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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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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 просмотров • 6 месяцев назад

Tom Holland: Rob, I'd love to chat to you about something that I've noticed that I really think you are the best in our business at doing this. I've had the pleasure of working with you three times and every time I see you take the screen, you do something with your voice. You're like a chameleon. You have an ability to change your voice without an audience watching it going, 'Oh, he's doing a voice.' For actors everywhere, how do you do that? And what's that process like? Where does that start for you? RP: I'm not really sure. I guess if you're just spending so much time reading stuff, it's like, I think, in general, one of the first things that makes me want to do a job in the first place, you're kind of, you want to say something out loud. And I think, I don't know, I think maybe it's just always because you don't know what you're doing and it's always kind of interesting when you say something. This is the first time where I've really done something where you're really trying to imitate someone's voice. In general, I remember when we were doing [The Devil All The Time] and I kept saying that I wanted, I was going to do, to Antonio, that I was going to do an MLK impression the whole time and he was like, 'But why? Why? It has nothing to do with it.' And that was my– but I kept doing it the whole time. There's something, I guess, when you can just follow, some edge, something where you can kind of be like, oh, it's something to grip onto and if it feels unusual and pleasurable to speak in, I find a lot of pleasure in trying to find a different area of your voice to use. But this was like, it was the most rigorous, conventional way of doing an accent that I'd ever done where I found it really tough. And it was one of the reasons why I couldn't, I wasn't sure about doing the movie in the first place. I found my voice notes the other day and how I was doing this voice at the beginning, because I think I must have done it the week after we met, and I was like, 'Can I do it?' And I listened to his show and tried to do it and it just sounded like, completely nothing like it. And I think I only really got it when we were rehearsing. I remember being in the car and we were looking at locations and I was like, 'Oh, that kind of sounds like it.' And I remember doing a voice memo where I was recording him saying the same line I'd been saying afterwards. I'm like, 'You can't tell the difference between the two? Yayyy!' But I don't know how. I didn't initially find that an interesting part when I first started acting. But I guess it's the easiest thing you can do by yourself until you start doing a movie and you can kind of go like, oh, I can record myself doing it and I can kind of get some kind of feedback doing it. And then you can at least, if you turn up to set, at least you've got something which you can hold on to, I think.
3:17

Tom Holland: Rob, I'd love to chat to you about something that I've noticed that I really think you are the best in our business at doing this. I've had the pleasure of working with you three times and every time I see you take the screen, you do something with your voice. You're like a chameleon. You have an ability to change your voice without an audience watching it going, 'Oh, he's doing a voice.' For actors everywhere, how do you do that? And what's that process like? Where does that start for you? RP: I'm not really sure. I guess if you're just spending so much time reading stuff, it's like, I think, in general, one of the first things that makes me want to do a job in the first place, you're kind of, you want to say something out loud. And I think, I don't know, I think maybe it's just always because you don't know what you're doing and it's always kind of interesting when you say something. This is the first time where I've really done something where you're really trying to imitate someone's voice. In general, I remember when we were doing [The Devil All The Time] and I kept saying that I wanted, I was going to do, to Antonio, that I was going to do an MLK impression the whole time and he was like, 'But why? Why? It has nothing to do with it.' And that was my– but I kept doing it the whole time. There's something, I guess, when you can just follow, some edge, something where you can kind of be like, oh, it's something to grip onto and if it feels unusual and pleasurable to speak in, I find a lot of pleasure in trying to find a different area of your voice to use. But this was like, it was the most rigorous, conventional way of doing an accent that I'd ever done where I found it really tough. And it was one of the reasons why I couldn't, I wasn't sure about doing the movie in the first place. I found my voice notes the other day and how I was doing this voice at the beginning, because I think I must have done it the week after we met, and I was like, 'Can I do it?' And I listened to his show and tried to do it and it just sounded like, completely nothing like it. And I think I only really got it when we were rehearsing. I remember being in the car and we were looking at locations and I was like, 'Oh, that kind of sounds like it.' And I remember doing a voice memo where I was recording him saying the same line I'd been saying afterwards. I'm like, 'You can't tell the difference between the two? Yayyy!' But I don't know how. I didn't initially find that an interesting part when I first started acting. But I guess it's the easiest thing you can do by yourself until you start doing a movie and you can kind of go like, oh, I can record myself doing it and I can kind of get some kind of feedback doing it. And then you can at least, if you turn up to set, at least you've got something which you can hold on to, I think.

