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Andy Sidaris explains how "Lethal Weapon" (1987) inspired him to make "Guns" (1990): "The two girls, the airplane and Hawaii was my thing, I conceived the whole thing. I’ve always seen a lot of buddy pictures, like Mel Gibson and Danny Glover. That stuff is sensational. I said, ‘Hey,...

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DepressedBergman

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24,446 görüntüleme • 1 ay önce •via X (Twitter)

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Rob Reiner on the comparisons between "The Sure Thing" (1985) & "It Happened One Night" (1934): "A lot of people have said 'The Sure Thing' (1985) was like a teenage version of 'It Happened One Night' (1934). It’s hard to believe but at that point I’d never seen that movie. I’ve subsequently seen it and the only thing that’s comparable to me is that it’s on the road and the two people who don’t particularly like each other fall in love. The only thing that I ever shoot for is to try to be as good as I can be at the time. You may look back on something you’ve done ten, twelve years ago and say, “Well, that’s not as good as I can do now.” And it’s really irrelevant. The only thing you can go by is whether this as good as you can do at the time you’re doing it. And I felt when I finished 'The Sure Thing', it was as good as I could do at that time." ("The Directors - Take Two", Robert J. Emery, 2002)
0:45

Rob Reiner on the comparisons between "The Sure Thing" (1985) & "It Happened One Night" (1934): "A lot of people have said 'The Sure Thing' (1985) was like a teenage version of 'It Happened One Night' (1934). It’s hard to believe but at that point I’d never seen that movie. I’ve subsequently seen it and the only thing that’s comparable to me is that it’s on the road and the two people who don’t particularly like each other fall in love. The only thing that I ever shoot for is to try to be as good as I can be at the time. You may look back on something you’ve done ten, twelve years ago and say, “Well, that’s not as good as I can do now.” And it’s really irrelevant. The only thing you can go by is whether this as good as you can do at the time you’re doing it. And I felt when I finished 'The Sure Thing', it was as good as I could do at that time." ("The Directors - Take Two", Robert J. Emery, 2002)

DepressedBergman

91,700 görüntüleme • 3 ay önce

#AustrianGP 🇦🇹 | Lewis Hamilton says he told the team it wasn’t going to be a two-stop race: “I don’t know why we were so slow today. We really struggled on pace, degradation was really really high. Much, much worse than anticipated. I mean, I thought it was gonna be like that, and I told the team. They said it was gonna be a two-stop and I was like, I don’t think it’s a two-stop today, I don’t think I’ll be able to make a two-stop work.” “Big deg in that first [stint] trying to hold on to George and… we were mostly just struggling with power.”
0:45

#AustrianGP 🇦🇹 | Lewis Hamilton says he told the team it wasn’t going to be a two-stop race: “I don’t know why we were so slow today. We really struggled on pace, degradation was really really high. Much, much worse than anticipated. I mean, I thought it was gonna be like that, and I told the team. They said it was gonna be a two-stop and I was like, I don’t think it’s a two-stop today, I don’t think I’ll be able to make a two-stop work.” “Big deg in that first [stint] trying to hold on to George and… we were mostly just struggling with power.”

deni

46,064 görüntüleme • 2 ay önce

🐰 i worked a lot with El Guincho. I got to listen to a lot of tracks and i was really wowed by just how fresh and new this was. One of the first thoughts i had was ‘wow, you can approach a song like this?’ and i felt a lot of pressure about how to make the best use of it. so that must be why i wanted to stay close, it was a totally a different vibe, a whole new vibe. i hope to work again and have another session with the producers and songwriters that we worked with
0:52

🐰 i worked a lot with El Guincho. I got to listen to a lot of tracks and i was really wowed by just how fresh and new this was. One of the first thoughts i had was ‘wow, you can approach a song like this?’ and i felt a lot of pressure about how to make the best use of it. so that must be why i wanted to stay close, it was a totally a different vibe, a whole new vibe. i hope to work again and have another session with the producers and songwriters that we worked with

jk.97

26,798 görüntüleme • 5 ay önce

“I think the whole thing is terrible. I don’t like that fact that he was carrying a gun that was fully loaded, and he had two magazines with him — and it’s pretty unusual.” —Trump on the killing of Alex Pretti
0:30

