Whereas nowadays, people can create a celebrity without ever doing much besides rolling a phone on themselves. I don’t look at that as a negative thing. I just look at it as more like the challenge for individuation is being upped.”

The Avengers: Doomsday star continued, “Hopefully the grosser part of the youth of — let’s just call it America for locality’s sake — is gonna say, ‘Yeah, but that’s not my thing. I want to go do something, I’m going to make something, I want to build something, I want to educate myself and I want to have more inputs,’ so whatever my output is, it isn’t just a self-aggrandizing kind of influencer-type thing.”

“When I hear people talk about, ‘Oh, the stars of the future are going to be influencers,’ I go, ‘I don’t know what world you’re living in, but I think that that is absolute horseshit,’” he added.

As someone who boasts more than 58 million followers on Instagram alone, Downey Jr. was also asked for his perspective on when an influencer is about novelty, as well as what contribution influencers can make to the lives of their millions of followers.

“My now 13-year-old son, he kinda got caught up in this whole influencer thing, and next thing you know, it’s like, ‘Hey, if you like the way I’m playing this video game, do you wanna send me a donation?’ And really, it becomes a religion,” the Iron Man actor said. “So there’s something about the influencers today that are almost like the Evangelical hucksters of the information age. At the same token, it’s different because we’re playing in this new territory and so it’s a little bit of a frontier and I don’t really have a judgment on it. I also know when I am promoting a film now, I’ve gotten to know a few of these influencers, and I find many of them grounded, accomplished, cool people. And then you have all the associated jive that’s always around.”

When it comes to his own relationship with social media and having such a massive following online, Downey Jr. admitted he’s a “little bit of a blinders guy,” and tries “not to get too deep down any rabbit hole” because “I don’t wish to be consumed.”

“I know, like people say, ‘Robert, they just love it when you’re just kind of like seeming off the cuff, and they’re getting a glimpse into your life.’ And I go, ‘But yeah, but I’d be manufacturing that aspect for them, so it’s B.S. I like things that feel a little more prepared,” he explained. “But I remember Jon Favreau, when we brought the teaser for Iron Man to Comic Con [in 2007], he was tweeting on stage and I saw the audience… This is the new hue where the audience is going to feel like they’re on the steering committee of this thing. OK, so that’s the new landscape in part.”

He continued, referencing the 2023 Christopher Nolan-directed film, “Oppenheimer was the opposite of that. Senior to me was the antithesis of that because I had to almost trick myself into doing something truly organic and deeply personal while knowing that it was ultimately going to be viewed and would be there as an item for consumption on Netflix.”

Downey Jr. next stars in Marvel’s Avengers: Doomsday, hitting theaters on Dec. 18.

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Diablo Cody Movie Always, Roxanne In Works With True North (EXCLUSIVE)

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EXCLUSIVE: Diablo Cody has lined up familiar faces as partners for her next film project, Always, Roxanne: The film will be produced by Nathan Kahane via his True North banner, as well as Mason Novick, Deadline has learned.

Cody’s script follows Roxanne, an obsessive high school senior who goes to her ex-boyfriend’s college campus to win him back, only to wage war on his new girlfriend and accidentally find the first person who truly understands her.

The film, which does not yet have a director, extends a longstanding creative partnership between Cody and Novick, who have now worked together on over 10 projects: Novick was Oscar-nominated for producing Cody’s Best Picture nominee Juno and is currently working with her on a sequel to her cult classic Jennifer’s Body.

Kahane worked with Cody & Novick on the films Juno and Young Adult during his time at Mandate Pictures. He told us, “I couldn’t imagine a better time to reunite with my former collaborators Diabo Cody and Mason Novick than a moment when younger audiences are rediscovering the joy of the theatrical experience.”

Best known for breakout with Juno, the coming-of-age romance that brought her the Academy Award for Best Original Screenplay, Cody’s filmography also includes titles like Tully, Ricki and the Flash, Lisa Frankenstein and more, in addition to those previously mentioned. She is represented by WME and MXN Entertainment.

While at his previous companies Mandate and Good Universe, Kahane shepherded the Neighbors and Harold and Kumar comedy franchises, as well as films sfuch as This Is the End, Don’t Breathe, Good Boys and Stranger Than Fiction. Prior to launching True North, he was President of the Motion Picture Group at Lionsgate.

Other credits for Novick include (500) Days of Summer and the recent Forbidden Fruits.

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‘Tulsa King Season 4 Trailer’: “Bad Things Are Going To Happen”

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“Thing happen, they change the course of a man’s life,” says Sylvester Stallone‘s Dwight at the opening of the Season 4 trailer for Tulsa King. “If I find out whose fault this is, bad things are gonna happen to bad people,” warns the beaten-down Dwight.

