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A Legend of Turmoil 修羅の伝説 [1992] Directed By: Seiji Izumi I remember when I first saw this amazing film with Akira Kobayashi and this scene came up on how much it reminded me of John Woo's, "A Better Tomorrow " When Mark is entering the venue. Even the the... show more

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22,652 次观看 • 9 个月前 •via X (Twitter)

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everything about the camera work in this scene was so spectacular. when a director knows how to properly work with lighting and angles, the outcome is always outstanding and ms. incognito is without doubts nailing this aspect. #msincognito #msincognitoep2

everything about the camera work in this scene was so spectacular. when a director knows how to properly work with lighting and angles, the outcome is always outstanding and ms. incognito is without doubts nailing this aspect. #msincognito #msincognitoep2

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31,486 次观看 • 11 个月前

Hard Boiled [1992] Directed By: John Woo. Like I mentioned earlier I'm very curious on what Shout is aiming for in the color grading front. So here is a look for reference on two different releases. Mei Ah and HKR. I just love that blue when the bikes come in and the overall vibe of the scene on the Mei Ah. Is subjective at the end of the day.

Hard Boiled [1992] Directed By: John Woo. Like I mentioned earlier I'm very curious on what Shout is aiming for in the color grading front. So here is a look for reference on two different releases. Mei Ah and HKR. I just love that blue when the bikes come in and the overall vibe of the scene on the Mei Ah. Is subjective at the end of the day.

ѕнσgυη ѕυρяємє

40,501 次观看 • 1 年前

When I say the story of Love and Deepspace is good, this is what I mean. This scene in the main story with Sylus is so good— the drama, pacing, build-up, music, acting, like holy shit??? Had me on the edge of my seat 😱 (slight spoilers in the video)

When I say the story of Love and Deepspace is good, this is what I mean. This scene in the main story with Sylus is so good— the drama, pacing, build-up, music, acting, like holy shit??? Had me on the edge of my seat 😱 (slight spoilers in the video)

☆オードリーAudrey☆

70,007 次观看 • 1 年前

In The Dark Knight, Heath Ledger was so intimidating that Maggie Gyllenhaal couldn’t believe what she saw “I remember coming into work and seeing him. That scene where The Joker throws me off the roof was the first time I really saw him, and I remember thinking, ‘Whoa. Oh, OK. You’re on a whole other level.’” “It is a very scary scene, and full of tension and anxiety. It also has – when I watch it anyway – this kind of thrilling feeling.” “We shot the scene all night long, and at four o’clock in the morning it was still fun to do. He inspired me.” “The camera shot us – it was just one camera going around us in a circle. So, often if you shoot a scene you have to shoot it in many angles.” “But, if you’re just shooting it over and over again moving around two people, you don’t really have to match anything. So, yeah, things were different in every take and it was really exciting working with him.”

In The Dark Knight, Heath Ledger was so intimidating that Maggie Gyllenhaal couldn’t believe what she saw “I remember coming into work and seeing him. That scene where The Joker throws me off the roof was the first time I really saw him, and I remember thinking, ‘Whoa. Oh, OK. You’re on a whole other level.’” “It is a very scary scene, and full of tension and anxiety. It also has – when I watch it anyway – this kind of thrilling feeling.” “We shot the scene all night long, and at four o’clock in the morning it was still fun to do. He inspired me.” “The camera shot us – it was just one camera going around us in a circle. So, often if you shoot a scene you have to shoot it in many angles.” “But, if you’re just shooting it over and over again moving around two people, you don’t really have to match anything. So, yeah, things were different in every take and it was really exciting working with him.”