“I think the whole thing is terrible. I don’t like that fact that he was carrying a gun that was fully loaded, and he had two magazines with him — and it’s pretty unusual.” —Trump on the killing of Alex Pretti

Crooked Media

18,168 görüntüleme • 7 ay önce

🐰: i worked a lot with el guincho. i got to listen to a lot of tracks and i was really wowed by just how fresh and new it was. one of the first thoughts i had was 'wow, you can approach a song like this?' and i felt a lot of pressure about how to make the best use of it. so that must be why i wanted to stay close. so anyway… it was a totally different vibe. a whole new vibe. i hope to work again and have another session with the producers and the songwriters that we worked with.
0:52

🐰: i worked a lot with el guincho. i got to listen to a lot of tracks and i was really wowed by just how fresh and new it was. one of the first thoughts i had was 'wow, you can approach a song like this?' and i felt a lot of pressure about how to make the best use of it. so that must be why i wanted to stay close. so anyway… it was a totally different vibe. a whole new vibe. i hope to work again and have another session with the producers and the songwriters that we worked with.

jungkook admirer

32,393 görüntüleme • 5 ay önce

George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)
1:46

George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)

DepressedBergman

56,916 görüntüleme • 8 ay önce

Blake Edwards on the conditions he laid out before accepting to direct "A Shot in the Dark" (1964): "'A Shot in the Dark' (1964) is nothing like Marcel Archard’s play, that’s for a start. I was asked to save the situation. They had quite a bit of money involved in this project. Peter Sellers was threatening to pull out because he didn’t like the screenplay. He said that the only way he would continue with the project would be if I took it over. I said that the only way I could possibly take it over, under such emergency conditions, would be that I would not be obliged to do anything like Archard’s play because a) I didn’t like it, b) I thought it was not a motion picture and c) I wasn’t ready to make a movie at that point. So they asked me what I wanted to do because the picture had to start in something like four weeks. I said that if they wanted me to save them, I’d have to take something with which I was familiar to begin with. I was familiar with the character of Clouseau. I needed a detective, somebody to solve a murder. I couldn’t throw the whole thing out. I had to use the idea that the maid was accused of killing the chaffeur and this had to be solved. So I thought that Peter Sellers was just the natural thing and that now I was going to try to be as broad with the character as I could be. “How far can I go now in terms of Inspector Clouseau?” I wrote the screenplay and was on the stage in four weeks with it. Fortunately, it turned out to be a reasonably funny movie. It proved something for me—that if a gag is well-designed you can pull it off." (Blake Edwards' interview with Jean-Francois Hauduroy, Cahiers du cinéma, 1966) P.S: On this 62 years ago, "A Shot in the Dark" (1964) premiered in New York City, USA.
1:23

Blake Edwards on the conditions he laid out before accepting to direct "A Shot in the Dark" (1964): "'A Shot in the Dark' (1964) is nothing like Marcel Archard’s play, that’s for a start. I was asked to save the situation. They had quite a bit of money involved in this project. Peter Sellers was threatening to pull out because he didn’t like the screenplay. He said that the only way he would continue with the project would be if I took it over. I said that the only way I could possibly take it over, under such emergency conditions, would be that I would not be obliged to do anything like Archard’s play because a) I didn’t like it, b) I thought it was not a motion picture and c) I wasn’t ready to make a movie at that point. So they asked me what I wanted to do because the picture had to start in something like four weeks. I said that if they wanted me to save them, I’d have to take something with which I was familiar to begin with. I was familiar with the character of Clouseau. I needed a detective, somebody to solve a murder. I couldn’t throw the whole thing out. I had to use the idea that the maid was accused of killing the chaffeur and this had to be solved. So I thought that Peter Sellers was just the natural thing and that now I was going to try to be as broad with the character as I could be. “How far can I go now in terms of Inspector Clouseau?” I wrote the screenplay and was on the stage in four weeks with it. Fortunately, it turned out to be a reasonably funny movie. It proved something for me—that if a gag is well-designed you can pull it off." (Blake Edwards' interview with Jean-Francois Hauduroy, Cahiers du cinéma, 1966) P.S: On this 62 years ago, "A Shot in the Dark" (1964) premiered in New York City, USA.

