DepressedBergman
@DannyDrinksWine • 238,240 subscribers
Fan of Chelsea, Blackcaps & a Movie aficionado. Alt: @danydrinkswine
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British Motor Corp, owners of the Mini, refused to donate any cars for "The Italian Job" (1969). The chief of Fiat Motors offered to donate all of the cars needed, including Fiat 500s in place of the Minis. Peter Collinson, the director of the movie decided that, as it was a very British movie, the cars should be British Minis. Fiat still donated scores of cars for filming, as well as the factory grounds. The authorities refused to close the roads, but the Italian Mafia stepped in and shut whole sections of Turin down for filming. The traffic jams in this movie are real, as are people's actions during them. (Source: IMDb) P.S: On this day, 56 years ago, "The Italian Job" (1969) premiered in London, UK.
DepressedBergman269,855 görüntüleme • 9 saat önce
Mel Brooks on the only condition George Lucas imposed on Brooks before allowing him to make the satire on "Star Wars" (1977): "Spaceballs" (1987): "The same way I called Alfred Hitchcock to get his blessings on 'High Anxiety' (1977), I sent the 'Spaceballs' script to 'Star Wars' (1977) creator George Lucas. If not to get his blessing, then certainly to give him a heads-up on what I was doing vis-à-vis Star Wars. He was kind enough to read it and respond. He said he had seen 'Blazing Saddles' (1974) and 'Young Frankenstein' (1974) and was a big fan. He enjoyed the script, and only had one real caveat for me: no action figures. He explained that if I made toys of my Spaceballs characters they would look a lot like Star Wars action figures. And that would be a no-no for his lawyers and his studio’s business affairs department. So he gave his blessing to make my funny satiric takeoff of Star Wars as long as I promised that we would not sell any action figures. I said, “You’re absolutely right.” And that was one of the rules we didn’t break. So even though in the movie itself we have Dark Helmet playing with action figures… we never sold any. The exchange with George Lucas also triggered a beloved comedy scene in which a character that I played, Yogurt, a takeoff on Yoda, responds to Lone Starr’s question of “What is this place? What is it that you do here?” with a whole exposé of the movie business. So even though we didn’t actually do any commercial merchandising, we still had a lot of fun with the scene. And over the years Spaceballs movie fans have sent me more than one mockup of “Spaceballs: The Breakfast Cereal.”" ("Mel Brooks on the Making of Spaceballs", Mel Brooks, Literary Hub, 2021)
DepressedBergman1,757,109 görüntüleme • 6 gün önce
Brian De Palma initially sent Bob Hoskins the script of "The Untouchables" (1987) with the intention to cast him for the part of Al Capone. When Hoskins met De Palma at an Hotel, De Palma said, "really I want Robert De Niro to play him". Hoskins thought, "well great what am I doing here?". De Palma then said "but if he don’t do it, would you sort of step in?" and Hoskins said "yeah of course I will." Months went by with no communication between the two. Hoskins used to check the papers to see what project De Niro was signing up for. Over time, he forgot everything about it. One day, he received a cheque for £20,000 in the mail with a note saying, "Thanks for you time Bob, love Brian." Immediately Hoskins phoned De Palma and said, "Brian, if you’ve ever got any films you don’t want me in son, you just give me a call!” ("Bob Hoskins paid not to play Capone", Metro UK, 2009) P.S: On this day, 39 years ago, "The Untouchables" (1987) premiered in New York City, USA.
