Roger Daltrey Talks New Tour, Thoughts on Broadway’s ‘Tommy’ and Future of The Who 

Roger Daltrey. (AP)
Roger Daltrey. (AP)
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Roger Daltrey Talks New Tour, Thoughts on Broadway’s ‘Tommy’ and Future of The Who 

Roger Daltrey. (AP)
Roger Daltrey. (AP)

As Roger Daltrey hits the road on a short solo tour this June, he’s unsure if fans will ever see another tour from The Who.

“I don’t see it. I don’t know whether The Who’ll ever will go out again,” he told The Associated Press over Zoom.

The 80-year-old rocker has a “use-it-or-lose it-mentality” when it comes to his singing voice, so he finds it necessary to perform as much as possible, with or without The Who.

Recently, Daltry spoke with The Associated Press on the future of the band, his solo tour and his feelings on the Broadway revival of The Who’s seminal rock opera, “Tommy.”

This interview has been edited for clarity and brevity.

AP: What do you think of the “Tommy” Broadway revival?

DALTREY: I’m glad the album is still out there; it means a lot to me. It’s the best opera ever written. I don’t particularly like it (the musical). It’s been altered and changed. I can’t imagine cutting some of the music in “Madame Butterfly,” or some other great operas.

AP: So, you think of it as a straight-up opera, as opposed to a rock opera?

DALTREY: It’s a fabulous opera. It was tongue and cheek at the time that we called it an opera. We did take a lot of chances with it. But since living with it and playing it on stage, and having seen lots of grand opera, I saw I had one in my hands. So, I’ve come to conclusion that it’s the best opera ever written.

AP: Tell us about the tour.

DALTREY: I’m bringing a band over from the UK of eight people, a very different sounding band with different instrumentation. No synthesizers. It’s just about having a lot of fun playing different songs, and obviously some Who classics. But we do them different. So it’s just something I love to do. And people seem to like it when I take it out there. So, I’m just going to put my toe in the water.

AP: So you’ll play solo material and The Who stuff?

DALTREY: Having a band like this gives me an opportunity to do a lot of things that I’ve done over the years with different artists, like the stuff I did with Wilko Johnson 10 years ago. I will do some solo stuff, plus some covers of other people that I really admire to make a night of entertainment and fun. So many people are retiring. All the good old boys are retiring and it’s very thin out there.

AP: Is getting out there in front of an audience what keeps your voice intact?

DALTREY: That’s always been the impetus for me ever since I had my voice problems out. You’ve got to keep using it. Just like anything else in the body. You stop walking, you lose the muscles in your legs. The voice is a similar thing. If you stop using those muscles in the voice box and the vocal cords, they’ll go soft on you and you’ll lose your voice. Mine is remarkable for my age.

AP: Simon Townsend is performing with you — not his brother, The Who’s Pete Townsend. What is it like supplementing one Townsend for another?

DALTREY: Simon Townsend is always in my solo shows. Simon has always been with me. Well, he’s a totally different guy than Pete, though he’s got very similar timber to his voice that suits my voice in the harmonies. He’s a great musician, fabulous guitarist and a great guy. You know, I’ve known him for 60 years.

AP: What’s the difference being touring with The Who and hitting the road solo?

DALTREY: It’s a lot less weight on my shoulders by myself. The Who feels like, I don’t know, heavier. It’s always much more relaxed and solo shows.

AP: There’s less pressure with a solo gig?

DALTREY: Because it’s the responsibility with The Who — there’s heritage and history to maintain that always need to be in a good light, so it puts a lot of weight on your shoulders. But with this band, I’ve discovered that I can go out there and have a good time and play any kind of music that I want.

AP: Can you give me an example?

DALTREY: I was doing some solo shows on a cruise, and I got this terrible allergy just before the first show. I ended up in hospital and didn’t know whether I’d make the cruise. But I did make the cruise. Anyway, I ended up having to do three shows back-to-back, and I’m thinking I was not able to have a sound check. I’m not going to get a rehearsal. But at least these three shows I can do.

Soundchecks are very important when you’re on the road. And I thought, “I know what I’ll do, I’ll show the audience a rehearsal.” And that’s what I did. I did the show as a rehearsal and talked about what’s going on the stage, what the roadies were doing, and what everyone was doing. And they really enjoyed it. If you can get away with that, you get away with anything.

AP: With a career that began in the mid-1960s, what has been the biggest change you’ve seen over the years?

DALTREY: Age. (Laughs.) I mean, see the elders growing up with us out in the audience, but equally, we have got an enormous number of young fans, which I’m astounded by. So, it changes all the time. But obviously our audience, they’ve grown up with us, so age is the thing you notice most.

