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Some of Glacier National Parks glaciers have lost as much as 80% of their size in the last 50 years As far as the economy goes, we might want to start spelling pandemic with a K Bruce Arians downplays talk of rift with Tom Brady: Tom and I are fine

The new-look Tampa Bay Buccaneers aren’t off to a great start.

After one game, there’s already speculation of a rift between head coach Bruce Arians and quarterback Tom Brady.

Sunday’s 34-23 loss to the New Orleans Saints was punctuated by a pair of Brady interceptions, one of them a pick-six. Arians was blunt in his assessment of Brady’s performance.

“He knew he didn’t play very well,” Arians told reporters on Monday. ... “He looked like Tom Brady in practice all the time, so it’s kind of unusual to see that in a ball game because they didn’t do things that we didn’t get ready for.”

There was nothing inaccurate about Arians’ assessment. Brady’s third-quarter pass that Janoris Jenkins intercepted and returned for a touchdown was a mistake befitting a rookie playing in his first NFL game, not a 20-year veteran with six Super Bowl rings who’s submerged in “GOAT” praise.

But some questioned Arians’ public criticism of his quarterback, notably Brett Favre.

The Hall of Fame quarterback said on Tuesday that Arians was asking for problems with the critique.

“I think the last person you want to call out after the first game of the year is Tom Brady,” Favre said on SiriusXM NFL Radio on Tuesday, via NBC Sports. “Now maybe they had a mutual truce going into the game, going into the season, ‘Hey, I’m going to be hard on you. I want the guys to know we’re going to treat you the same even though technically I’m not, so are you OK with it?’ If they have that truce, great. 

“If not, I think you are barking up the wrong tree. Dissension could easily enter quickly.”

Arians has heard the noise. He responded on Wednesday.

“Tom and I are fine,” Arians told reporters. “I really don't care what other people think.”

© Provided by Yahoo! Sports Tampa Bay Buccaneers head coach Bruce Arians talks to quarterback Tom Brady (12) during an NFL football training camp practice Friday, Aug. 28, 2020, in Tampa, Fla. (AP Photo/Chris O'Meara)

Brady has not publicly commented. But he’s a grown man and a consummate professional. He knows he didn’t play well on Sunday. And he volunteered to join the Bucs and play for Arians, a longtime NFL coach whose reputation is well-established. Brady knows what he signed up for.

And this is guy who played two decades for Bill Belichick. He’s heard worse. Though maybe not in public. But Brady didn’t get to this point in his career by letting reasonable criticism get under his skin.

Does that mean Brady will look like his former self in Week 2 against the Seattle Seahawks? Of course not. That’s up to his 43-year-old body more than his psyche.

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The Devil All the Time director explains his surprising narrator pick

The new film The Devil All the Time weaves together a tapestry of violence from the lives of lost souls. Set in Meade, Ohio in the wake of World War II, the Netflix drama picks up with a number of wayward characters — fathers, mothers, sons, a few loose cannons, and in some ways God himself — who each hit a turbulent spell and turn to faith, in some form or another, for answers. Based on the celebrated book by Donald Ray Pollock, it’s a grim and evocative watch.

For filmmaker Antonio Campos, it’s also a step up to a larger scale of storytelling. In his previous films Simon Killer and Christine, and even his turn to TV with USA’s The Sinner, Campos drilled down into the psychologies of specific individuals to find what was at their core. The Devil All the Time has him pulling the strings of an ensemble, and one stacked with rising stars like Tom Holland, Robert Pattinson, Sebastian Stan, and Riley Keough.

News Brig sat down with Campos over Zoom to talk about why he jumped at the chance to adapt the novel, how Pattinson found his voice as a maniacal preacher, and how he landed on soft-spoken narrator for the film — who is played by none other than Pollock himself.

The Devil All the Time feels like a big shift from your previous work. What interested you about this story, and what was your way into it?

