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Ana Sayfaya Dön

"Before entering into Cinema, i thought why emerging star doing same kind of Film & not taking Tamil cinema to Next Level🫰. After #LIK, I'm going to Direct & Act in Sci-Fi film, it's unpredictable, they'll see different Pradeep😲🔥" - #PradeepRanganathan

AmuthaBharathi

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170,791 görüntüleme • 10 ay önce •via X (Twitter)

Bilim & Teknoloji Sanat #LIK #PradeepRanganathan

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not at JAEHYUN protesting how they planned his 127 VIBE w/ TAEYONG 🤣 🐻: for our next 127VIBE—JAEYONG! 🍑: oh right i'm going to talk about it. why that WISH CARD used when i'm not there? I watched & u guys said "JH film 127 VIBE by himself" 🤨 i can see where yall getting at

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Zack Snyder expected fans to edit 300 and 300: Rise of an Empire into a single chronological edit. "Well, this film takes place on the same three days as the Battle of Thermopylae. We just get to see a different perspective. We're not from the Spartan perspective. We're from the Free Greek perspective. And we're following this leader, Thermistocles, who is a naval commander." "Yeah, and the other thing we get to see, I think, that's different in this film is it sort of, it also, it jumps forward and backward a little bit because it also goes and sort of paints the origins of Xerxes. So you get to see Xerxes' birth, what caused him to sort of become the character that you saw in the original film. "And you get to see him, you know, transform before your eyes. So it's a, and that's a mystery too. And it's kind of fun to watch that. And I think it, and then you also get to see sort of some elements of the original film kind of woven through to sort of let you see where you are in context of the timeline of the original film. "So you kind of, every now and then you're just checking in with that sort of, the, you know, the Spartans and their, what they're up to. So it's kind of fun that way too." "I love that there's moments where you go, 'Oh, that's the messenger.' And it's not just the characters you expect to see coming back." "Or like when Daxos rides up and tells Thermistocles, like, 'The hot gates have fallen.' You're like, 'Oh, that's awesome.'" "'That's where he went. I remember him leaving.'" "'That's where he went off on the horse. Remember, he rides in the, it's cool.'" "It's a fun way to see the characters that, you know, that connect us to the original film." "I thought it'd be cool, like, if some fan, you know, once this movie comes out on DVD, they can, some fans could cut the two movies together into a single, like, you could cut them into a single film."

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#JanaNayagan is a literal remake that could've been far better and not the deserving Farewell for the Tamil Cinema's Box Office Samrat! Thalapathy Vijay, who is now the CM of Tamil Nadu, was one of the biggest commercial stars Tamil cinema has ever witnessed after Superstar Rajinikanth, and the kind of farewell film he deserved should have hit much harder. Despite being around a 60% remake of Bhagavanth Kesari, the team has added political and sci-fi elements to differentiate both films. The political portions were decent, but the sci-fi elements in the final act felt completely out of place. The film constantly feels like it is changing its identity—from a father-daughter emotional drama to a political film and finally into a sci-fi action film. CM Vijay as Thalapathy Vetri Kondan, also known as "TVK," shines throughout and carries this mediocre film from H. Vinoth almost entirely on his shoulders. It was so good to see him back in action, especially during the interval and post-interval fight sequences. Thalapathy Kacheri was an absolute blast and a perfect celebration for his last dance on the big screen. Mamitha Baiju shines alongside Vijay as his daughter and delivers a memorable performance, especially in the climax. Pooja Hegde, Prakash Raj, Narain, and others didn't have much scope and felt like typical template characters. Bobby Deol, as the main antagonist, also suffers from the same issue. Musically, Anirudh delivered some banger songs, but the background score felt repetitive, especially with the reuse of themes like "Raavana Mavada" and "Oru Pere Varalaaru” but still elevates TVK’s screen presence whenever he gives entry. If this film was handled by someone like Lokesh or Atlee, who truly understand Vijay's legacy and stardom, it could've been the perfect farewell for the CM that he deserved. Criticism aside, this is the last time we are going to see our favourite entertainer VIJAY on the big screen. So let's celebrate him for one last time in cinemas. ❤️