AP: Mick Jagger is on the road with the Rolling Stones at 80 years old. Will The Who ever tour again?

DALTREY: I don’t see it. I don’t, I don’t know whether The Who will ever go out again. I don’t know. I don’t think like that. If we’ve got something to do, something which was progressive and interesting and there was a reason to do it, then we would go out. But at the moment I can’t see it.



Red Sea Film Foundation Launches 'Voices of Tomorrow' Program in Saudi Arabia

Red Sea Film Foundation Launches 'Voices of Tomorrow' Program in Saudi Arabia
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Red Sea Film Foundation Launches 'Voices of Tomorrow' Program in Saudi Arabia

Red Sea Film Foundation Launches 'Voices of Tomorrow' Program in Saudi Arabia

The Red Sea Film Foundation has launched the Voices of Tomorrow program to empower Saudi youth aged 10 to 16 to tell their stories through short films.

These films will be screened during the Red Sea International Film Festival in Historic Jeddah (Al-Balad) from December 4 to 13, 2025.

Selected films will be showcased on December 9, 2025, in the presence of the young filmmakers and their families. The program will conclude on December 10 with an awards ceremony honoring the two best films, as chosen by a jury of young film professionals, according to SPA.

Participants will explore four key topics: homeland, school, family, and friendship, allowing them to express their experiences in a cinematic language while benefiting from a professional environment.

The Voices of Tomorrow program underscores the Red Sea International Film Festival's commitment to nurturing new generations and fostering contributors to the local and global cinematic landscape.


Park Chan-wook's Murder Comedy to Open Asia's Biggest Film Festival 

(L-R) South Korean director Park Chan-wook, actors Lee Byung-hun, Son Ye-jin, Park Hee-soon, Lee Sung-min and Yeom Hye-ran pose for a photo after a press conference for the opening film "No Other Choice" of the 30th Busan International Film Festival (BIFF) at the Busan Cinema Center in Busan on September 17, 2025. (AFP)
(L-R) South Korean director Park Chan-wook, actors Lee Byung-hun, Son Ye-jin, Park Hee-soon, Lee Sung-min and Yeom Hye-ran pose for a photo after a press conference for the opening film "No Other Choice" of the 30th Busan International Film Festival (BIFF) at the Busan Cinema Center in Busan on September 17, 2025. (AFP)
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Park Chan-wook's Murder Comedy to Open Asia's Biggest Film Festival 

(L-R) South Korean director Park Chan-wook, actors Lee Byung-hun, Son Ye-jin, Park Hee-soon, Lee Sung-min and Yeom Hye-ran pose for a photo after a press conference for the opening film "No Other Choice" of the 30th Busan International Film Festival (BIFF) at the Busan Cinema Center in Busan on September 17, 2025. (AFP)
(L-R) South Korean director Park Chan-wook, actors Lee Byung-hun, Son Ye-jin, Park Hee-soon, Lee Sung-min and Yeom Hye-ran pose for a photo after a press conference for the opening film "No Other Choice" of the 30th Busan International Film Festival (BIFF) at the Busan Cinema Center in Busan on September 17, 2025. (AFP)

Celebrated director Park Chan-wook's star-studded murder comedy will open Asia's biggest film festival Wednesday, which launches its first fully fledged competition lineup as South Korea projects its soft power worldwide.

The 30th edition of Busan International Film Festival (BIFF) arrives after the global success of critical works exploring Korean culture and experiences, such as "Squid Game", "Parasite" and this year's megahit "KPop Demon Hunters".

The festival, which has long focused on emerging talents in the region, is undergoing a revamp this year, launching its first major competition section featuring 14 titles, including four South Korean pictures.

The section includes seasoned Chinese director Zhang Lu's "Gloaming In Luomu" and Taiwan's megastar Shu Qi's directorial debut "Girl", and will be judged by juries headed by South Korean filmmaker Na Hong-jin.

The latest edition "sought not only to further expand its long-standing role as a platform for discovering emerging Asian talent, but also to effectively showcase the works of acclaimed Asian masters", festival director Jung Han-seok told AFP.

Karen Park, the festival's program director, said the lineup was designed to honor Asian cinema in the way it wishes to be understood.

"I believe it is meaningful that an Asian film festival, which understands Asian culture and its linguistic and historical contexts, evaluates Asian films and offers its own perspectives on them," she said.

Auteur Park Chan-wook -- best known for "Old Boy" -- which thrust him into the international spotlight in 2004 -- returns to Busan with his latest feature, "No Other Choice", after it featured at the Venice Film Festival which ended earlier this month.