Antonio Campos: There were so many images in the book I wanted to bring to screen. The first was the prologue, and figure out how that would look, and create a place that I could walk through. That was the first thing. But it was a big generational story that I was interested in telling, and doing it through the genres of Southern Gothic and noir.

There are these kind of characters that go to dark places that are very sort of in line with people that I’ve put in movies before. The thing that I think that I was most interested in exploring was the relationship that these characters have with religion and faith, and exploring a world where you feel the absence of God, but where you also feel the depth of people’s belief. And so for me as someone who was raised Catholic, and who had a mother who was very, very religious and a father who wasn’t, and who struggled with his faith, I just felt interested in telling a story that was about a generational story that dealt with religion in some way. And that’s what caught me sort of on a thematic level. Outside of that, it was really that I just I loved these two genres. I loved the characters that Don had created in the book, who I wanted to make into people on the screen.

Tom Holland as Arvin RussellPhoto: Glen Wilson/Netflix

You made a decision that is kind of rare in book adaptations: You hired the author to be the narrator. How did that happen?

I waited so long on that, to ask Don if he would do the voiceover. I was so scared that he would say no, because I only had Don’s voice in my head. There was no backup plan for Don. And when they finally brought it up, I think two years into knowing him, and he was like, “Well, if you think that I can do it then I’m happy to.” And he gave me an out. He said “If you don’t like it, if it’s not good, don’t don’t be scared to tell me, I won’t be insulted.” And I was like, “Don, don’t worry. I’m gonna love it.”

But yeah, he doesn’t even do his own audiobooks. I told him I was like, “Who does your audiobooks? They suck! You should do your audiobooks.” No, he doesn’t like doing it. But he generously put his voice in the movie.

Jake Gyllenhaal produced the film — was there ever a role he considered taking on? Did he help you secure Tom since they worked together in Spider-Man: Far From Home?

Randall Poster, who’s known as music supervisor, but had worked on Christine and a couple films I produced, he was the one who brought me the book, and he and I partnered up very early on to do this and produce this. And then we needed a partner, and I had met Riva Marker, who’s Jake Gyllenhaal, his partner, and I had known about Nine Stories , his company, and what they were up to. And that whole relationship was driven by a common interest in the kind of material we were into on a producerial level. So Jake was always a producer on the project, but was never going to be part of it.

And Tom came in before Jake did. When Tom was cast the movie, Tom had been cast as Spider Man, but I hadn’t seen Tom as Spider-Man yet. So then the Tom told a funny story about when they were on set for Far From Home that Jake had said, “What are you doing next?” And Tom was like, “I’m doing this when we call The Devil All the Time.” And Jake was like, “Oh, I’m producing that movie.” Somehow he hadn’t gotten the memo.

Jason Clarke and Riley Keough as Carl and Sandy HendersonPhoto: Glen Wilson/Netflix

How did you and Robert Pattinson land on the characterization for the preacher character? It’s wild, but more and more, that seems to be an uncharted place Pattinson likes to go in his movies.

We knew that the character was from Tennessee, so we looked at people from Tennessee, we looked at evangelical preachers and we looked at rock stars at the time. But that voice and that characterization, we talked about the character a lot, but that voice was Rob Pattinson in all his magical glory.

The film feels very faithful to the book, and it sounds like you have great reverence for Don’s prose, but was there something you invented for the film that you needed for dramatic reasons or that you just felt you wanted to see?

My brother and I really liked the side storyline, the underbelly storyline of what was going on in Meade, and so we kind of leaned into that. Like Leroy [Douglas Hodge] and Bobo, and this other character Tater, who basically is who Leroy is in the script, that was stuff that was like in the periphery, but it was part of the world that we wanted to explore with Boedeker [Sebastian Stan]. The thing I think we added more of was complexity to Sandy. I think we leaned into her POV in that part of the story. And ultimately, I think that we leaned to a more hopeful ending even though the film has a mysterious, ambiguous ending, there’s still a sense of potential for people.

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