DepressedBergman615,254 görüntüleme • 3 gün önce
Faye Dunaway cared much about the role of Wanda in Barbet Schroeder's "Barfly" (1987). it is the only character she felt as much passion for after her role in "Network" (1976). According to Dunaway, the project began to fall apart before filming began as Menahem Golan and Yoram Globas of Cannon Pictures, who were Executive-producers of the movie ran into financial difficulties. They were fighting to keep the company afloat. Their usual sources of money dried up. Faye Dunaway spent a weekend talking to various producers, head of the French bank Crédit Lyonnais and many others to finance the movie. She insisted that the movie would make money. But by the end of the weekend, Golan and Globas had decided they weren’t going to make the movie. Barbet Schroeder informed her that they had set an onerous turnaround figure—the amount that would have to be paid to them by another person who would come in wanting to make the movie. They wanted to be reimbursed for the money they had spent on the project. It was an impossibly high amount that she thought was inflated. They agreed to give the rights for the movie back, but only if the price was met. Barbet Schroeder, who was also very passionate about the project and Charles Bukowski, wasn't ready to give up. One day, Barbet Schroeder went to the office of one of the producers carrying a tiny Black & Decker chainsaw, small but real. “See this finger?” he said, holding up his pinky finger. “I don’t need it, really.” Then he held up the saw, and flipped it on and off. “Every day I’m going to come here and cut off a piece of this finger,” he said. “I will come day after day, until nothing is left or until you give me my deal. I will be here tomorrow.” Finally, Dunaway made them an offer they couldn't refuse. She agreed to work for no money up front, to forgo her salary in exchange for a deferment or a percentage of the profits. With that offer, Cannon found the money somewhere and gave Schroeder his deal. ("Looking for Gatsby: My Life", Faye Dunaway with Betsy Sharkey, 1995)
DepressedBergman658,655 görüntüleme • 5 gün önce
![Roger Ebert & Gene Siskel hated Jim Carrey's performance in "Ace Ventura: Pet Detective" (1994). Ebert even predicted that Carrey won't have much of a career. After watching "The Truman Show" (1998), Ebert not only gave a thumbs up, but admitted that he didn't get much of what Carrey was doing at the beginning of his career, but over the course of 4 years he understood and started to appreciate his performances. Ebert & Siskel aired an entire episode for him. Ebert interviewed Jim Carrey before the said episode. During that interview, Carrey brought up the thumbs down review and said, "I really like to look at life as the negatives are things to learn from, or things to to tell you it's not all gonna be roses. That's how I looked at it [thumbs down]. I thought, 'I hope the movie does good but a lot of people aren't gonna like it.'" P.S: On this day, 28 years ago, Petere Wier's "The Truman Show" (1998) premiered in Westwood, California.](https://image.24vids.com/tw-2061200911327010878/amplify_video_thumb/2061200480840413184/img/CA-QhQyV9TiKVyal.jpg)
Roger Ebert & Gene Siskel hated Jim Carrey's performance in "Ace Ventura: Pet Detective" (1994). Ebert even predicted that Carrey won't have much of a career. After watching "The Truman Show" (1998), Ebert not only gave a thumbs up, but admitted that he didn't get much of what Carrey was doing at the beginning of his career, but over the course of 4 years he understood and started to appreciate his performances. Ebert & Siskel aired an entire episode for him. Ebert interviewed Jim Carrey before the said episode. During that interview, Carrey brought up the thumbs down review and said, "I really like to look at life as the negatives are things to learn from, or things to to tell you it's not all gonna be roses. That's how I looked at it [thumbs down]. I thought, 'I hope the movie does good but a lot of people aren't gonna like it.'" P.S: On this day, 28 years ago, Petere Wier's "The Truman Show" (1998) premiered in Westwood, California.
DepressedBergman478,964 görüntüleme • 4 gün önce
1:14
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Pam Grier on why she appeared n*de in her films: "Interviewer: Given your personal history*, was it hard to act in movies that often featured the threat of s€xual v!olence? Grier: It’s in a lot of the blaxploitation films. Sure, but by being n*de in those movies I was trying to help men understand. Society created this mystery about the v@g!na, the breasts. When you create a mystery, people want to see it and attack it if they can’t have it. So I was like, here’s the mystery. I hope I bore you and you’ll never get a hard-on again." *Pam Grier was s€xually assaulted at the ages of 6, 18 and 21. ("Pam Grier on maintaining her independence and identity in showbiz", David Marchese, NY Times, 2019) P.S: On this day, 53 years ago, "Coffy" (1973) was released in the USA.
DepressedBergman3,663,401 görüntüleme • 25 gün önce
According to Mexican actress Norma Lazareno, the director of "Even the Wind is Afraid" (1968), Carlos Enrique Taboada, conspired with the technicians to play tricks on the actresses to make them unnerved during the filming. She credits such tricks for enhancing the tension and fear factor in the movie. She considers the movie was ahead of its time. ("Hasta el Viento tiene Miedo y los 'extraños sucesos' durante la filmación", MARCA Claro México, 2018) P.S: On this day, 58 years ago, "Even the Wind is Afraid" (1968) was released in Mexico.