DepressedBergman

20,460 görüntüleme • 2 ay önce

junmyeon: honestly, when we filmed exo ladder, sehunnie was being so bratty~ jongin: why? ㅋㅋㅋ junmyeon: seriously~ i even had a serious talk with him about it, you know? jongin: what did you say? junmyeon: i told him, “hey, even if it’s for the concept, you’re doing way too little work.” chanyeol: ah, exo ladder? jongin: ah, the work stuff~ junmyeon: yes, like, he really didn’t do anything~ jongin: ah, right! i remember that! (x2) junmyeon: wasn’t that kind of too much? jongin: (you) brought that up every time we filmed exo ladder~ junmyeon: at first i was like, “why aren’t you doing anything? it might make you look bad on the show.” and sehun goes, “hyung, this is part of the concept! i want to help too! i really do want to work, hyung! but the fans love this kind of thing— the whole maknae-on-top thing! that’s the concept they like the most. i really want to work but i’m just holding it in, hyung! i am doing things behind the scenes!” so i was like, “ah… okay, sure~”
0:42

junmyeon: honestly, when we filmed exo ladder, sehunnie was being so bratty~ jongin: why? ㅋㅋㅋ junmyeon: seriously~ i even had a serious talk with him about it, you know? jongin: what did you say? junmyeon: i told him, “hey, even if it’s for the concept, you’re doing way too little work.” chanyeol: ah, exo ladder? jongin: ah, the work stuff~ junmyeon: yes, like, he really didn’t do anything~ jongin: ah, right! i remember that! (x2) junmyeon: wasn’t that kind of too much? jongin: (you) brought that up every time we filmed exo ladder~ junmyeon: at first i was like, “why aren’t you doing anything? it might make you look bad on the show.” and sehun goes, “hyung, this is part of the concept! i want to help too! i really do want to work, hyung! but the fans love this kind of thing— the whole maknae-on-top thing! that’s the concept they like the most. i really want to work but i’m just holding it in, hyung! i am doing things behind the scenes!” so i was like, “ah… okay, sure~”

🌸 사랑둥이 귀염둥이 세훈이 🌸

139,191 görüntüleme • 1 yıl önce

Chris Bosh on having to take a back seat to LeBron and D Wade in order to win: “It was difficult. I thought it was going to be a lot easier. I thought we were just going to go out there and play but basketball doesn’t work like that. What I brought to the table was different. Those two guys the things they could do I knew right away I can’t do that. D Wade gets to Euro stepping 200 MPH and then LeBron is watch him get the block, rebound, kick it up, beat everybody down the floor and catch a lob with his head at the rim. I can’t do that. I’m not even gonna try to do that. In that situation I knew where I could function and the dynamic of that team it wasn’t necessary. I had to learn to play the game a different way. The toughest thing was really the social. The jokes, the mockery, I didn’t really see that coming” (Via All the Smoke)
2:07

Chris Bosh on having to take a back seat to LeBron and D Wade in order to win: “It was difficult. I thought it was going to be a lot easier. I thought we were just going to go out there and play but basketball doesn’t work like that. What I brought to the table was different. Those two guys the things they could do I knew right away I can’t do that. D Wade gets to Euro stepping 200 MPH and then LeBron is watch him get the block, rebound, kick it up, beat everybody down the floor and catch a lob with his head at the rim. I can’t do that. I’m not even gonna try to do that. In that situation I knew where I could function and the dynamic of that team it wasn’t necessary. I had to learn to play the game a different way. The toughest thing was really the social. The jokes, the mockery, I didn’t really see that coming” (Via All the Smoke)