𝐍𝐆𝐊11 𝕏

12,111 görüntüleme • 16 gün önce

William Friedkin on the most important part of directing a movie: "It changes at different points in the making of the film. Initially, the most important decision you make is to decide what story you're going to tell. There's no decision more important than that. Because the commercial cinema, in which I work, is a storytelling medium. It's not necessarily a medium for... well, it isn't at all a medium for documentary purposes, for educational purposes, for experimental purposes. It's strictly a medium of entertainment. And the other aspects of it, if there are any, come as a kind of by-product of the audience experiencing the story. So, the most important decision I make as a filmmaker is to decide what story I'm going to do. There's nothing more important than that...ever. Once the story is decided, it then becomes a matter of translating the story into details; it becomes a matter of how I'm going to tell it. And the next most important elements are the casting and the people who are going to work on the film." (William Friedkin's interview with Gerald R. Barrett, 1975) Clip from: Sorcerer (1977) Director: William Friedkin

William Friedkin on the most important part of directing a movie: "It changes at different points in the making of the film. Initially, the most important decision you make is to decide what story you're going to tell. There's no decision more important than that. Because the commercial cinema, in which I work, is a storytelling medium. It's not necessarily a medium for... well, it isn't at all a medium for documentary purposes, for educational purposes, for experimental purposes. It's strictly a medium of entertainment. And the other aspects of it, if there are any, come as a kind of by-product of the audience experiencing the story. So, the most important decision I make as a filmmaker is to decide what story I'm going to do. There's nothing more important than that...ever. Once the story is decided, it then becomes a matter of translating the story into details; it becomes a matter of how I'm going to tell it. And the next most important elements are the casting and the people who are going to work on the film." (William Friedkin's interview with Gerald R. Barrett, 1975) Clip from: Sorcerer (1977) Director: William Friedkin

DepressedBergman

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On this day, 21 years ago, Neil Marshall's "The Descent" (2005) premiered at Brussels International Fantastic Film Festival, Belgium. Neil Marshall on the influences for "The Descent" (2005), the reason for choosing all female cast & the violence in the movie: "Interviewer: What drew you to the project? Marshall: I was looking to do something really scary after my first film. My first film, “Dog Soldiers” (2002) had come out more as a black comedy than a straight horror film, and I still had this hankering to fulfill the need to do a really, really dark and bleak horror film in the vision of horror films I grew up with and loved, and still love. Things like “John Carpenter’s The Thing” (1982) and “Deliverance” (1972) and “Alien" (1979). Interviewer: Why did you choose an all Female cast? Marshall: Just to be different, really. I thought it was something that was contemporary. I thought it was something that was unique, certainly within this genre of brutal action horror film. I thought it’d never been done before. I thought it’d be interesting to try something fresh, and I thought why not in this day and age. Interviewer: Are you happy with the level of Gore and Violence? Marshall: Absolutely. I still don’t think there’s anything in there that’s totally gratuitous. Everything in there is kind of necessary to the plot to a degree and necessary to the progress of the characters. Certainly in terms of the Sarah character, driving her insane as to what she becomes and what she turns into." (Neil Marshall's interview with Kevin Carr, "Fat Guys at the Movies")

On this day, 21 years ago, Neil Marshall's "The Descent" (2005) premiered at Brussels International Fantastic Film Festival, Belgium. Neil Marshall on the influences for "The Descent" (2005), the reason for choosing all female cast & the violence in the movie: "Interviewer: What drew you to the project? Marshall: I was looking to do something really scary after my first film. My first film, “Dog Soldiers” (2002) had come out more as a black comedy than a straight horror film, and I still had this hankering to fulfill the need to do a really, really dark and bleak horror film in the vision of horror films I grew up with and loved, and still love. Things like “John Carpenter’s The Thing” (1982) and “Deliverance” (1972) and “Alien" (1979). Interviewer: Why did you choose an all Female cast? Marshall: Just to be different, really. I thought it was something that was contemporary. I thought it was something that was unique, certainly within this genre of brutal action horror film. I thought it’d never been done before. I thought it’d be interesting to try something fresh, and I thought why not in this day and age. Interviewer: Are you happy with the level of Gore and Violence? Marshall: Absolutely. I still don’t think there’s anything in there that’s totally gratuitous. Everything in there is kind of necessary to the plot to a degree and necessary to the progress of the characters. Certainly in terms of the Sarah character, driving her insane as to what she becomes and what she turns into." (Neil Marshall's interview with Kevin Carr, "Fat Guys at the Movies")

