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Ben Affleck admits Chasing Amy forced him to confront his own internalized homophobia Interviewer: Chasing Amy. How do you feel like this film has aged? Ben Affleck: At the time, what I thought was interesting about it was that it alluded to a spectrum of sexual orientation. It looked...

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Asmongold feels bad for being in favor of Blizzard during the harassment scandal, saying it wasn't as true as it seemed 👀 "I feel kind of bad about this. I do, because at the time, I was very much in favour of the Blizzard harassment scandal, and to be fair, there was not really a lot of evidence to say the contrary But I do kind of feel bad that I was a part of this, and I enabled this to the degree that I did. And it seems like it wasn't really as true as it seemed out to be. We all were. I think that everybody kind of believed it”
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Asmongold feels bad for being in favor of Blizzard during the harassment scandal, saying it wasn't as true as it seemed 👀 "I feel kind of bad about this. I do, because at the time, I was very much in favour of the Blizzard harassment scandal, and to be fair, there was not really a lot of evidence to say the contrary But I do kind of feel bad that I was a part of this, and I enabled this to the degree that I did. And it seems like it wasn't really as true as it seemed out to be. We all were. I think that everybody kind of believed it”

Prism

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#YOUNGJAE: "running away is embarrassing, but if it helps, run away anytime." actually, that's a thought we often have when we’re alone, right? like, difficult thoughts or, to put it simply, “i want to quit my job. what do i do?” before going to bed at night, “i want to quit right now, but if i do, what can i even do?” people think about those things a lot, right? i sang this song because i hoped it could bring comfort in those moments. this song also really helped me when i was struggling alone. it has the lyric, “running away is embarrassing, but if it helps, it’s okay” and i really like the lyric that follows it: “you don't have to always face everything head-on to be brave. we are young, and we have tomorrow” that part made me feel like, “this is a song i really want to sing.” it made me want to sing it that much. and i thought it could really be a source of strength for you all too, which is why i recommend it.
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#YOUNGJAE: "running away is embarrassing, but if it helps, run away anytime." actually, that's a thought we often have when we’re alone, right? like, difficult thoughts or, to put it simply, “i want to quit my job. what do i do?” before going to bed at night, “i want to quit right now, but if i do, what can i even do?” people think about those things a lot, right? i sang this song because i hoped it could bring comfort in those moments. this song also really helped me when i was struggling alone. it has the lyric, “running away is embarrassing, but if it helps, it’s okay” and i really like the lyric that follows it: “you don't have to always face everything head-on to be brave. we are young, and we have tomorrow” that part made me feel like, “this is a song i really want to sing.” it made me want to sing it that much. and i thought it could really be a source of strength for you all too, which is why i recommend it.

𝐣𝐨𝐲𝐜𝐞

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Ben Affleck says the best work of his career is the commentary he recorded for Armageddon Ben Affleck: So this disc, um, the... the Criterion. I was surprised when I heard Criterion was doing Armageddon, 'cause I didn't think of it as that kind of movie when we did it. Um, and in retrospect now, I feel like maybe my best work in my career is the commentary on this disc. People approach me to talk about the commentary on this disc as much as they do like movies that I've been in. And it's because, um, I didn't know any better than to be really honest. But I won't spoil it for those of you who are interested. It... it... it is a... it is an... as an achievement that I'm proud of and didn't intend to be as good as I now think it is at the time. Criterion, when is the 4K coming out?"
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Ben Affleck says the best work of his career is the commentary he recorded for Armageddon Ben Affleck: So this disc, um, the... the Criterion. I was surprised when I heard Criterion was doing Armageddon, 'cause I didn't think of it as that kind of movie when we did it. Um, and in retrospect now, I feel like maybe my best work in my career is the commentary on this disc. People approach me to talk about the commentary on this disc as much as they do like movies that I've been in. And it's because, um, I didn't know any better than to be really honest. But I won't spoil it for those of you who are interested. It... it... it is a... it is an... as an achievement that I'm proud of and didn't intend to be as good as I now think it is at the time. Criterion, when is the 4K coming out?"