DepressedBergman542,342 görüntüleme • 5 gün önce
A test audience, who saw "Top Gun" (1986) before it was released were annoyed that there was no love scene in the movie. Five months after the production had wrapped, the producers summoned Tom Cruise and Kelly McGillis to Chicago to film the infamous elevator scene and the s€x scene. During their time away from the set, McGillis had lost approximately sixteen pounds, and Cruise was filming "The Color of Money" (1986), so his hair was much longer in those two scenes. McGillis' hair was also much darker. That's why she hid it underneath a cap in the elevator scene & in the lovemaking scene, it was all silhouette because of the colour of her hair.
DepressedBergman3,118,961 görüntüleme • 29 gün önce
George Lucas initially wanted to start the "Indiana Jones and the Last Crusade" (1989) with a sequence showing Indy as a boy, but Spielberg initially disagreed with the idea. According to Lucas, Spielberg rejected the idea as he had really been trashed by the critics for "Empire of the Sun" (1987) & he had said. "I just don't want to do any more films with kids in them." Lucas also suggested making Indy III “a haunted-house movie.” He had such a script written by screenwriter Diane Thomas before her death in a 1985 car accident, but, Lucas said, “Steven had done 'Poltergeist' (1982), and he didn’t want to do another movie like that.” Menno Meyjes’s draft was about Indy’s quest for the Holy Grail, a plot device suggested by Lucas, left Spielberg dubious. However Spielberg agreed to do the movie about The Holy Grail on one condition. Spielberg said, "I will make the movie about the Holy grail but I want it to be about a father and son. I want to get Indy’s father involved in the thing. I want a quest for the father." "I wanted to do Indy in pursuit of his father, sharing his father’s dream, and in the course of searching for their dreams, they rediscover each other." However, according to screenwriter, Jeffrey Boam the Father-Son story was the idea of George Lucas. ("Steven Spielberg A Biography", Joseph McBride, 2010) P.S: On this day, 37 years ago, "Indiana Jones and the Last Crusade" (1989) was released in the USA & Canada.
DepressedBergman878,085 görüntüleme • 11 gün önce
Steven Spielberg on how he felt being involved in making both "E.T." (1982) & "Poltergeist" (1982) at the same time: "Both movies were very good for me to make so in such close proximity to each other, because both being rooted in Suburbia in a kind of middle class Suburbia; both essentially employing similar kinds of tract housing and yet one movie being about a scream, and the other movie being about a kind of soft whisper. It was very good for me because I was able to trade off objectivity which I think is very important for a movie director or a writer or anybody who has to stand away from his work and look back and say I know how to make that better. It's good to have diversions and I was very lucky because I was able to have a hostile diversion with 'Poltergeist', with spiritual warmth in places and I was able to have a very warm tender diversion with 'E.T' and I kept putting one into the other, not meaning I didn't share a tea with Poltergeist but It cleared my mind. When you eat sushi, the Japanese say You must take the ginger and eat a little bit of the ginger between Sushi courses because it clears the palate and it makes you more receptive to the taste of the food. It was the same way with these two movies. So, in that sense I think both films so close helped each movie individually, but it didn't help me. I'm ready for like a year off now." (Steven Spielberg's interview with Brian Linehan, 1982)
DepressedBergman10,249,239 görüntüleme • 2 ay önce
When "One Deadly Summer" (1983) premiered at the Cannes Film Festival, Isabelle Adjani was part of a controversy. She was unhappy with how the paparazzi had been hounding her; she refused to do a general photo shoot with them and instead granted an exclusive to the few reporters she trusted. In protest, when it came time for the montée des marches — the climb up the steps of the festival palace for the screening — the photographers refused to take pictures and put their cameras on the ground as Adjani walked by. ("‘We all went crazy for her’: ‘One Deadly Summer,’ the tragic movie that made Isabelle Adjani a legend", Ianko López, El Pais, 2023) P.S: On this day, 43 years ago, Jean Becker's "One Deadly Summer" (1983) premiered at the Cannes Film Festival, France.