Emir Han

30,928 次观看 • 22 天前

The final scene in The Godfather Part II, with the family gathered around the dinner table, was originally going to include Marlon Brando, but he pulled out at the very last minute. Coppola had to rewrite a whole new ending the night before the shoot. He explains: “It’s a very interesting story, because I had written this scene that we go back to, around the period just before the first Godfather, when they were all young… My idea was that they would come together, finally, at the end, as a family. And the end of the movie would be a big, beautiful scene with Marlon Brando and Al Pacino, sort of summing up the whole saga that had gone down. And I was negotiating with Marlon Brando right up to the last minute saying, “Marlon, please, just one day. We’ll give you this money.” But Marlon was so mad at Paramount - for ultimately not paying him any money on the first picture, or whatever he was mad about - And although I didn’t know it until the last day, ultimately, it wasn’t going to be possible to have him in the picture. So I went to bed that night really worried. I had lost the end of my movie. I had to shoot it the next day. I had no idea what to do. I was sleeping in the Chateau Marmont Hotel. I had this scene. I had paid all this money to get Jimmy Caan to come back and some of the other actors to be in the last scene. And in the middle of the night, I just had this idea. And I wrote it - which is that they were all gathered for a surprise birthday party for the Don. And so after this scene plays out, in which Michael’s decision to join the Marines is kind of examined relative to really what all we know is going to happen, and what this young, beautiful, collegiate man who’s a war hero, who goes straight, is going to end up to be: this man without a heart, who’s killed his own brother and alienated his wife… And I thought there could be one beautiful scene with him and Don Corleone as we remember him from the first movie. Since Marlon didn’t come, I made it the surprise party, and I built it up to the point where they all said, “Oh, he’s here. He’s here.” And they all run out of the room. And as you’re waiting for Marlon to come into the room, you just stay on Al… And I came up with the solution at, like - three in the morning. And the next day they said, “Well, Marlon’s not coming.” And I said, “That’s all right. I’ve got a scene we can do without him.” And it was this one. Also, I like that staging kind of, especially about families who ultimately dissolve in front of your eyes, the idea that you have a table full of people. And one by one, someone argues or someone goes off, and then you’re just left with one … And everything else now is just sound. The father comes, and you know he’s there, and you feel he’s there, but you’re left with Michael alone.” This quote comes from the director's commentary track off the Godfather Part II Blu-ray

The final scene in The Godfather Part II, with the family gathered around the dinner table, was originally going to include Marlon Brando, but he pulled out at the very last minute. Coppola had to rewrite a whole new ending the night before the shoot. He explains: “It’s a very interesting story, because I had written this scene that we go back to, around the period just before the first Godfather, when they were all young… My idea was that they would come together, finally, at the end, as a family. And the end of the movie would be a big, beautiful scene with Marlon Brando and Al Pacino, sort of summing up the whole saga that had gone down. And I was negotiating with Marlon Brando right up to the last minute saying, “Marlon, please, just one day. We’ll give you this money.” But Marlon was so mad at Paramount - for ultimately not paying him any money on the first picture, or whatever he was mad about - And although I didn’t know it until the last day, ultimately, it wasn’t going to be possible to have him in the picture. So I went to bed that night really worried. I had lost the end of my movie. I had to shoot it the next day. I had no idea what to do. I was sleeping in the Chateau Marmont Hotel. I had this scene. I had paid all this money to get Jimmy Caan to come back and some of the other actors to be in the last scene. And in the middle of the night, I just had this idea. And I wrote it - which is that they were all gathered for a surprise birthday party for the Don. And so after this scene plays out, in which Michael’s decision to join the Marines is kind of examined relative to really what all we know is going to happen, and what this young, beautiful, collegiate man who’s a war hero, who goes straight, is going to end up to be: this man without a heart, who’s killed his own brother and alienated his wife… And I thought there could be one beautiful scene with him and Don Corleone as we remember him from the first movie. Since Marlon didn’t come, I made it the surprise party, and I built it up to the point where they all said, “Oh, he’s here. He’s here.” And they all run out of the room. And as you’re waiting for Marlon to come into the room, you just stay on Al… And I came up with the solution at, like - three in the morning. And the next day they said, “Well, Marlon’s not coming.” And I said, “That’s all right. I’ve got a scene we can do without him.” And it was this one. Also, I like that staging kind of, especially about families who ultimately dissolve in front of your eyes, the idea that you have a table full of people. And one by one, someone argues or someone goes off, and then you’re just left with one … And everything else now is just sound. The father comes, and you know he’s there, and you feel he’s there, but you’re left with Michael alone.” This quote comes from the director's commentary track off the Godfather Part II Blu-ray

Gangster Cinema Central

244,905 次观看 • 2 个月前

Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”

Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”