Based on American writer Donald E. Westlake's 1997 novel "The Ax", the film, this year's BIFF opener, follows a desperate laid-off worker who decides to kill off potential competitors for a new job.

It stars South Korea's top actors -- "Squid Game" star Lee Byung-hun and "Crash Landing on You" actress Son Ye-jin -- in the lead.

The film was warmly received at Venice in August, with specialist outlet Variety calling it a "dazzling murder comedy" and a "masterclass in controlled chaos".

The opening film marks a shift from last year's choice of Netflix's period war drama "Uprising", which drew criticism in South Korea's cinema community given BIFF's tradition of championing theatrical films.

This year's edition features 241 official entries from 64 countries, including 90 world premieres.

Among them is "Hana Korea", a North Korean refugee drama with "Pachinko" star Kim Min-ha, and "The People Upstairs", from South Korean actor-director Ha Jung-woo, which centers on the issue of inter-floor noise.

BIFF will also host a singalong screening of Netflix's K-pop fantasy hit "KPop Demon Hunters".

As for emerging talents, there has been a "wave of exciting new voices emerging" in Asia, "especially in short films where sensitive themes are tackled with remarkable freedom", said Park Sung-ho, one of BIFF's programmers.

"In much of Asia, freedom of expression is still not widely guaranteed, yet within shorts young directors have revealed their individuality in striking ways, offering reasons to feel optimistic about the future of Asian cinema," he told AFP.

Among the star-studded guests are Asia's celebrated auteurs Bong Joon-ho and Jia Zhangke, French actress Juliette Binoche, American star Milla Jovovich, "KPop Demon Hunters" director Maggie Kang, and Hollywood auteur Michael Mann.


11 of Robert Redford’s Most Memorable Performances 

This photo taken on April 14, 2008 shows actors Robert Redford and Meryl Streep attending the Film Society of Lincoln Center 35th Gala Tribute to Meryl Streep in New York City. (Getty Images/AFP)
This photo taken on April 14, 2008 shows actors Robert Redford and Meryl Streep attending the Film Society of Lincoln Center 35th Gala Tribute to Meryl Streep in New York City. (Getty Images/AFP)
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11 of Robert Redford’s Most Memorable Performances 

This photo taken on April 14, 2008 shows actors Robert Redford and Meryl Streep attending the Film Society of Lincoln Center 35th Gala Tribute to Meryl Streep in New York City. (Getty Images/AFP)
This photo taken on April 14, 2008 shows actors Robert Redford and Meryl Streep attending the Film Society of Lincoln Center 35th Gala Tribute to Meryl Streep in New York City. (Getty Images/AFP)

When you’re a larger-than-life, generation-spanning star like Robert Redford, the hard truth is that every movie is notable in some way. He was iconic in his own time, whether in front of the camera, or behind it. And in his lifetime, so many of his films transcended their original reviews to find passionate fanbases: Just ask older millennials about the 1992 hacker movie “Sneakers” or the younger generation about “The Way We Were.”

Redford died Tuesday at 89, leaving behind an arsenal of great roles that he owned, whether he was playing a quiet CIA agent, a con man, a baseball player, a grizzled mariner, an ambitious journalist, or a charming WASP in love. You could make a feast out of his Sydney Pollack collaborations alone, staring with “Jeremiah Johnson” (streaming on Tubi), a classic that also took on a surprising afterlife as a meme that became so popular, younger generations didn’t even realize it was Redford behind that beard. His very last role came this year, a cameo in “Dark Winds,” the AMC show about Navajo police officers he produced.

This is a list of some of Redford's most memorable performances, but don’t forget about the films he directed, too: among them are the all-timers “Ordinary People” (streaming on MGM+), which won him the best director Oscar, and “Quiz Show” (rent on Apple TV+), which got him another nod.

“Barefoot in the Park” (1967) Redford and Jane Fonda play a passionate but mismatched newlywed couple whose relationship is tested by their walk-up New York apartment in this Neil Simon comedy. Reprising the role he'd played on Broadway, Redford is the uptight, conservative foil to her more free-spirited character and they’re both stunningly beautiful and fun to watch. Fonda told The Guardian in 2015 that she was “always in love with Robert Redford.” He later responded that he wasn’t aware. The two also appeared together in “The Chase” (1966), “The Electric Horseman” (1979) and “Our Souls at Night” (2017).

“Butch Cassidy and the Sundance Kid” (1969) Redford met Paul Newman on “Butch Cassidy,” George Roy Hill and William Goldman’s Western buddy film about outlaws on the run. It was the start of a lifelong friendship, but it almost didn’t happen, since the studio wanted a star like Steve McQueen or Marlon Brando instead of Redford.