mykel ♰

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

HSNews

179,234 просмотров • 6 месяцев назад

Will Ospreay has revealed part of the reason behind why Baba O'Riley was chosen for his AEW All In 2026 entrance was because the song was used for an MV Zone tribute video to Bryan Danielson in 2011. "There was a song that we wanted, but we just couldn’t get a licence fee for it. I won’t put it out there because maybe one of these days I will be able to track it down again. I’d like to leave that as a surprise. But it was Mike Mansury that came up with the idea of The Who Baba O’Riley. "I’ll be honest with you, I have a connection with that song because there was a music video from the MV Zone. It was like a kind of little backyard wrestling music video group, and they did a Bryan Danielson tribute to that song, so I have a little bit of a connection to it. "I was just okay, I quite like the idea and The Who is British as well, so that’s kind of cool. But I remember listening to it and on the travels that me and Al (Alex Windsor) did, and I was just like, I don’t know if I feel it. The other song that I wanted got my juices flowing. It was my favourite song. I don’t know if I feel it. It was only when I heard the voiceover and I saw the clips that were all around it. I was like, 'this is perfect. This is it. Don’t change a thing.'" (Source: Chris Van Vliet)
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Will Ospreay has revealed part of the reason behind why Baba O'Riley was chosen for his AEW All In 2026 entrance was because the song was used for an MV Zone tribute video to Bryan Danielson in 2011. "There was a song that we wanted, but we just couldn’t get a licence fee for it. I won’t put it out there because maybe one of these days I will be able to track it down again. I’d like to leave that as a surprise. But it was Mike Mansury that came up with the idea of The Who Baba O’Riley. "I’ll be honest with you, I have a connection with that song because there was a music video from the MV Zone. It was like a kind of little backyard wrestling music video group, and they did a Bryan Danielson tribute to that song, so I have a little bit of a connection to it. "I was just okay, I quite like the idea and The Who is British as well, so that’s kind of cool. But I remember listening to it and on the travels that me and Al (Alex Windsor) did, and I was just like, I don’t know if I feel it. The other song that I wanted got my juices flowing. It was my favourite song. I don’t know if I feel it. It was only when I heard the voiceover and I saw the clips that were all around it. I was like, 'this is perfect. This is it. Don’t change a thing.'" (Source: Chris Van Vliet)

Cultaholic Wrestling

29,644 просмотров • 3 дней назад

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NAMJOON: We went through a long difficult time because of our military enlistment issue. There was a lot of talk about it. Even when I'd be at a bar people at the next table would be talking about it without knowing I was there "Is it right for them to do that?" We heard that so much and just around that time so many things happened to me personally and I had a lot on my mind about what I should do. Going through that I just thought I should pour it all out and leave a record and be as honest as I could be. And I think I was. the fact that they heard people talk ☹️☹️

moni⁷ 𖠌

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Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010
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Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

Gangster Cinema Central

85,366 просмотров • 2 месяцев назад

behind of yesterday’s tiktok ⭐️ 🐰 the ‘tree’ challenge that i did yesterday…i did it because i wanted to 🐰 as soon i saw it, i was like “i need to do this” it’s so funny 🐰 that’s actually not what i was going to film that day, it was supposed to be a sexy challenge but i’m not really good at those kind of challenges where you have to be like “look at my sexiness”, even with performances i prefer doing something that’s more light so i told them that there was something else i wanted to do instead of that one and they asked me what i wanted to do so i showed them the ‘tree’ challenge and said that that’s what i wanted to do 🐰 we actually save the ones that we’d like to do and bring it with us so we can show it to them 🐰 when i showed it to them, they loved it and were like the “let’s do this! let’s do it right away!” 🐰 i wasn’t going to film a challenge that day so it was a very sudden filming and i was wearing sandals…something like slippers with nothing covering my heels so they kept coming off my feet when i was doing the step 🐰 i think i filmed it about 5 times, i filmed it many times 🐰 “you should’ve done the sexy one” i mean…i can do it if i have to but i’m not good at it…doing something sexy on stage is fine but being like “wow look at me 😏” is not something i particularly like either 🐰 i like doing light performances and i think that’s what suits me as well 🐰 each person has something that suits them 🐰 yeonjun hyung & beomgyu are excessively coy when they’re on stage and they’re people that suit that kind of thing but i feel like i’m not someone that suits it 🐰 i think i suit light concepts better 🐰 i don’t know about suiting because everyone will have a different opinion but i personally like that better!
3:16