Hollywood Golden Age of Cinema

198,315 次观看 • 8 个月前

kit connor and joe locke on scenes that will deeply resonate with heartstopper’s audience kit: “the scene at the end of episode 3 where charlie is kind of finally talking to his parents about the problems that he’s kind of going through and the issues and the struggles that he’s going through. in the similar way that in season 1 the sort of coming out scene at the end kind of lasted with a lot of people, i think this scene will have a very big impact on a lot of people.” joe: “i think the scene before that scene as well, when nick convinces charlie to talk to his parents about it, is also really impactful. it’s the first time that i think nick realizes and says that he can’t be charlie’s only savior. which is a really important thing that i think the season shows.” 🎥: entertainment weekly

kit connor and joe locke on scenes that will deeply resonate with heartstopper’s audience kit: “the scene at the end of episode 3 where charlie is kind of finally talking to his parents about the problems that he’s kind of going through and the issues and the struggles that he’s going through. in the similar way that in season 1 the sort of coming out scene at the end kind of lasted with a lot of people, i think this scene will have a very big impact on a lot of people.” joe: “i think the scene before that scene as well, when nick convinces charlie to talk to his parents about it, is also really impactful. it’s the first time that i think nick realizes and says that he can’t be charlie’s only savior. which is a really important thing that i think the season shows.” 🎥: entertainment weekly

kit connor updates

61,582 次观看 • 1 年前

Is the scene at the end of “Home Alone” with Catherine O'Hara and Macaulay Culkin the greatest scene in movie history? Ernestine and I debate on this week’s “Skip vs Ernestine”

Is the scene at the end of “Home Alone” with Catherine O'Hara and Macaulay Culkin the greatest scene in movie history? Ernestine and I debate on this week’s “Skip vs Ernestine”

Skip Bayless

48,950 次观看 • 7 个月前

John Krasinski says he and Steve Carell needed 17 takes just to speak while filming Steve’s final scene on The Office "When Steve left, that was actually the last scene of Steve’s last day, and I didn’t realize that until later" "So I go in to do this scene, and it just hit me. You were in the room with Steve, and he had been really quiet all day, very sweet but very quiet. I think we knew that this was it" "We rolled, and I remember the director telling me it was 17 takes before we got one word out. There were a lot of retouches. I think that scene took like four and a half hours"

John Krasinski says he and Steve Carell needed 17 takes just to speak while filming Steve’s final scene on The Office "When Steve left, that was actually the last scene of Steve’s last day, and I didn’t realize that until later" "So I go in to do this scene, and it just hit me. You were in the room with Steve, and he had been really quiet all day, very sweet but very quiet. I think we knew that this was it" "We rolled, and I remember the director telling me it was 17 takes before we got one word out. There were a lot of retouches. I think that scene took like four and a half hours"

Yonan

1,547,480 次观看 • 2 个月前

This deleted scene from The Return of the King shows Aragorn, Legolas, and Gimli entering the Paths of the Dead a moment that feels far more atmospheric and practical than many remember. The production team built an enormous set for it and even created around 80,000 skull props for the avalanche sequence, all crafted by hand. 💀 It still amazes me that a scene with this much work behind it was cut from the theatrical release… but thankfully, the Extended Edition preserves it.

This deleted scene from The Return of the King shows Aragorn, Legolas, and Gimli entering the Paths of the Dead a moment that feels far more atmospheric and practical than many remember. The production team built an enormous set for it and even created around 80,000 skull props for the avalanche sequence, all crafted by hand. 💀 It still amazes me that a scene with this much work behind it was cut from the theatrical release… but thankfully, the Extended Edition preserves it.

LOTR Universe

236,350 次观看 • 7 个月前

i still remember my exact reaction to this scene the first time i watched it. i was literally clutching my pearls and then when the camera panned to will i screamed and had the biggest smile on my face and when it showed the close up of his eyes i went OH

i still remember my exact reaction to this scene the first time i watched it. i was literally clutching my pearls and then when the camera panned to will i screamed and had the biggest smile on my face and when it showed the close up of his eyes i went OH

clarke | ǝʞɹɐlɔ 🍂WILL DAY

56,508 次观看 • 7 个月前

“there were dragons when i was a boy” is crazy because this is the FIRST PAGE of the first book… people can hate this movie all they want, but the writers cooked with this scene.

“there were dragons when i was a boy” is crazy because this is the FIRST PAGE of the first book… people can hate this movie all they want, but the writers cooked with this scene.

fire lord zuko updates

6,281,849 次观看 • 11 个月前

Episode 5, Doctor's Room. This scene is both super hot and really funny. I remember when the trailer for this episode came out, all of us were so shocked. We didn't expect a scene like this at all, and it made us even more excited to watch. It was definitely worth the wait. This scene was seriously so hot and amazing. #ลูกหมีซอนญ่า #LMSY #AffairTheSeries

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Episode 5, Doctor's Room. This scene is both super hot and really funny. I remember when the trailer for this episode came out, all of us were so shocked. We didn't expect a scene like this at all, and it made us even more excited to watch. It was definitely worth the wait. This scene was seriously so hot and amazing. #ลูกหมีซอนญ่า #LMSY #AffairTheSeries