DepressedBergman

24,990 görüntüleme • 5 ay önce

American filmmaker David Lynch said multiple times that Billy Wilder's classic film noir “Sunset Boulevard” (1950) is one of the films that shaped his artistic vision more than any other. When he said “I want a dream when I go to a film. Sunset Boulevard has that dream world for me”, he wasn’t just praising Billy Wilder — he was describing the foundation of his own cinema. In Wilder’s world, Lynch found that suspended space between reality and vision that would define his films: a decaying Hollywood, hypnotic atmospheres, characters trapped in their own illusions, and above all that “dream feeling” constantly slipping into nightmare. It’s impossible not to see the echoes of “Sunset Boulevard” in Mulholland Drive: the same contrast between glamour and darkness, between Hollywood’s golden promise and its shadows. For Lynch, Wilder had already opened the door to a dreamlike, unsettling dimension — he simply pushed it further. Rewatching “Sunset Boulevard” through Lynch’s eyes reveals how deeply the film influenced a whole generation of directors who turned dreams into cinema, and cinema into a dream.

American filmmaker David Lynch said multiple times that Billy Wilder's classic film noir “Sunset Boulevard” (1950) is one of the films that shaped his artistic vision more than any other. When he said “I want a dream when I go to a film. Sunset Boulevard has that dream world for me”, he wasn’t just praising Billy Wilder — he was describing the foundation of his own cinema. In Wilder’s world, Lynch found that suspended space between reality and vision that would define his films: a decaying Hollywood, hypnotic atmospheres, characters trapped in their own illusions, and above all that “dream feeling” constantly slipping into nightmare. It’s impossible not to see the echoes of “Sunset Boulevard” in Mulholland Drive: the same contrast between glamour and darkness, between Hollywood’s golden promise and its shadows. For Lynch, Wilder had already opened the door to a dreamlike, unsettling dimension — he simply pushed it further. Rewatching “Sunset Boulevard” through Lynch’s eyes reveals how deeply the film influenced a whole generation of directors who turned dreams into cinema, and cinema into a dream.

Hollywood Golden Age of Cinema

79,497 görüntüleme • 7 ay önce

Brooks Koepka has sat and waited to get into the last two signature events as an alternate only to head home Thursday after not getting into the events. It's not the first time in his career it happened, but he also is understanding of the position he is in. Koepka is playing in Myrtle Beach this week. "The way I look at it is I'm itching to get in, but I'm accepting of where I'm at, and I understand that there's prices to pay for coming back, and I'm willing to accept those and whatever I have to do. "I knew this year was going to be challenging to even get in them. I kind of thought maybe by around U.S. Open, but to know that I'm kind of knocking on the door already is a good thing. Just the answer to everything is play better, and you're in."

Brooks Koepka has sat and waited to get into the last two signature events as an alternate only to head home Thursday after not getting into the events. It's not the first time in his career it happened, but he also is understanding of the position he is in. Koepka is playing in Myrtle Beach this week. "The way I look at it is I'm itching to get in, but I'm accepting of where I'm at, and I understand that there's prices to pay for coming back, and I'm willing to accept those and whatever I have to do. "I knew this year was going to be challenging to even get in them. I kind of thought maybe by around U.S. Open, but to know that I'm kind of knocking on the door already is a good thing. Just the answer to everything is play better, and you're in."

Cameron Jourdan

964,141 görüntüleme • 3 ay önce