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Bar Boys After School BTS: Will Ashley being directed on set. The director's notes is ideally invisible sa performance. A deeply emotional scene requires understanding of the script, trust bet. actor/director, focus & craft. "Actors cue" means he decides when the scene starts.

PBB Collab Season 1 Stan Account.

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40,819 просмотров • 6 месяцев назад •via X (Twitter)

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Sassa Gurl delivered the acceptance speech at the Trinity University of Asia for the Platinum Stallion National Media Awards, on behalf of Will Ashley for his win as Best Film Actor for Bar Boys: After School. Aside from this milestone, Bar Boys: After School was also honored as Film of the Year, Direk Kip Oebanda was named Director of the Year, and Sassa Gurl received Breakthrough Star of the Year — a truly remarkable sweep for the team. ✨ Thank you, Sassa Gurl, for representing him with grace and pride. ♥️ And congratulations, Will Ashley and the entire Bar Boys: After School team — all well deserved! 👏🏆✨ #WillAshley #BarBoysAfterSchool

Sassa Gurl delivered the acceptance speech at the Trinity University of Asia for the Platinum Stallion National Media Awards, on behalf of Will Ashley for his win as Best Film Actor for Bar Boys: After School. Aside from this milestone, Bar Boys: After School was also honored as Film of the Year, Direk Kip Oebanda was named Director of the Year, and Sassa Gurl received Breakthrough Star of the Year — a truly remarkable sweep for the team. ✨ Thank you, Sassa Gurl, for representing him with grace and pride. ♥️ And congratulations, Will Ashley and the entire Bar Boys: After School team — all well deserved! 👏🏆✨ #WillAshley #BarBoysAfterSchool

TEAM WILL OFC

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ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.

ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.

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Miloš Forman explains how he worked with Non-professional actors and the pros & cons of using them: "I never showed them the script. I had the screenplay memorized word for word, and I'd start by acting out the scene for them, explaining what I was looking for. I made sure they understood what the scene was about and their character’s attitudes. Then we would go right ahead and shoot the scene. My non-actors would always remember a few lines of the written dialogue that I’d used and they would make up the rest. When everything went well, the performers were merely themselves and the words that came out of them were right on the money. But working with non-actors requires a good screenplay. They cannot perform a scene that is false, whereas good actors are able to hide the shortcomings of a script. In fact, the better the actor, the better the cover-up. Non-actors, however, simply can’t do things they don’t instinctively feel are right. In addition, non-actors can only handle a limited number of takes per scene. After three or four takes, they will start to repeat what they’d come up with in the previous takes mechanically and all that wonderful life quickly drains from their performances. In editing 'Black Peter', we frequently wound up using the first takes. While a trained actor is oblivious to the people on the set and worries only about the camera, non-actors are generally oblivious to the camera and frightened by the crew and the people around them, so I learned to save time by allowing only familiar faces on location. I found that you can work quicker with non-actors than you can with professionals that way." ('Turnaround - A Memoir', Miloš Forman, 1993) P.S: On this day, 62 years ago, "Black Peter" (1964) was released in Czechoslovakia.

Miloš Forman explains how he worked with Non-professional actors and the pros & cons of using them: "I never showed them the script. I had the screenplay memorized word for word, and I'd start by acting out the scene for them, explaining what I was looking for. I made sure they understood what the scene was about and their character’s attitudes. Then we would go right ahead and shoot the scene. My non-actors would always remember a few lines of the written dialogue that I’d used and they would make up the rest. When everything went well, the performers were merely themselves and the words that came out of them were right on the money. But working with non-actors requires a good screenplay. They cannot perform a scene that is false, whereas good actors are able to hide the shortcomings of a script. In fact, the better the actor, the better the cover-up. Non-actors, however, simply can’t do things they don’t instinctively feel are right. In addition, non-actors can only handle a limited number of takes per scene. After three or four takes, they will start to repeat what they’d come up with in the previous takes mechanically and all that wonderful life quickly drains from their performances. In editing 'Black Peter', we frequently wound up using the first takes. While a trained actor is oblivious to the people on the set and worries only about the camera, non-actors are generally oblivious to the camera and frightened by the crew and the people around them, so I learned to save time by allowing only familiar faces on location. I found that you can work quicker with non-actors than you can with professionals that way." ('Turnaround - A Memoir', Miloš Forman, 1993) P.S: On this day, 62 years ago, "Black Peter" (1964) was released in Czechoslovakia.