Fansite | Robert Pattinson Photos

55,791 просмотров • 8 дней назад

“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
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“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 просмотров • 9 месяцев назад

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 просмотров • 10 месяцев назад

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 просмотров • 4 месяцев назад

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 просмотров • 1 год назад

Neil Pierre, during today’s media availability at #USMNT camp, spoke about the Union’s turnaround and the role that Ryan Richter has played in righting the ship: “I definitely see Ryan Richter and the whole club’s kind of turned everything around, from obviously me and the youngsters to Kai [Wagner] and everyone. I think the biggest thing was fixing the locker room and stuff like that. And I think the first thing he came in was like, ‘Hey, we’re good enough. This is a whole new season.’ So I think that kind of led us in the right way. And then with the youngsters, we still do side things like, ‘You guys are good enough to play. I have the confidence in you guys.’ And I think when you have confidence, like, the ceiling is, there’s no ceiling. So I think when he gave me that, I guess, words of confidence, I think it was the biggest thing for me for the second half of the season to do well.” #doop #MLS #USYMNT 📹: US Soccer
0:35

Neil Pierre, during today’s media availability at #USMNT camp, spoke about the Union’s turnaround and the role that Ryan Richter has played in righting the ship: “I definitely see Ryan Richter and the whole club’s kind of turned everything around, from obviously me and the youngsters to Kai [Wagner] and everyone. I think the biggest thing was fixing the locker room and stuff like that. And I think the first thing he came in was like, ‘Hey, we’re good enough. This is a whole new season.’ So I think that kind of led us in the right way. And then with the youngsters, we still do side things like, ‘You guys are good enough to play. I have the confidence in you guys.’ And I think when you have confidence, like, the ceiling is, there’s no ceiling. So I think when he gave me that, I guess, words of confidence, I think it was the biggest thing for me for the second half of the season to do well.” #doop #MLS #USYMNT 📹: US Soccer

José Roberto Nuñez

13,404 просмотров • 1 месяц назад

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 просмотров • 9 месяцев назад

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 просмотров • 6 месяцев назад

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 просмотров • 10 месяцев назад

Taran talking to Drew about how him and others in the house were only comparing Taylor to former black players (Chelsie, Danielle, Ashley) and asks if he's heard these criticisms: Drew: "I have and it, like, bummed me out, the way it was perceived. I could totally see how that could be taken and that's like a weird thing. And I'm like, I spoke to—I tried to speak to Taylor. I think she's like off the grid right now. She's just enjoying being out of the house..." "...But we did talk right after the game and I was like 'Hey like if I said things that maybe weren't cool, like I'm sorry that was not my intention' and she was like 'Yeah'—we're cool and I love her so much. I always wanted to compliment her game but I think I could've done it in a different way." Taran: "I think it's the fact that like, if you look at the people that she was compared to...they were all [Black women]. And the thing too is that they're all wildly different Black women who have played the game in wildly different ways. And it's like, there's really, there's no other way we can—" Drew: "Yeah, you can't compare her to like anybody else? So it definitely was something I was like 'Oh'. Like learning about it after the fact and I'm like 'Oh that's definitely something I should like, like I learned from, 100%" #BB28 #BBBitez
1:52