Heat Central

228,309 görüntüleme • 6 ay önce

jungkook on “hooligan” and working with “el guincho”! 🐰: i worked a lot with “el guincho” 🐿️: jungkook worked a lot on the song 'Hooligan' 🐰: right! i got to listen to a lot of tracks and I was really wowed by just how fresh and new it was. one of the first thoughts i had was 'wow, you can approach a song like this?' and i felt a lot of pressure about how to make the best use of it. so that must be why i wanted to stay close. so, anyway... it was a totally different vibe. a whole new vibe. i hope to work again and have another session with the producers and the songwriters that we worked with.
0:58

jungkook on “hooligan” and working with “el guincho”! 🐰: i worked a lot with “el guincho” 🐿️: jungkook worked a lot on the song 'Hooligan' 🐰: right! i got to listen to a lot of tracks and I was really wowed by just how fresh and new it was. one of the first thoughts i had was 'wow, you can approach a song like this?' and i felt a lot of pressure about how to make the best use of it. so that must be why i wanted to stay close. so, anyway... it was a totally different vibe. a whole new vibe. i hope to work again and have another session with the producers and the songwriters that we worked with.

ajk ⋆

95,476 görüntüleme • 5 ay önce

Charlie Cox believes his Daredevil is better than Ben Affleck’s “I think what happened with that movie is two things. CGI was invented, and the next day they were like, ‘Let’s make a movie with it.’ And so they’re a little premature with the CGI, and also they tried to get the entire Daredevil anthology into a two-hour movie. They had everyone in that movie—they had Kingpin, they had Bullseye, they had Elektra, they had Karen Page, they had Foggy. And the suit sucks! “Before I got the role, I hadn’t seen the movie. I watched it when I got the role and, to be fair… I think the only thing Ben Affleck does really good is Matt Murdock, I like his Matt Murdock…”
1:12

Charlie Cox believes his Daredevil is better than Ben Affleck’s “I think what happened with that movie is two things. CGI was invented, and the next day they were like, ‘Let’s make a movie with it.’ And so they’re a little premature with the CGI, and also they tried to get the entire Daredevil anthology into a two-hour movie. They had everyone in that movie—they had Kingpin, they had Bullseye, they had Elektra, they had Karen Page, they had Foggy. And the suit sucks! “Before I got the role, I hadn’t seen the movie. I watched it when I got the role and, to be fair… I think the only thing Ben Affleck does really good is Matt Murdock, I like his Matt Murdock…”

Emir Han

801,948 görüntüleme • 3 ay önce

Francis Ford Coppola on how young children convinced him to make 'The Outsiders' (1983) & the reason why he loves the movie: "Interviewer: 'Rumble Fish' (1983) is so completely different a film from 'The Outsiders' (1983), not just in black and white and color, but in the tone. And everybody said, “Well, he’s off in Tulsa, making two films,” rather in a way that, once, people would go up to the desert and make two westerns at the same time. 'Rumble Fish' makes 'The Outsiders' seem an odder film than I thought it was when I first saw it. 'The Outsiders' almost felt like a film in which you weren't quite there all the time. Coppola: No, I don’t think so. 'The Outsiders' (1984) was the type of film that I personally liked, a melodrama with a romantic tone. I liked the book a lot when I read it; I thought it was sweet and youthful and had something in its little, simple theme that was of value, and I wanted to make the picture very much as the book was. Maybe that’s what you're interpreting as my not always being there, except that I did make the decision to make it exactly like the book. The key to 'The Outsiders' is the score; the fact that it’s this schmaltzy classical movie score indicates that I wanted a movie told in sumptuous terms, very honestly or carefully taken from the book without changing it a lot, with young actors—putting the emphasis more on that kind of 'Gone with the Wind' (1939) lyricism which was so important to the young girl [Susie Hinton] when she wrote it. I liked the film on that basis. It’s how I made it and why I made it. But if you think about my career, I’ve never made two films that were alike... maybe the two Godfathers. But every one of my films is very different from one another and I was feeling that I was in kind of a journeyman period of my life, approaching a future style of work as a more serious, older man which would be based on a tremendous amount of exploration while I had the chance to do that. To me it’s nothing to say, well, I’m going to make that film and it’s going to be that kind of film. Like 'The Outsiders'—it’s not that I couldn’t make that sixteen other ways. People suggested, “Well, are we really going to make this book like that?” “Well,” I said, “little kids wrote me a letter and wanted me to make it that way.” Of all the letters I get from movies, 'The Outsiders' is the one where all of these cute little fourteen- year-olds . . . so I’m in it for them. I feel I must have gained something, although it wasn’t as challenging, cinematically or even on the level of acting and other things as, say, the one that came afterwards. But I always had this idea that I wanted to make one film that was romantic and schmaltzy, like 'The Godfather' (1972), and one film that was more of an art film, more in the direction of 'Apocalypse Now' (1979)." (Francis Ford Coppola's interview with David Thomson & Lucy Gray, 1983)
2:11