“I was not a name equal to Paul’s. I was just sort of moving up at that time,” he told the AP in 2015. “There was a big argument that went on for months and months. They said it had to be a star. (Newman) said, ‘Well, I want to work with an actor,’ because Paul respected acting. Had it not been for Paul, I would not have gotten that break.”

“Downhill Racer” (1969) A film that’s as stylish as it is compelling, Redford plays an ambitious and smug downhill skier out for Olympic gold in this Michael Ritchie film. Roger Ebert, in his review, wrote that it is “a portrait of a man that is so complete, and so tragic, that ‘Downhill Racer’ becomes the best movie ever made about sports — without really being about sports at all.”

This was one of Redford’s passion projects, his first independent feature that taught him some hard lessons about Hollywood. “That was when I learned about how the film industry really works,” Redford told the Harvard Business Review in 2002. “The studio simply tossed ‘Downhill Racer’ away without a second thought. I broke my heart trying to get that film promoted and distributed.”

“The Sting” (1973) After the success of “Butch Cassidy,” “The Sting,” another Hill film, fell into place more easily. Redford and Newman play grifters in 1936 Chicago who fleece Robert Shaw’s rich mobster in this memorable caper that went on to win best picture.

“What was interesting was the switcheroo,” Redford told the AP. “Paul had played these iconic, quiet, still characters in the past, and that’s not what Paul is. He was a chatty, nervous guy who was always biting his fingernails. ... He loved to have fun and play games.”

“The Way We Were” (1973) Ah Hubbell, that beautiful, carefree WASP who falls in love with Barbra Streisand’s fiercely opinionated Katie. The making of the Pollack film, from a script standpoint, was fraught and the original writer Arthur Laurents was never quite happy with how it turned out. But this romantic drama with that memorable song has endured over the generations.

“Three Days of the Condor” (1975) Redford teamed with Pollack again for this paranoid thriller about a quiet CIA codebreaker, who returns from lunch only to discover his co-workers have all been murdered. The film sends him on the run from the bosses involved in this vast conspiracy, and a hit man played by Max von Sydow.

“All the President’s Men” (1976) To Redford, the history of this film was more interesting than the project itself. He started obsessing over the Watergate saga during a whistle-stop tour for “The Candidate,” also a great and prophetic Redford film, when he overheard some journalists gossiping about the break-in at the Democratic National Committee headquarters and became fascinated by the journalists covering the story, Bob Woodward and Carl Bernstein.

“I wanted to know who these guys were, who created all this disturbance,” Redford told the AP. “I thought, ‘Wow, one guy was a Jew, one guy was a WASP. One guy was a Republican, the other guy was a liberal. One guy was a good writer, the other wasn’t very good. They didn’t like each other, but they had to work together. Now that’s an interesting dynamic I’d love to know about.’”

“The Natural” (1984) This is one of those films that might not be many critics' favorite, but its cultural impact almost negates that. Redford played baseball player Roy Hobbs in Barry Levinson’s adaptation of Bernard Malamud’s novel about an up-and-coming talent whose career is derailed after getting shot, but who gets another chance at greatness 16 years later.

“Out of Africa” (1985) This breathtakingly beautiful historical romance (also directed by Pollack) finds Meryl Streep, as the Danish expat Karen Blixen, unable to resist the charms of Redford’s big game hunter Denys Finch Hatton, an English man with no accent (Pollack thought it would be distracting for audiences). The film didn’t get the best reviews, but it did go on to win the best picture Oscar.

“All Is Lost” (2013) J.C. Chandor directed Redford in this harrowing survival story, in which a veteran sailor on a solo voyage in the Indian Ocean tries to survive after his yacht is stuck by a floating cargo container. Made for only $9 million, it’s stripped-down and thrilling.

“It’s a pure cinematic experience,” Redford told The Hollywood Reporter. “And that was very appealing to me at this point in my life — to be able to go back to my roots as an actor, to be interesting enough to have the audience ride along with you and almost be a part of what you are feeling and thinking.” It’s likely a quirk of modern film review aggregation, but it is also his highest Rotten Tomatoes score.

“The Old Man & The Gun” (2018) This indie gem from filmmaker David Lowery, about a 70-year-old San Quentin escapee who embarks on a series of bank heists, was a bit of a swan song for Redford, who was 82 when it was released. His character, Forrest Tucker, is the kind of thief who left his victims disarmed, with one bank teller explaining to the police, “He was a gentleman.” It’s one of those films that’s almost comforting to watch, a reassuring testament to his enduring appeal. Charisma doesn’t need to dwindle with age, and Redford was proof.