Taran talking to Drew about how him and others in the house were only comparing Taylor to former black players (Chelsie, Danielle, Ashley) and asks if he's heard these criticisms: Drew: "I have and it, like, bummed me out, the way it was perceived. I could totally see how that could be taken and that's like a weird thing. And I'm like, I spoke to—I tried to speak to Taylor. I think she's like off the grid right now. She's just enjoying being out of the house..." "...But we did talk right after the game and I was like 'Hey like if I said things that maybe weren't cool, like I'm sorry that was not my intention' and she was like 'Yeah'—we're cool and I love her so much. I always wanted to compliment her game but I think I could've done it in a different way." Taran: "I think it's the fact that like, if you look at the people that she was compared to...they were all [Black women]. And the thing too is that they're all wildly different Black women who have played the game in wildly different ways. And it's like, there's really, there's no other way we can—" Drew: "Yeah, you can't compare her to like anybody else? So it definitely was something I was like 'Oh'. Like learning about it after the fact and I'm like 'Oh that's definitely something I should like, like I learned from, 100%" #BB28 #BBBitez

Big Brother Bitez 🔊

41,622 просмотров • 27 дней назад

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

49,520 просмотров • 3 месяцев назад

“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 просмотров • 8 месяцев назад

Anna Sawai explains how she changed a key Shogun scene to avoid playing into the sexualized tropes of Japanese women. Often times when you hear a Japanese woman, you think, oh, they’re obedient, they’re sexy, or they can do action somehow. And for me, it’s like, that’s not who we are. We’re so much more complex. And even if we do appear obedient, it’s because society has made us that way… When I read it was my character going into a bath with the white pilot, I was like, okay, this is going to be the same thing. And I played it in that way, and they didn’t call me back. And then I had a conversation with our showrunner and he explained that it wasn’t that kind of scene. Like, he wanted it to be the connection that they have with their background… So I taped again and I played it like she wasn’t really taking off her kimono and it was just equals. And they liked me. So once that happened, I was like, okay, this is the type of women that we haven’t been able to see.
1:30

Anna Sawai explains how she changed a key Shogun scene to avoid playing into the sexualized tropes of Japanese women. Often times when you hear a Japanese woman, you think, oh, they’re obedient, they’re sexy, or they can do action somehow. And for me, it’s like, that’s not who we are. We’re so much more complex. And even if we do appear obedient, it’s because society has made us that way… When I read it was my character going into a bath with the white pilot, I was like, okay, this is going to be the same thing. And I played it in that way, and they didn’t call me back. And then I had a conversation with our showrunner and he explained that it wasn’t that kind of scene. Like, he wanted it to be the connection that they have with their background… So I taped again and I played it like she wasn’t really taking off her kimono and it was just equals. And they liked me. So once that happened, I was like, okay, this is the type of women that we haven’t been able to see.

Perp338

203,617 просмотров • 11 дней назад

Dave Chappelle calls out Lauren Boebert for exploiting his good faith for political gain. It started when Chappelle was on Capitol Hill, and Boebert asked to take a picture with him. Boebert “instantly” used that picture for something Chappelle says you “should never do to a person like me.” “Here comes Lauren Boebert, and she said, ‘Can I get a picture?’ And I’d already taken 40 pictures. I didn’t want to say no in front of everybody, but I didn’t know the phrase: ‘I respectfully decline.’” “So I just took the picture. And then, she posted the picture before I could even get from there to the show and says something to the effect of ‘Just [three] people that knew that there’s just two genders.’” “She instantly weaponized it. Or politicized it.” “So I got to the arena, and I lit her ass up for doing that. And she should never do that to a person like me.”
0:52

Dave Chappelle calls out Lauren Boebert for exploiting his good faith for political gain. It started when Chappelle was on Capitol Hill, and Boebert asked to take a picture with him. Boebert “instantly” used that picture for something Chappelle says you “should never do to a person like me.” “Here comes Lauren Boebert, and she said, ‘Can I get a picture?’ And I’d already taken 40 pictures. I didn’t want to say no in front of everybody, but I didn’t know the phrase: ‘I respectfully decline.’” “So I just took the picture. And then, she posted the picture before I could even get from there to the show and says something to the effect of ‘Just [three] people that knew that there’s just two genders.’” “She instantly weaponized it. Or politicized it.” “So I got to the arena, and I lit her ass up for doing that. And she should never do that to a person like me.”