DepressedBergman2,114,238 görüntüleme • 25 gün önce
Madonna explains why she got mad & cried because of Al Pacino's method acting in "Dick Tracy" (1990): "Interviewer: Describe the relationship between the two characters, Breathless and Big Boy. Madonna: I had nothing but contempt for Big Boy. And he would treat me like a bad little girl. He was always slapping me and spanking me. And in terms of being on the set, whenever Al Pacino put his prosthetics on, his suit, he was a gross pig. And he’s not that way in real life—he’s very gracious, and well-mannered, and gentlemanly, and sweet... . As Big Boy, he would tell me the dirtiest jokes and suck on his cigar like it was some sort of weird phallic symbol, and just be a pig. He was always smacking my butt and my face. I hated him, I loathed him, I was disgusted with him. And so what happened off-camera was that I’d always try to be moving away from him, and he’d always grab me and go “Get over here!” which is exactly what happened in the movie. Every time I expressed my distaste for him, he would smack me, which is also what happened in the movie. I got mad. He made me cry sometimes. There was a scene where he kept smacking me in the stomach, and it would sting, and what made me cry was not so much the hit, but the fact that Warren Beatty wouldn't stop. He would just keep going, and I was humiliated. So it worked, because that’s what’s happening to Breathless—she’s totally humiliated by Big Boy. Interviewer: Did you always stay in character off-camera? Madonna: Yes. I always do, in all my movies." ("Dick Tracy: The Making of the Movie", Mike Bonifer, 1990)
DepressedBergman141,652 görüntüleme • 2 gün önce
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Like all the women doing an audition for Tinto Brass, Claudia Koll underwent the infamous "coin test" to be cast in "All Ladies do it" (1992). Tinto Brass explaining his audition process: "I have them presented in their skirts and without panties, then I drop a coin on the floor. Depending on what they let me see in the bow, I sense their cinematic potential. Believe me... it's an infallible method." (Source: IMDb)
DepressedBergman150,922 görüntüleme • 2 gün önce
1:38
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Jamie Lee Curtis explains why she refused to do a scene in Kathryn Bigelow's "Blue Steel" (1990) n*de even though it was in the script: "I don’t have a beautiful body — I have a beautiful figure. There’s a difference. There’s a line to a woman that’s beautiful, the line of the shoulder, the shape between the breast and the waist. I’ve had a nice figure since I was 18. But I don’t have the sort of body you’d want to strip in the midday sun and ask to play volleyball. I turn down half the scripts I get because of demands for n*d!ty. And I’ve talked my way out of another large percent. There was a gun fight in 'Blue Steel' (1990) — it was written as a n*de scene, but I said no way was I going to run around with a gun in my hand in the n*de. Everybody would be watching my breasts flopping around instead of watching the scene. Ultimately, there’s very little n*d!ty in my work. It just so happens that I have a very nice figure, so any tiny glimpse gets blown way out of proportion.” ("Jamie Lee Curtis: The scream queen returns", Benjamin Svetkey, EW, 1994) P.S: I am not posting that particular climax scene because it involves a lot of blood.
DepressedBergman1,538,962 görüntüleme • 21 gün önce
US President Ronald Reagan was shown "WarGames" (1983) at Camp David the weekend it was released. He loved the movie but it also freaked him out. A few days later, at a White House meeting that included the chairman of the Joint Chiefs of Staff, Reagan asked, “Could something like this really happen? Could someone break into our most sensitive computers?” The answer came back a week later: “Mr. President, the problem is much worse than you think.” That led not only to a significant revamp of how computer security was handled at the Defense Department, but also passage of an anti-hacking law that would eventually evolve into US Computer Fraud and Abuse Act, 1986. Clips of "WarGames" (1983) were shown during the congressional hearings where lawmakers debated the need for hacking legislation. ("How Sci-Fi Like ‘WarGames’ Led to Real Policy During the Reagan Administration", Kevin Bankston, New America, 2018) P.S: On this day, 43 years ago, John Badham's "WarGames" (1983) premiered at the Cannes Film Festival, France.