Per the Season 4 logline, Dwight (Stallone) fights to legitimize his empire and protect his crew as corrupt politicians, dangerous new enemies, and a crushing personal loss hit from every direction. However, every hard-won gain comes with even harder truths: about loyalty, leadership and the cost of ambition. Each move drags Dwight deeper into the street instincts he left behind in New York – turning Tulsa into a battleground and Dwight into the one threat no one can afford to underestimate.

“Everything I own is gone,” Dwight laments a bit later in the trailer. “I’m not ready to fold.” he confidently asserts. “I’m gonna get it all back.”

We also see a bit more of new cast member Gretchen Mol in the trailer. Mol plays Amanda Clark, a Tulsa politician. When asked by a reporter, “Has the mob come to Oklahoma?” she replies sternly, “It may have come, but it sure as hell ain’t staying’.”

Terence Winter is head writer and executive producer. Sheridan and Stallone executive produce, along with David C. Glasser, Ron Burkle, David Hutkin, Bob Yari, Thomas Kelly, and Keith Cox.

The series, which premieres Friday, October 16 on Paramount+, is produced by Paramount Television Studios and 101 Studios and distributed by Paramount Global Content Distribution.

Check out the trailer above and see first-look photos here.

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Richard Linklater Gives Major ‘Merrily We Roll Along’ Update

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Upon accepting his career achievement award at an intimate Zurich Film Festival ceremony, beloved U.S. auteur Richard Linklater was swiftly asked for an update on his musical film, Merrily We Roll Along.

Based on Stephen Sondheim’s 1981 show, Linklater’s movie is set to shoot over a 20-year period, similar to his Oscar-nominated Boyhood, with stars Paul Mescal, Ben Platt and Beanie Feldstein aging in real time.

Before a screening of his iconic Before Sunrise, Linklater sat for a 45-minute discussion with Zurich Film Festival CEO Christian Jungen to reflect on his entire career, from his early interest in cinema to making Dazed and Confused with Matthew McConaughey and later, School of Rock with Jack Black.

Toward the end of the conversation, an audience member asked for a status update on Merrily We Roll Along, to which the American filmmaker responded that it’s proving a little trickier to be discreet compared to 2014’s Boyhood (shot over 12 years). “When I was doing Boyhood, we worked in complete anonymity. No one knew about the film. This one, on the other hand, because it’s a Stephen Sondheim musical and it’s very public, I have to answer this question for 20 years while we’re making it,” he laughed.

“But my progress report,” continued Linklater, “is it’s [shooting] nine sections in 20 years. And in a few months, we’re filming the fourth section. So see you in 2040,” he added, the room applauding.

Linklater also dismissed concerns about “tempting fate” with such a long shoot. “It worked on Boyhood, […] and that’s just the way the film should be made and that’s the only way to tell the story. And people were like, ‘Well, what if someone died?’ There’s always an extreme thing that would prevent it from being made. But I was like, ‘Well, that usually doesn’t happen,’ and you gotta believe in collaborating with the future of some kind. So definitely got lucky [with Boyhood] and hoping to get lucky this time. But it’s been so fun so far. It’s very different. I have music already — it’s a great score. We’re adapting it step-by-step. I’ve always made music films. … But it’s fun to be making a full-on musical. But it’s about friendship, long-term.”

Merrily We Roll Along is based on the 1934 play of the same name by George S. Kaufman and Moss Hart, follows Franklin Shepard, a talented composer of Broadway musicals that abandons his friends and career to become a producer of Hollywood movies. The story begins at the height of his Hollywood fame and moves backwards in time, showing important moments in Frank’s life.

Naturally, Linklater was probed on how he came to cast Ethan Hawke and Julie Delpy in the cult Before trilogy, and regaled the audience with anecdotes about making the Vienna-set romance. When Jungen cited an interview with Delpy where she said she’d been “only made a third” of what Hawke was paid, Linklater responded: “That’s not true. I actually remember fighting for it because I knew how hard the actors were going to have to work. And I did have some producers saying, ‘Oh, Julie has no American credits. We don’t have to pay her that much. We can get her for scale. ‘ And I was like, ‘Let’s get them closer.’ It was definitely the most she’s ever made, but it was a little less than he did. But not [by] much.”

Upon receiving his career achievement award, Linklater, director of Hit Man, Nouvelle Vague and, more recently, Blue Moon, told the crowd: “I feel so lucky to be in this world, to work with people in the film culture — not just filmmakers, but the film culture that we all live in too. Film festivals, curators, teachers of film, just film lovers everywhere, film societies,” he said, alluding to his launching of the Austin Film Society in 1985.

He continued: “I’ve been so lucky all these years now to awaken every day in that world where it’s optimistic, because film is optimistic. It’s people who want the best, who want to see something great, who want to make something great, and we try to help each other in that. And it’s the best people, too.”

The evening was celebratory from the moment Linklater walked in to his picking up Zurich’s Golden Eye Award. He joins 2026 honorees Julianne Moore, John Turturro and Naomi Watts. The 22nd edition runs Sept. 24-Oct. 4.

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