The Vigilant Fox 🦊

1,310,471 просмотров • 7 месяцев назад

Michael Strahan says his obsession with winning and becoming great actually robbed him of the joy of playing football "Man, enjoy it more. And I don’t mean enjoy it more like go out, hit the clubs and do all that stuff. I did enough of that stuff. It was more enjoy the success and enjoy the process." "I was obsessed, man, with winning. I was obsessed with being great. I was obsessed with football. And at times, I didn’t enjoy it because the second the season’s over, guys go here for the offseason, go there for the offseason, do this, do that. I’m sitting up here thinking about, okay, what I got to do to get better?" "Like, it was always the next workout, the next this and the next that. It was never, oh yeah, I’m allowed to take a vacation. I’m allowed to enjoy it. It was always about the next thing. And so I kind of look and think that sucked some of the joy out of it." "And also, I used to worry so much about, I know I’m ready. Is this guy ready? Is that guy ready? This guy, he can’t be running around too much. He really only got so much time left. Until the most fun and success I had was at the end of my career when I said, you know what? I realized the only thing I can do is worry about myself and try to be an example." "Practice hard. Thirty-six years old and they throw the ball, I’m running down the field. Scout team? Oh, I’ll take some of these reps. Or when it’s my reps, I’m not saying, you don’t care, you’re getting there today. No, no, no. I show up every day and I’m ready." "And that was a better experience for me. I had the most fun of my career my last year when I didn’t care about sacks, didn’t care about Pro Bowls. I didn’t care about winning, right? I was like, I know it’s probably my last year. I’m just going to enjoy being around the guys, man. Ended up being the best year in every sense of the word."
1:44

Michael Strahan says his obsession with winning and becoming great actually robbed him of the joy of playing football "Man, enjoy it more. And I don’t mean enjoy it more like go out, hit the clubs and do all that stuff. I did enough of that stuff. It was more enjoy the success and enjoy the process." "I was obsessed, man, with winning. I was obsessed with being great. I was obsessed with football. And at times, I didn’t enjoy it because the second the season’s over, guys go here for the offseason, go there for the offseason, do this, do that. I’m sitting up here thinking about, okay, what I got to do to get better?" "Like, it was always the next workout, the next this and the next that. It was never, oh yeah, I’m allowed to take a vacation. I’m allowed to enjoy it. It was always about the next thing. And so I kind of look and think that sucked some of the joy out of it." "And also, I used to worry so much about, I know I’m ready. Is this guy ready? Is that guy ready? This guy, he can’t be running around too much. He really only got so much time left. Until the most fun and success I had was at the end of my career when I said, you know what? I realized the only thing I can do is worry about myself and try to be an example." "Practice hard. Thirty-six years old and they throw the ball, I’m running down the field. Scout team? Oh, I’ll take some of these reps. Or when it’s my reps, I’m not saying, you don’t care, you’re getting there today. No, no, no. I show up every day and I’m ready." "And that was a better experience for me. I had the most fun of my career my last year when I didn’t care about sacks, didn’t care about Pro Bowls. I didn’t care about winning, right? I was like, I know it’s probably my last year. I’m just going to enjoy being around the guys, man. Ended up being the best year in every sense of the word."

Josh Chambers

19,384 просмотров • 1 месяц назад

🦊 the pictures that you saw actually got leaked, right? 🦊 it got leaked 🦊 i didn’t plan on showing you the pictures like that so when it first got leaked, honestly i felt really bad 🦊 me and the staff really thought so much about things like…we thought a lot about the release schedule and we made the release plan after literally putting our heart and soul into it 🦊 things like the news of me making a solo comeback, the date of the solo album and the pictures being leaked really disrupted our release plans 🦊 it made me feel really bad and uneasy 🦊 but this doesn’t really change the quality of my solo album and what i have to show so that’s really good, the songs are really good and the performances will be really good so this doesn’t cause a major disruption in that aspect but the main poster…the key visual of my album cover…if it hadn’t been disclosed like that, i was actually going to reveal it really late because i didn’t want you to look at those pictures and think…well looking at those pictures, you’ll think “is this yeonjun’s concept this time? is that the concept?” 🦊 i didn’t want to make you judge those things based on the pictures 🦊 like “he’s showing his body so is it a sexy concept? is it this concept?” how does i put this…i didn’t want people to judge it based on that 🦊 but anyway, i’m glad the fans liked it and it was good that it gained a lot of attention
3:34