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Kiss scene lecture from our Master of Kissing as we are waiting for his mukbang in #WhenThePhoneRings 👩‍❤️‍💋‍👨 - if actors are too into the scene when they kiss, it doesnt look so great in camera. Instead, treat the kiss scene just like action scene like its choreographed 🔥 - plan the angles ahead of time - plan the big pictures so they wont struggle and will be able to focus so it looks nicer - he personally likes to bring wine to the set, have a drink🍷 and talk💬 with the actress to set the mood Kiseu Jang-in Yoo Yeonseok, i’m looking forward to your move with soobin!

Kiss scene lecture from our Master of Kissing as we are waiting for his mukbang in #WhenThePhoneRings 👩‍❤️‍💋‍👨 - if actors are too into the scene when they kiss, it doesnt look so great in camera. Instead, treat the kiss scene just like action scene like its choreographed 🔥 - plan the angles ahead of time - plan the big pictures so they wont struggle and will be able to focus so it looks nicer - he personally likes to bring wine to the set, have a drink🍷 and talk💬 with the actress to set the mood Kiseu Jang-in Yoo Yeonseok, i’m looking forward to your move with soobin!

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James Whale on the difficulties he faced while making "The Invisible Man" (1933): "When I began work on 'The Invisible Man', I took on the biggest and yet the most fascinating job I have ever tackled. Directing a picture is not easy in the best of times, but when the principal character spends a great deal of his time on the screen yet completely invisible, then one has a need for all one's ingenuity. It was all very well to film the scene without the actor but I knew that I had in some way to let the audience know clearly that the actor was there all the time although he was invisible. Therefore, in nearly every one of the 'invisible' scenes, I had to devise bits of 'business' so that the audience should know where the man was, what he was doing, and so on. In one scene I made him sitting in a rocking chair, so that by the movements of the chair the audience would realize that he was sitting there, although there was no sign of his presence. In another scene he is sitting in a chair talking to another person. I showed the seat of the chair sagging slightly as he sat down. Then, when his voice became more confidential, I had the chair moved a few inches toward the other person, as though the Invisible Man had drawn it closer for more intimate conversation." ("James Whale A New World of Gods and Monsters", James Curtis, 1998)

James Whale on the difficulties he faced while making "The Invisible Man" (1933): "When I began work on 'The Invisible Man', I took on the biggest and yet the most fascinating job I have ever tackled. Directing a picture is not easy in the best of times, but when the principal character spends a great deal of his time on the screen yet completely invisible, then one has a need for all one's ingenuity. It was all very well to film the scene without the actor but I knew that I had in some way to let the audience know clearly that the actor was there all the time although he was invisible. Therefore, in nearly every one of the 'invisible' scenes, I had to devise bits of 'business' so that the audience should know where the man was, what he was doing, and so on. In one scene I made him sitting in a rocking chair, so that by the movements of the chair the audience would realize that he was sitting there, although there was no sign of his presence. In another scene he is sitting in a chair talking to another person. I showed the seat of the chair sagging slightly as he sat down. Then, when his voice became more confidential, I had the chair moved a few inches toward the other person, as though the Invisible Man had drawn it closer for more intimate conversation." ("James Whale A New World of Gods and Monsters", James Curtis, 1998)

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Zach Galifianakis says he got tased for real while filming the police academy scene in The Hangover (2009) and the terrified kid in the scene wasn’t an actor at all, but one of the crew members’ children. “The director wanted to really tase us.” When asked, “With real electricity?” he replied, “Yes. I'm like, ‘Well then don't hire actors!’” He also revealed, “He calls me Fat Jesus. That was not scripted.” “Which is blasphemous.” Galifianakis revealed getting tased in the face was actually his idea. “I've seen tased on the body before, and I suggested, ‘Can you tase me in the face?’”