WanPleng

65,231 次观看 • 1 年前

One of the things that makes the ending of Heat so powerful is its music—Moby's "God Moving Over the Face of the Waters." At the time, Moby was relatively unknown, yet Michael Mann somehow discovered the obscure track and decided it was perfect for the final scene. Moby explains: “Let’s get in our little time machine and go back to 1994. I was part of the rave scene, and I was making my first album, Everything Is Wrong. One of the songs—in fact, the last song on the album—that I was desperate to include was "God Moving Over the Face of the Waters." It could arguably be the strangest song ever included on what was supposed to be a dance album. There are no drums and nothing overtly electronic about it. When I was working on it and mixing it, I fell in love with it almost more than anything I’d ever done. So I put it on the album, and it sat there at the end, largely ignored. But somehow, and I still don’t know how, Michael Mann heard it and wanted to use it in this movie he was working on called Heat, with Al Pacino, Robert De Niro, Val Kilmer, on and on and on. This real movie. I was baffled. How does Michael Mann know who I am? How does Michael Mann know about this piece of music? But I said yes, of course. It was such an amazing opportunity. This major Hollywood director knew who I was and wanted to use my music. They flew me to Los Angeles and put me in a professional studio to tailor “God Moving” to the closing scene of the film. Until then, I had only ever worked in my homemade studio in an abandoned loft building in New York… One of the most terrifying professional moments of my life came when someone told me, “Michael Mann wants to talk to you.” And I was like, “Can’t he just leave me alone? I’m terrified. I don’t want to talk to humans.” I thought, “Okay, Michael Mann is going to call me, and it’s going to be scary, but I can deal with it because I’m a big boy.” The phone rang, I picked it up, and Michael Mann talked for about 45 minutes. He talked about archetypes within the film, classical narrative elements and tropes. It was like he gave me this masterclass in what Heat was about, and then just hung up the phone. And then it came out, and to hear the music that I’d made against this phenomenal, beautiful scene—it really was special. I’m thrilled that, 30 years later, people are still discovering the film and “God Moving Over the Face of the Waters.” Spoiler warning: The clip below contains the ending of Heat. If you haven't seen the film, don't watch past the first 30 seconds. The music doesn't begin until about a minute into the scene.

One of the things that makes the ending of Heat so powerful is its music—Moby's "God Moving Over the Face of the Waters." At the time, Moby was relatively unknown, yet Michael Mann somehow discovered the obscure track and decided it was perfect for the final scene. Moby explains: “Let’s get in our little time machine and go back to 1994. I was part of the rave scene, and I was making my first album, Everything Is Wrong. One of the songs—in fact, the last song on the album—that I was desperate to include was "God Moving Over the Face of the Waters." It could arguably be the strangest song ever included on what was supposed to be a dance album. There are no drums and nothing overtly electronic about it. When I was working on it and mixing it, I fell in love with it almost more than anything I’d ever done. So I put it on the album, and it sat there at the end, largely ignored. But somehow, and I still don’t know how, Michael Mann heard it and wanted to use it in this movie he was working on called Heat, with Al Pacino, Robert De Niro, Val Kilmer, on and on and on. This real movie. I was baffled. How does Michael Mann know who I am? How does Michael Mann know about this piece of music? But I said yes, of course. It was such an amazing opportunity. This major Hollywood director knew who I was and wanted to use my music. They flew me to Los Angeles and put me in a professional studio to tailor “God Moving” to the closing scene of the film. Until then, I had only ever worked in my homemade studio in an abandoned loft building in New York… One of the most terrifying professional moments of my life came when someone told me, “Michael Mann wants to talk to you.” And I was like, “Can’t he just leave me alone? I’m terrified. I don’t want to talk to humans.” I thought, “Okay, Michael Mann is going to call me, and it’s going to be scary, but I can deal with it because I’m a big boy.” The phone rang, I picked it up, and Michael Mann talked for about 45 minutes. He talked about archetypes within the film, classical narrative elements and tropes. It was like he gave me this masterclass in what Heat was about, and then just hung up the phone. And then it came out, and to hear the music that I’d made against this phenomenal, beautiful scene—it really was special. I’m thrilled that, 30 years later, people are still discovering the film and “God Moving Over the Face of the Waters.” Spoiler warning: The clip below contains the ending of Heat. If you haven't seen the film, don't watch past the first 30 seconds. The music doesn't begin until about a minute into the scene.