Francis Ford Coppola on how young children convinced him to make 'The Outsiders' (1983) & the reason why he loves the movie: "Interviewer: 'Rumble Fish' (1983) is so completely different a film from 'The Outsiders' (1983), not just in black and white and color, but in the tone. And everybody said, “Well, he’s off in Tulsa, making two films,” rather in a way that, once, people would go up to the desert and make two westerns at the same time. 'Rumble Fish' makes 'The Outsiders' seem an odder film than I thought it was when I first saw it. 'The Outsiders' almost felt like a film in which you weren't quite there all the time. Coppola: No, I don’t think so. 'The Outsiders' (1984) was the type of film that I personally liked, a melodrama with a romantic tone. I liked the book a lot when I read it; I thought it was sweet and youthful and had something in its little, simple theme that was of value, and I wanted to make the picture very much as the book was. Maybe that’s what you're interpreting as my not always being there, except that I did make the decision to make it exactly like the book. The key to 'The Outsiders' is the score; the fact that it’s this schmaltzy classical movie score indicates that I wanted a movie told in sumptuous terms, very honestly or carefully taken from the book without changing it a lot, with young actors—putting the emphasis more on that kind of 'Gone with the Wind' (1939) lyricism which was so important to the young girl [Susie Hinton] when she wrote it. I liked the film on that basis. It’s how I made it and why I made it. But if you think about my career, I’ve never made two films that were alike... maybe the two Godfathers. But every one of my films is very different from one another and I was feeling that I was in kind of a journeyman period of my life, approaching a future style of work as a more serious, older man which would be based on a tremendous amount of exploration while I had the chance to do that. To me it’s nothing to say, well, I’m going to make that film and it’s going to be that kind of film. Like 'The Outsiders'—it’s not that I couldn’t make that sixteen other ways. People suggested, “Well, are we really going to make this book like that?” “Well,” I said, “little kids wrote me a letter and wanted me to make it that way.” Of all the letters I get from movies, 'The Outsiders' is the one where all of these cute little fourteen- year-olds . . . so I’m in it for them. I feel I must have gained something, although it wasn’t as challenging, cinematically or even on the level of acting and other things as, say, the one that came afterwards. But I always had this idea that I wanted to make one film that was romantic and schmaltzy, like 'The Godfather' (1972), and one film that was more of an art film, more in the direction of 'Apocalypse Now' (1979)." (Francis Ford Coppola's interview with David Thomson & Lucy Gray, 1983)

DepressedBergman

36,099 görüntüleme • 7 ay önce

Yesterday I was that guy. The receptionist said “you can’t go back there” I said “I’m not asking and there’s no one in this building that can stop me” as I walked past them in search of the CEO. I saw the fear in their eyes and rightfully so. I was going to destroy everyone and every thing. I can’t get into it but I was fully prepared to go to jail. The only reason I’m not in jail is that the person I was looking for wasn’t there. I’ve cooled off slightly but the most dangerous thing about a person like me is that I’ve lived long enough and I’m completely fine with this being the end for me.
0:33

Yesterday I was that guy. The receptionist said “you can’t go back there” I said “I’m not asking and there’s no one in this building that can stop me” as I walked past them in search of the CEO. I saw the fear in their eyes and rightfully so. I was going to destroy everyone and every thing. I can’t get into it but I was fully prepared to go to jail. The only reason I’m not in jail is that the person I was looking for wasn’t there. I’ve cooled off slightly but the most dangerous thing about a person like me is that I’ve lived long enough and I’m completely fine with this being the end for me.