Zach Galifianakis says he got tased for real while filming the police academy scene in The Hangover (2009) and the terrified kid in the scene wasn’t an actor at all, but one of the crew members’ children. “The director wanted to really tase us.” When asked, “With real electricity?” he replied, “Yes. I'm like, ‘Well then don't hire actors!’” He also revealed, “He calls me Fat Jesus. That was not scripted.” “Which is blasphemous.” Galifianakis revealed getting tased in the face was actually his idea. “I've seen tased on the body before, and I suggested, ‘Can you tase me in the face?’”

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DHURANDHAR WINS THE HEART OF GADAR’S DIRECTOR 🔥 Director Anil Sharma showers massive praise on #Dhurandhar, calling it a truly brilliant film. He admits he was left stunned by Akshaye Khanna’s performance a jaw-dropping act with no comparison, no answer. Praising Ranveer Singh, Anil Sharma declares: “Among actors who came after 2000, Ranveer Singh is the BEST actor.” The box-office storm that Gadar 2 created…that same destruction is now being unleashed by Dhurandhar. 🔥 And this storm won’t stop before Border 2.

DHURANDHAR WINS THE HEART OF GADAR’S DIRECTOR 🔥 Director Anil Sharma showers massive praise on #Dhurandhar, calling it a truly brilliant film. He admits he was left stunned by Akshaye Khanna’s performance a jaw-dropping act with no comparison, no answer. Praising Ranveer Singh, Anil Sharma declares: “Among actors who came after 2000, Ranveer Singh is the BEST actor.” The box-office storm that Gadar 2 created…that same destruction is now being unleashed by Dhurandhar. 🔥 And this storm won’t stop before Border 2.

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Emraan Hashmi about director aryan Khan & his viral intimacy coach cameo in bads of bollywood in his latest 🎙️:- " The scene was written and directed so well by aryan that it went so viral the day it released, I even got call from Netflix for it, Aryan is very clear about what he wants and has 100% conviction in his creative choices. He doesn't second-guess his direction. Aryan has a lot of energy and a genuine passion for the creative process of filmmaking. He is very clear about the tonality of a scene, he is also a very good director because he leaves room for the actors to interpret the performance and contribute their own creative input. He loves the act of acting and enjoys demonstrating scenes to his performers to effectively convey his vision".

Emraan Hashmi about director aryan Khan & his viral intimacy coach cameo in bads of bollywood in his latest 🎙️:- " The scene was written and directed so well by aryan that it went so viral the day it released, I even got call from Netflix for it, Aryan is very clear about what he wants and has 100% conviction in his creative choices. He doesn't second-guess his direction. Aryan has a lot of energy and a genuine passion for the creative process of filmmaking. He is very clear about the tonality of a scene, he is also a very good director because he leaves room for the actors to interpret the performance and contribute their own creative input. He loves the act of acting and enjoys demonstrating scenes to his performers to effectively convey his vision".

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In The Godfather, Johnny Fontane was played by nightclub singer Al Martino, who had very little acting experience. That's why he was mostly shot from behind in his scene with Brando, to mask his inability to conjure up emotions. However, his tears were real. According to notes in The Annotated Godfather Complete Screenplay, Brando helped him with his performance... "Alex Rocco, who played the part of Moe Greene, was on the set the day of this scene between Johnny and the Don. He reports that Al Martino (Johnny Fontane) approached Marlon Brando before the scene, obsequiously calling him a great actor and asking for pointers on how to bring out his emotion for the scene. Brando told him not to worry, “I’ll help you.” When they proceeded to shoot the scene, Brando gave Martino a real whack across the face - which indeed helped bring tears to Martino’s eyes."

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David Corenswet & James Gunn on the process of making the monologue scene in #Superman: “There's no anger, no ego. There's a reason why he is asking these questions because it makes it better. David texted me that night: 'That was my favorite day ever on set with a director'.”

David Corenswet & James Gunn on the process of making the monologue scene in #Superman: “There's no anger, no ego. There's a reason why he is asking these questions because it makes it better. David texted me that night: 'That was my favorite day ever on set with a director'.”

