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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.

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this exact scene nung nalaman ni arvin na di siya nakapasa really hits home. the anticipation in his eyes, only to be met with the result is actually heartbreaking. bawled my eyes out sa mga scenes ni will ashley WHAT AN ACTOR! bar boys: after school (2025), dir. kip oebanda
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this exact scene nung nalaman ni arvin na di siya nakapasa really hits home. the anticipation in his eyes, only to be met with the result is actually heartbreaking. bawled my eyes out sa mga scenes ni will ashley WHAT AN ACTOR! bar boys: after school (2025), dir. kip oebanda

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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
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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

TEAM WILL OFC

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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.
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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.

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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!
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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!

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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)
1:27

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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This is the result when actors treat acting primarily as an art form rather than just a means to wealth and fame. Pay attention to his forehead vein and eyes. The way the vein bulges violently and his eyes tear up immediately as he starts screaming is incredible. This happens when an actor actually feels the anger and pain rather than just pretending in front on camera. Wonder which Indian actor has the potential to match this level of intensity. (There will be blood, 2007)
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This is the result when actors treat acting primarily as an art form rather than just a means to wealth and fame. Pay attention to his forehead vein and eyes. The way the vein bulges violently and his eyes tear up immediately as he starts screaming is incredible. This happens when an actor actually feels the anger and pain rather than just pretending in front on camera. Wonder which Indian actor has the potential to match this level of intensity. (There will be blood, 2007)

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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?’”
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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?’”

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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.
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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.

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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".

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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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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'.”

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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
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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

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“Nightmare” is a villain song from my self-written musical, Columbine the Musical, which is loosely inspired by the 1999 Columbine High School shooting. The song is performed by one of the teenage high school villains whose main goal is to leave his mark on the world by any means necessary. After spending his life feeling ignored and invisible, he comes to believe that being infamous is better than being anonymous. In his mind, reveling in villainy is better than living in obscurity. It’s better to be a “nightmare” than to be a “nobody.”
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“Nightmare” is a villain song from my self-written musical, Columbine the Musical, which is loosely inspired by the 1999 Columbine High School shooting. The song is performed by one of the teenage high school villains whose main goal is to leave his mark on the world by any means necessary. After spending his life feeling ignored and invisible, he comes to believe that being infamous is better than being anonymous. In his mind, reveling in villainy is better than living in obscurity. It’s better to be a “nightmare” than to be a “nobody.”

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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
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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

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61,582 Aufrufe • vor 2 Jahren