Greg Gray

48,575 görüntüleme • 1 ay önce

"Third day we hit the camp. My job was to kill the sentry with my knife. I was the knife guy and I was good at that. So, they had me scheduled to kill the first two guards of the century with my knife." "There was two others that was moving in between the trees and I saw the first one. I shot him double tap."
11:02

"Third day we hit the camp. My job was to kill the sentry with my knife. I was the knife guy and I was good at that. So, they had me scheduled to kill the first two guards of the century with my knife." "There was two others that was moving in between the trees and I saw the first one. I shot him double tap."

Shawn Ryan

510,636 görüntüleme • 1 yıl önce

“The last time that we were touring and stuff, I think touring is quite an isolating experience. And on top of that, when we started touring, it was 2021, so it was kind of like still depths of the pandemic. We were like one of the first tours to go back out. So I think that tour started in that way where it was like, I was really bubbled up even kind of within the tour. And then staying on that tour, we put an album out and it ended up being like two and a half years type time. It's just a long time to be in like a bubble where you're not really spending that much time like in the world around you, other than shows and hotels and stuff. And when I finished, I kind of went off and was spending a lot of time in Italy, and was kind of like having this quiet time, and I was just feeling a lot of my life as I was kind of like, craving like quiet and kind of like private spaces. I was just feeling myself kind of like shut out a lot of the world, “I think, and I think the last couple of years for me was about, you know, there's a lot of things that I think I got used to saying no to, like invites from friends and like maybe a weekend trip or like a birthday party or something. I think I just got used to, you know, if I have a week at home, I don't want to go somewhere else for three days. I just want to stay home, you know. And I think when I got to Italy and was kind of out in this quiet place, I felt like, okay, if I'm going to spend all this time out here and I'm going to keep saying no to everything, I'm just going to like shut myself off from the world. And while parts of that sound appealing, I also like, I love people and I love like being in the world, you know, so it was kind of, I think for me, like there's been both the thing of like learning to set boundaries and stuff is a large part of that has also been learning when not to set boundaries and when to open up. Being intentional with the things that you don't do and being intentional with the things that you do do. So, you know, as a message in the album sleeve, where I said like thanks to all the people who helped me know when to say no and when to say yes. I think both of those have like greatly enriched my life.” - Harry about feeling isolated during his last tour and opening himself up to the world again on Q
3:02

“The last time that we were touring and stuff, I think touring is quite an isolating experience. And on top of that, when we started touring, it was 2021, so it was kind of like still depths of the pandemic. We were like one of the first tours to go back out. So I think that tour started in that way where it was like, I was really bubbled up even kind of within the tour. And then staying on that tour, we put an album out and it ended up being like two and a half years type time. It's just a long time to be in like a bubble where you're not really spending that much time like in the world around you, other than shows and hotels and stuff. And when I finished, I kind of went off and was spending a lot of time in Italy, and was kind of like having this quiet time, and I was just feeling a lot of my life as I was kind of like, craving like quiet and kind of like private spaces. I was just feeling myself kind of like shut out a lot of the world, “I think, and I think the last couple of years for me was about, you know, there's a lot of things that I think I got used to saying no to, like invites from friends and like maybe a weekend trip or like a birthday party or something. I think I just got used to, you know, if I have a week at home, I don't want to go somewhere else for three days. I just want to stay home, you know. And I think when I got to Italy and was kind of out in this quiet place, I felt like, okay, if I'm going to spend all this time out here and I'm going to keep saying no to everything, I'm just going to like shut myself off from the world. And while parts of that sound appealing, I also like, I love people and I love like being in the world, you know, so it was kind of, I think for me, like there's been both the thing of like learning to set boundaries and stuff is a large part of that has also been learning when not to set boundaries and when to open up. Being intentional with the things that you don't do and being intentional with the things that you do do. So, you know, as a message in the album sleeve, where I said like thanks to all the people who helped me know when to say no and when to say yes. I think both of those have like greatly enriched my life.” - Harry about feeling isolated during his last tour and opening himself up to the world again on Q