DepressedBergman1,093,141 görüntüleme • 16 gün önce
![Gaspar Noé explains the reason he used Cocaine while filming "Irreversible" (2002): "Most of the movie, I was doing the camera, it was a handheld camera. And I’m not proud of this but — I’m not a cokehead, I get allergic — but there were some members of the crew that were doing coke and when the camera has to go up the stairs, down the stairs and turn around, at a point, my arms were hurting and my friends on the set were giving me coke. And you feel strong and you feel like a superhero, you run up the stairs and turn the camera. I was really happy that helped me achieve the scene. But after two days of shooting up the stairs and down the stairs and turning the camera, I’m not a strong man at all but the camera was very heavy. I had done such a muscular effort that the moment this spell of cocaine was over, the pain started and I could not even raise a glass of vodka.[laughs]" ("Why Gaspar Noé Directed on Cocaine, Masturbated in His Own Film and Shot a Live Birth", Tarek Shoukri, Indiewire, 2015) P.S: On this day, 24 years ago, "Irreversible" (2002) was released in France & India.](https://image.24vids.com/tw-2057915400277668273/amplify_video_thumb/2057906963833663488/img/eBwFk81Mpdv7YJVC.jpg)
Gaspar Noé explains the reason he used Cocaine while filming "Irreversible" (2002): "Most of the movie, I was doing the camera, it was a handheld camera. And I’m not proud of this but — I’m not a cokehead, I get allergic — but there were some members of the crew that were doing coke and when the camera has to go up the stairs, down the stairs and turn around, at a point, my arms were hurting and my friends on the set were giving me coke. And you feel strong and you feel like a superhero, you run up the stairs and turn the camera. I was really happy that helped me achieve the scene. But after two days of shooting up the stairs and down the stairs and turning the camera, I’m not a strong man at all but the camera was very heavy. I had done such a muscular effort that the moment this spell of cocaine was over, the pain started and I could not even raise a glass of vodka.[laughs]" ("Why Gaspar Noé Directed on Cocaine, Masturbated in His Own Film and Shot a Live Birth", Tarek Shoukri, Indiewire, 2015) P.S: On this day, 24 years ago, "Irreversible" (2002) was released in France & India.
DepressedBergman836,140 görüntüleme • 13 gün önce
Quentin Tarantino on why he loves "Psycho II' (1983): "I’ve always been a big fan of 'Psycho II' (1983) and a huge fan of the director, Richard Franklin, who did 'Road Games' (1981) and 'Patrick' (1978) before this. He was my favorite of all the Australian directors; He was the Australian Hitchcock. Those films are why Universal brought him over to do 'Psycho II', which was a very big deal. Also, I feel that 'Psycho II' has the very best performance by Anthony Perkins of all time. I think it's one of the great lead performances in any horror film ever made. I completely care about Norman Bates in this thing, and that’s f**ked up. I remember at the time with friends saying if they’d just f**king left him alone, he’d been ok, alright? If that f**king Vera Miles bitch had just left him alone, he’d have been fine! He was really trying to be good, and they all got what they f**king deserved!" ("The horror sequel Quentin Tarantino surprisingly prefers to the original", Jordan Potter, Farout Magazine, 2023) P.S: On this day, 43 years ago, "Psycho II' (1983) was released in the USA and Canada.
DepressedBergman124,969 görüntüleme • 2 gün önce
![According to Dan Aykroyd, the budget for "The Blues Brothers" (1980) included "Cocaine" for night shoots. He said, "Everyone did it, including me. Never to excess, and not ever to where I wanted to buy it or have it. [But] John [Belushi], he just loved what it did. It sort of brought him alive at night—that superpower feeling where you start to talk and converse and figure you can solve all the world’s problems." John Belushi put off rehab for his worsening condition in order to complete the movie. He told his wife, “I’m fine, I can’t stop now until I finish the movie. It’ll be fine when it’s over.” For all the efforts of his friends and colleagues, Belushi was surrounded by enablers, according to Ned Zeman, though Landis did his best to convert them: “For God’s sake,” he told Carrie Fisher when she arrived on set, “if you see John doing drugs, stop him.” John Belushi's addiction was so bad that he disappeared while filming one of the night scenes. Dan Aykroyd looked around and saw a single house with its lights on. He went to the house and was prepared to identify himself, the movie, and that they were looking for Belushi. Before he could, the homeowner looked at him, smiled and said, "You're here for John Belushi, aren't you?" The homeowner told them Belushi had entered their house, asked if he could have a glass of milk and a sandwich, and then crashed on their couch. Situations like that prompted Aykroyd to affectionately dub Belushi "America's Guest." The two of them walked back to the set like nothing happened. ("Drugs, John Belushi, and the Making of The Blues Brothers", Ned Zeman, Vanity Fair, 2012)](https://image.24vids.com/tw-2053205113020326007/amplify_video_thumb/2053194256261758976/img/verQiq271vfFXkP8.jpg)