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director chen chang explains the difficulty of filming xu yan's makeup removal scene and commends zhao lusi's courage & work etiquette 🩶 "you could only film that makeup removal scene in one-take. after the actress removes her makeup, it's impossible for you to do another take. otherwise it will be such a hassle for her to put on the makeup again. so when zhao lusi came on set, we first did a rehearsal and then we did a test run where we first filmed xu yan without the makeup removal segment. thereafter, we shot the real take. the difficulty about this scene is that I wasn't able to judge beforehand. exactly to what extend she would be removing her makeup? because, for some girls, "a face after removing makeup" would not be that much much of a difference from a "face with makeup". in fact, there might still be some makeup left on their faces. for other girls, a makeup removal might mean that they'll be completely barefaced. but that will require a great amount of courage! when she removes her makeup before the cameras, it's not just a video being filmed but a piece of work secondly, she still had to follow the story of the script. she needed to act out the scene in the script. you've all seen her acting performance in that scene. there was first a rise, followed by falling then rising again. there were a lot of layers to her acting. on top of that, she needed to remember all her lines of the script. then she had to takeoff the eyelid tape, false eyelashes etc in that very moment, you didn't just witness xu yan's courage but also zhao lusi's courage. right? so, to me, that was a very groundbreaking performance!" #LovesAmbition

director chen chang explains the difficulty of filming xu yan's makeup removal scene and commends zhao lusi's courage & work etiquette 🩶 "you could only film that makeup removal scene in one-take. after the actress removes her makeup, it's impossible for you to do another take. otherwise it will be such a hassle for her to put on the makeup again. so when zhao lusi came on set, we first did a rehearsal and then we did a test run where we first filmed xu yan without the makeup removal segment. thereafter, we shot the real take. the difficulty about this scene is that I wasn't able to judge beforehand. exactly to what extend she would be removing her makeup? because, for some girls, "a face after removing makeup" would not be that much much of a difference from a "face with makeup". in fact, there might still be some makeup left on their faces. for other girls, a makeup removal might mean that they'll be completely barefaced. but that will require a great amount of courage! when she removes her makeup before the cameras, it's not just a video being filmed but a piece of work secondly, she still had to follow the story of the script. she needed to act out the scene in the script. you've all seen her acting performance in that scene. there was first a rise, followed by falling then rising again. there were a lot of layers to her acting. on top of that, she needed to remember all her lines of the script. then she had to takeoff the eyelid tape, false eyelashes etc in that very moment, you didn't just witness xu yan's courage but also zhao lusi's courage. right? so, to me, that was a very groundbreaking performance!" #LovesAmbition

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The radicalization of BTS started long before cooking at dorms, wearing pink or pastels, calling themselves "Princess" and etc. It started with a 10 yrs old boy named Kim Namjoon. He is a force that refused to follow trends and pushed boundaries of what being an Idol means. This 🧵 will focus on Namjoon's radicalization of BTS. The good, the bad, and the ugly for the past 13 years. *We will post daily as we approach Festa. #방탄소년단RM #RM #김남준 #Namjoon #BTSRM

The radicalization of BTS started long before cooking at dorms, wearing pink or pastels, calling themselves "Princess" and etc. It started with a 10 yrs old boy named Kim Namjoon. He is a force that refused to follow trends and pushed boundaries of what being an Idol means. This 🧵 will focus on Namjoon's radicalization of BTS. The good, the bad, and the ugly for the past 13 years. *We will post daily as we approach Festa. #방탄소년단RM #RM #김남준 #Namjoon #BTSRM

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

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

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Leonardo DiCaprio says Jonah Hill is the greatest improvisational actor he's ever worked with "You have to adapt to different actors and their styles of working. Some people stick closely to the script, but Jonah Hill is probably the greatest improvisational actor I've ever worked with. “He'll take a scene completely into left field, and somehow you have to reel it back in while still making sure the character gets from point A to point B." "Jonah will just start talking about whatever he wants, and you can't plan for it. You just have to react in the moment and stay on your toes. That's what's fascinating about working with different actors. Every film brings a completely different approach to performance."

Leonardo DiCaprio says Jonah Hill is the greatest improvisational actor he's ever worked with "You have to adapt to different actors and their styles of working. Some people stick closely to the script, but Jonah Hill is probably the greatest improvisational actor I've ever worked with. “He'll take a scene completely into left field, and somehow you have to reel it back in while still making sure the character gets from point A to point B." "Jonah will just start talking about whatever he wants, and you can't plan for it. You just have to react in the moment and stay on your toes. That's what's fascinating about working with different actors. Every film brings a completely different approach to performance."