Gangster Cinema Central

27,798 次观看 • 1 个月前

this scene in #HisDarkMaterials is one of the most beautiful things i've seen on television. the visual effects, the music, the slow motion effect so i could process my trauma, and the emotional damage it did to me. this show's amazing. thank you so much

this scene in #HisDarkMaterials is one of the most beautiful things i've seen on television. the visual effects, the music, the slow motion effect so i could process my trauma, and the emotional damage it did to me. this show's amazing. thank you so much

shiv roy's bob

61,510 次观看 • 3 年前

Out of everything in Black Souls the scene that stuck with me the most is and will probably always be the one in the Terrible Tragic Hotel. The nostalgia of seeing the girls from the first game combined with their gruesome fates and the creepy music. It is really good at making you feel guilty for your actions in BS1. When I saw that scene for the first time I was left speechless. Incedible work Toro.

Out of everything in Black Souls the scene that stuck with me the most is and will probably always be the one in the Terrible Tragic Hotel. The nostalgia of seeing the girls from the first game combined with their gruesome fates and the creepy music. It is really good at making you feel guilty for your actions in BS1. When I saw that scene for the first time I was left speechless. Incedible work Toro.

Cakey🇩🇪

30,199 次观看 • 8 个月前

This scene wasn't planned. During filming, Ian McKellen accidentally hit himself on the head, but he didn't even flinch and carried on with the scene. When they watched the footage, they loved it and kept it in the final cut of the movie.

This scene wasn't planned. During filming, Ian McKellen accidentally hit himself on the head, but he didn't even flinch and carried on with the scene. When they watched the footage, they loved it and kept it in the final cut of the movie.

Tolkien Universe

179,374 次观看 • 4 个月前

BACK STORY: A teacher friend told me this story about teaching kids words with different suffix examples and when he asked his students for words ending in “an”, a grade one student said “lesbian”. No big deal but the writers and I thought it would be funny to run with that a bit. So we wrote the cold open as you see in the photos of the script. On the day of filming, two of the writers, Shebli Zarghami and @Jessie_Gabe came to me and suggested we add “words that end in “on”-prostitution”. So I ran with that and the kids and I improvised what you see in the scene. At that point, we were done with the scene and very happy about it. In my opinion, what Jessie and Sheb suggested next is what made the scene go viral BUT, we were too late because they thought of it AFTER, we had already shot (videoed) the kids. I spoke with Keith our director and suggested it was worth grabbing a wild line (no camera) of adding one more word suffix and joke that Jessie and Sheb thought of: “Words that end in “re”- crack whore”. It would be take too much time to turn all the cameras around to shoot Faith saying two works (crack whore) but I thought the line was so funny, that it was worth grabbing it. So we did and the that’s why you don’t see Faith saying the line but for me, it took the scene to another level. On this show, we always added lines on the day from anyone who had them, especially the writers. We wrote great scripts but sometimes we found these little moments on the day of filming that added to the scene. We never stopped looking for the funny and in this case the instincts (and comedy) of Jessie and Sheb took this scene to another level!! #MrD

BACK STORY: A teacher friend told me this story about teaching kids words with different suffix examples and when he asked his students for words ending in “an”, a grade one student said “lesbian”. No big deal but the writers and I thought it would be funny to run with that a bit. So we wrote the cold open as you see in the photos of the script. On the day of filming, two of the writers, Shebli Zarghami and @Jessie_Gabe came to me and suggested we add “words that end in “on”-prostitution”. So I ran with that and the kids and I improvised what you see in the scene. At that point, we were done with the scene and very happy about it. In my opinion, what Jessie and Sheb suggested next is what made the scene go viral BUT, we were too late because they thought of it AFTER, we had already shot (videoed) the kids. I spoke with Keith our director and suggested it was worth grabbing a wild line (no camera) of adding one more word suffix and joke that Jessie and Sheb thought of: “Words that end in “re”- crack whore”. It would be take too much time to turn all the cameras around to shoot Faith saying two works (crack whore) but I thought the line was so funny, that it was worth grabbing it. So we did and the that’s why you don’t see Faith saying the line but for me, it took the scene to another level. On this show, we always added lines on the day from anyone who had them, especially the writers. We wrote great scripts but sometimes we found these little moments on the day of filming that added to the scene. We never stopped looking for the funny and in this case the instincts (and comedy) of Jessie and Sheb took this scene to another level!! #MrD

Gerry Dee

66,423 次观看 • 1 年前