According to Dan Aykroyd, the budget for "The Blues Brothers" (1980) included "Cocaine" for night shoots. He said, "Everyone did it, including me. Never to excess, and not ever to where I wanted to buy it or have it. [But] John [Belushi], he just loved what it did. It sort of brought him alive at night—that superpower feeling where you start to talk and converse and figure you can solve all the world’s problems." John Belushi put off rehab for his worsening condition in order to complete the movie. He told his wife, “I’m fine, I can’t stop now until I finish the movie. It’ll be fine when it’s over.” For all the efforts of his friends and colleagues, Belushi was surrounded by enablers, according to Ned Zeman, though Landis did his best to convert them: “For God’s sake,” he told Carrie Fisher when she arrived on set, “if you see John doing drugs, stop him.” John Belushi's addiction was so bad that he disappeared while filming one of the night scenes. Dan Aykroyd looked around and saw a single house with its lights on. He went to the house and was prepared to identify himself, the movie, and that they were looking for Belushi. Before he could, the homeowner looked at him, smiled and said, "You're here for John Belushi, aren't you?" The homeowner told them Belushi had entered their house, asked if he could have a glass of milk and a sandwich, and then crashed on their couch. Situations like that prompted Aykroyd to affectionately dub Belushi "America's Guest." The two of them walked back to the set like nothing happened. ("Drugs, John Belushi, and the Making of The Blues Brothers", Ned Zeman, Vanity Fair, 2012)
DepressedBergman1,790,037 görüntüleme • 26 gün önce
After reading the script of "Robocop 2" (1990), Peter Weller didn't like it and he criticised it. He told the producers, Irvin Kirshner and Frank Miller up front that the movie needed a better third act. The producers felt that "the monster is going to be enough.” Weller felt it needed a moral angle. Weller thought the script of "Robocop 2" did not have the code, the spine, or the soul of 'Robocop" (1987). Here is what Peter Weller said: "Interviewer: Does 'RoboCop 2' have anything to do with your general feelings on sequels being inferior? Weller: Yeah. 'RoboCop 2' didn’t have a third act. I told the producers and Irv Kirshner up front, and Frank Miller. I told them all. I said, “Where’s the third act here, man? So I beat up a big monster. In the third act, you have to have your Dan O’Herlihy. Somebody’s got to be the third act.” “No, no, the monster’s going to be enough.” “Look, it’s not enough!” When you have a movie like the first 'RoboCop', where the bad guys are never the bad guys and it’s always the morality of the thing. You know, like the idea that progress in the name of progress can steal a man’s identity. Look, the first RoboCop’s got deregulated trickle-down social economic politics in it, way before Bush and Romney and the debates with Obama and Senator Clinton. It’s got a morality to it. If you don’t have that, man, you’ve got no flick, and I said that so much. But, look, I don’t need to be right about 'RoboCop 2'. I had a good time making 'Robocop 2'. I was breaking up with a girlfriend at the time, so I can’t say I really had a great time, but I had a good time with Irv Kirshner, God bless him, and being in Houston, running around with Billy Gibbons of ZZ Top, who’s an old friend. But the script did not have the code, the spine, or the soul of the first one." ("Peter Weller on feminism, sequels, and more", Will Harris, The AV Club, 2013)
DepressedBergman218,068 görüntüleme • 4 gün önce
Priscilla Presley on working with Leslie Nielsen in "Naked Gun" movies: "It was difficult to get through a scene with Leslie Nielsen. He was great, and I miss him very much, but he passed. It was hard to get through these things, laughing at each other. He would start laughing, crying with laughing until the director would come and he would say 'Okay kids, we're going to take this seriously'. Now we're on our fourth take and as he's talking to me, you don't see me, I'm looking away, I'm cracking up. He was so good, so deadpan. Well, I was good too." ("Priscilla Presley Is Just As Excited To See Liam Neeson's 'Naked Gun' as You Are", Chris McPherson, Collider, 2024) P.S: Happy 81st birthday, Priscilla Presley!
DepressedBergman636,718 görüntüleme • 11 gün önce