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Angela White reveals the most disappointing scene of her career. Angela says her worst day on set wasn’t because of technical issues—it was because a performer completely changed his style during their scene. After carefully researching his previous work and personally choosing him, she expected the same performance she’d seen before. Instead, she quickly realized he was imitating another well-known performer whose style he knew she admired. Within the first 10 minutes, Angela stopped the scene because she was confused by the sudden change. Looking back, she believes he studied who she enjoyed working with and tried to copy that person’s signature approach instead of being himself. She says it was one of the rare times she had to pause a scene because the performance felt forced rather than authentic.

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Angela White reveals the most disappointing scene of her career. Angela says her worst day on set wasn’t because of technical issues—it was because a performer completely changed his style during their scene. After carefully researching his previous work and personally choosing him, she expected the same performance she’d seen before. Instead, she quickly realized he was imitating another well-known performer whose style he knew she admired. Within the first 10 minutes, Angela stopped the scene because she was confused by the sudden change. Looking back, she believes he studied who she enjoyed working with and tried to copy that person’s signature approach instead of being himself. She says it was one of the rare times she had to pause a scene because the performance felt forced rather than authentic.

Fazzy

71,352 просмотров • 25 дней назад

Sikandar director AR Murugadoss talking about how lazy Salman is as an actor in a podcast 🎙️: "Salman Khan’s late arrival caused problems for other actors, particularly child artists, who often grew tired and fell asleep during the night shoot. Had to film scenes with kids at 2:00 AM, even if the scene involved them coming home from school." "Shooting with Salman Khan was challenging because he was frequently late, which forced daytime scenes to be filmed at night. Almost everything had to be done on green screen/CG sets. He also made changes to the script, the original script was very strong"

Sikandar director AR Murugadoss talking about how lazy Salman is as an actor in a podcast 🎙️: "Salman Khan’s late arrival caused problems for other actors, particularly child artists, who often grew tired and fell asleep during the night shoot. Had to film scenes with kids at 2:00 AM, even if the scene involved them coming home from school." "Shooting with Salman Khan was challenging because he was frequently late, which forced daytime scenes to be filmed at night. Almost everything had to be done on green screen/CG sets. He also made changes to the script, the original script was very strong"

Raj

235,109 просмотров • 2 месяцев назад

This is why actors remain essential. AI can never generate this kind of acting choreography, long performance rhythm, or silent emotional action on its own. Sharing a 2-minute scene from Mann-Pishach to explain a certain creative grammar behind the film. Rendering an 80-minute 4K film using AI-generated shots, After Effects compositing, and iPhone performances on a single PC is something very few filmmakers attempt. Most AI experiments stop at just a few minutes. I began by rethinking the visual and cinematic language itself. Once the script and storyboards were locked, I started treating AI the way old stop-motion filmmakers treated their frames — carefully, shot by shot. Those flashy 5–10 second AI generations were never the focus. They always came after the script, the shot divisions, the performances, and the emotional flow of the scene. Sharing here a short moment — Savitri Bai’s silent anger, played by Yaaneea Bhardwaj. This small clip may give some idea of how Mann-Pishach was constructed. The entire film was consciously created using cheap or free AI tools, simply to stay honest to the zero-budget experiment.

This is why actors remain essential. AI can never generate this kind of acting choreography, long performance rhythm, or silent emotional action on its own. Sharing a 2-minute scene from Mann-Pishach to explain a certain creative grammar behind the film. Rendering an 80-minute 4K film using AI-generated shots, After Effects compositing, and iPhone performances on a single PC is something very few filmmakers attempt. Most AI experiments stop at just a few minutes. I began by rethinking the visual and cinematic language itself. Once the script and storyboards were locked, I started treating AI the way old stop-motion filmmakers treated their frames — carefully, shot by shot. Those flashy 5–10 second AI generations were never the focus. They always came after the script, the shot divisions, the performances, and the emotional flow of the scene. Sharing here a short moment — Savitri Bai’s silent anger, played by Yaaneea Bhardwaj. This small clip may give some idea of how Mann-Pishach was constructed. The entire film was consciously created using cheap or free AI tools, simply to stay honest to the zero-budget experiment.

rahi anil barve

33,131 просмотров • 4 месяцев назад