HSNews

90,121 görüntüleme • 5 ay önce

Jon Bernthal defends the Shia LaBeouf interview and speaks about why he has no regrets doing the interview "And you know just the fact that I had Shia Labeouf on I've got an enormous amount of backlash, for the first time really as like a public person, kinda hatred." "And the fact that I had given somebody who could have, who may have done these things that this woman says, you know that really hurt people, and I felt fucking terrible about that man." "Did you wish you hadn't done it? No, because after talking to him and then going around and talking to women who have been victims themselves." "What I found was that so many people have reached out who said like 'I was in that place, like I was in that place where he was, in that place where I was wether I was abusive or not abusive I was getting there, and the drugs and the alcohol were getting the better of me.'" "He was 2 years sober at the time I had him on and I felt really what it was, was like a real meditation in shame, you know."
1:59

Jon Bernthal defends the Shia LaBeouf interview and speaks about why he has no regrets doing the interview "And you know just the fact that I had Shia Labeouf on I've got an enormous amount of backlash, for the first time really as like a public person, kinda hatred." "And the fact that I had given somebody who could have, who may have done these things that this woman says, you know that really hurt people, and I felt fucking terrible about that man." "Did you wish you hadn't done it? No, because after talking to him and then going around and talking to women who have been victims themselves." "What I found was that so many people have reached out who said like 'I was in that place, like I was in that place where he was, in that place where I was wether I was abusive or not abusive I was getting there, and the drugs and the alcohol were getting the better of me.'" "He was 2 years sober at the time I had him on and I felt really what it was, was like a real meditation in shame, you know."

ramagazzi

370,785 görüntüleme • 1 ay önce

231022 Fate in Chicago #JAY about his Physical Health Issue 🐈‍⬛: Honestly, I kinda have a big physical health issues in this tour. Some of the fans already noticed it, yeah it's actually the tape on my knees. All the members and the people in the send off or soundcheck just ask me always "are you okay?" "can you handle this?" "is it fine?" I always acted like it was okay. Actually me and the company, just planned to skip a few concerts but as you know I didn't want to make that happen. If I skip the concert and announce that our Engenes would not believe and also they could not enjoy the whole show, I don't want to see that and make you sad. I just felt that it was not my job, my job is first to make my fans happy and not to make them worry. I just wanted to say that I was able to stand with my two legs at the end of our tour this year because of you guys. #제이 #ジェイ #엔하이픈_제이 #ENHYPEN_JAY #ENHYPEN
1:31

231022 Fate in Chicago #JAY about his Physical Health Issue 🐈‍⬛: Honestly, I kinda have a big physical health issues in this tour. Some of the fans already noticed it, yeah it's actually the tape on my knees. All the members and the people in the send off or soundcheck just ask me always "are you okay?" "can you handle this?" "is it fine?" I always acted like it was okay. Actually me and the company, just planned to skip a few concerts but as you know I didn't want to make that happen. If I skip the concert and announce that our Engenes would not believe and also they could not enjoy the whole show, I don't want to see that and make you sad. I just felt that it was not my job, my job is first to make my fans happy and not to make them worry. I just wanted to say that I was able to stand with my two legs at the end of our tour this year because of you guys. #제이 #ジェイ #엔하이픈_제이 #ENHYPEN_JAY #ENHYPEN

france🩵

87,420 görüntüleme • 2 yıl önce

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q
1:15

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q

HSNews

179,234 görüntüleme • 5 ay önce