🦊 the pictures that you saw actually got leaked, right? 🦊 it got leaked 🦊 i didn’t plan on showing you the pictures like that so when it first got leaked, honestly i felt really bad 🦊 me and the staff really thought so much about things like…we thought a lot about the release schedule and we made the release plan after literally putting our heart and soul into it 🦊 things like the news of me making a solo comeback, the date of the solo album and the pictures being leaked really disrupted our release plans 🦊 it made me feel really bad and uneasy 🦊 but this doesn’t really change the quality of my solo album and what i have to show so that’s really good, the songs are really good and the performances will be really good so this doesn’t cause a major disruption in that aspect but the main poster…the key visual of my album cover…if it hadn’t been disclosed like that, i was actually going to reveal it really late because i didn’t want you to look at those pictures and think…well looking at those pictures, you’ll think “is this yeonjun’s concept this time? is that the concept?” 🦊 i didn’t want to make you judge those things based on the pictures 🦊 like “he’s showing his body so is it a sexy concept? is it this concept?” how does i put this…i didn’t want people to judge it based on that 🦊 but anyway, i’m glad the fans liked it and it was good that it gained a lot of attention

💬

151,880 просмотров • 1 год назад

Clavicular tells N3on about his BAD Experiences with Tren and how it MESSED up his hairline, and how it made him get with a LOT of 'UGLY' girls😭😳 "The only bad thing that happened to me was i lost my hair but it made me giga motivated... but the thing is i got with a lot of ugly girls."
0:46

Sensitive content

Clavicular tells N3on about his BAD Experiences with Tren and how it MESSED up his hairline, and how it made him get with a LOT of 'UGLY' girls😭😳 "The only bad thing that happened to me was i lost my hair but it made me giga motivated... but the thing is i got with a lot of ugly girls."

West

41,154 просмотров • 8 месяцев назад

🫍 It wasn’t really that big of a thing, but it happened during the time when I was going through burnout. Like I said before (about trying to heal by doing things out of comfort zone), since this is something new for me... The thing was, I had a really sore throat, so I couldn’t take singing lessons, but the concert date was getting closer. That one time when Ju asked me when I'll take a practice for song, I had a sore throat at the time. Well, since I’m doing it anyway, I needed to do something, so I decided to learn the language instead. I had to make those 2 hours of lessons worth it to practice my pronounciation. For me, it was pretty hard because I don’t really watch Korean series. The 2 series I remember watching are Full House and The Glory, I guess? So the language wasn’t really familiar to my ears. You know, it’s hard to mimic because I usually learn by mimicking. So when it comes to a language I didn’t really have much exposure to, it takes longer time to practice. The L sound and stuff like that. But when I can finally do it, it's so fun. I love it.
1:07

🫍 It wasn’t really that big of a thing, but it happened during the time when I was going through burnout. Like I said before (about trying to heal by doing things out of comfort zone), since this is something new for me... The thing was, I had a really sore throat, so I couldn’t take singing lessons, but the concert date was getting closer. That one time when Ju asked me when I'll take a practice for song, I had a sore throat at the time. Well, since I’m doing it anyway, I needed to do something, so I decided to learn the language instead. I had to make those 2 hours of lessons worth it to practice my pronounciation. For me, it was pretty hard because I don’t really watch Korean series. The 2 series I remember watching are Full House and The Glory, I guess? So the language wasn’t really familiar to my ears. You know, it’s hard to mimic because I usually learn by mimicking. So when it comes to a language I didn’t really have much exposure to, it takes longer time to practice. The L sound and stuff like that. But when I can finally do it, it's so fun. I love it.

deeコ

16,934 просмотров • 3 месяцев назад