behind of yesterday’s tiktok ⭐️ 🐰 the ‘tree’ challenge that i did yesterday…i did it because i wanted to 🐰 as soon i saw it, i was like “i need to do this” it’s so funny 🐰 that’s actually not what i was going to film that day, it was supposed to be a sexy challenge but i’m not really good at those kind of challenges where you have to be like “look at my sexiness”, even with performances i prefer doing something that’s more light so i told them that there was something else i wanted to do instead of that one and they asked me what i wanted to do so i showed them the ‘tree’ challenge and said that that’s what i wanted to do 🐰 we actually save the ones that we’d like to do and bring it with us so we can show it to them 🐰 when i showed it to them, they loved it and were like the “let’s do this! let’s do it right away!” 🐰 i wasn’t going to film a challenge that day so it was a very sudden filming and i was wearing sandals…something like slippers with nothing covering my heels so they kept coming off my feet when i was doing the step 🐰 i think i filmed it about 5 times, i filmed it many times 🐰 “you should’ve done the sexy one” i mean…i can do it if i have to but i’m not good at it…doing something sexy on stage is fine but being like “wow look at me 😏” is not something i particularly like either 🐰 i like doing light performances and i think that’s what suits me as well 🐰 each person has something that suits them 🐰 yeonjun hyung & beomgyu are excessively coy when they’re on stage and they’re people that suit that kind of thing but i feel like i’m not someone that suits it 🐰 i think i suit light concepts better 🐰 i don’t know about suiting because everyone will have a different opinion but i personally like that better!

💬

40,919 просмотров • 7 месяцев назад

Interview about the March 31: "It was really fast. No one was ready for it. Beck has a reflex instinct. I didn't mean to do anything to them, but just like, "Who should not be here?" or something like that. Very shocked, I was very shocked because I felt that it was wrong. You shouldn't do this and you shouldn't do this to any artist. It's something like that. The people who are afraid are afraid. It's not okay. We live like a lovely fan club, we love each other very much and trust each other very much. We are like a family. I don't want anyone to do this to us" BECKY IS WORTH IT #LOrealParisTHxBecky #beckysangels
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Interview about the March 31: "It was really fast. No one was ready for it. Beck has a reflex instinct. I didn't mean to do anything to them, but just like, "Who should not be here?" or something like that. Very shocked, I was very shocked because I felt that it was wrong. You shouldn't do this and you shouldn't do this to any artist. It's something like that. The people who are afraid are afraid. It's not okay. We live like a lovely fan club, we love each other very much and trust each other very much. We are like a family. I don't want anyone to do this to us" BECKY IS WORTH IT #LOrealParisTHxBecky #beckysangels

D_ 🐰🦦

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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 • 8 месяцев назад

More of Harry about Aperture “The reason why it's called Aperture is like, you control how much light you let in to your life. And I think the start of this year, I kind of just decided I was going to say yes to everything. And the momentum of that has just brought, like, so many positive things in a lot of different ways into my life. And it's been a really beautiful time in my life. And I think also, just when I would play people the music, it was always the song that I played first. […] I want to say and where I'm at in my life. And I think there's nothing more fulfilling, I think, as a musician than putting out a song that you feel like represents where you're at in your life. I think sometimes, you know, you write a song and by the time it comes out, you've kind of been through a bunch of things, and you're not really kind of aligned with necessarily what is happening in the song. And I think I really felt it when we put As It Was at or I felt like, “oh, I feel like this really represents where I'm at in this moment” and that felt really fulfilling. So I think kind of I wanted to do that again this time. And just I feel great about, like, pressing play and going like, I want to play something. And that's kind of why it ended up being the first song.” - 102.7 KIIS FM
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More of Harry about Aperture “The reason why it's called Aperture is like, you control how much light you let in to your life. And I think the start of this year, I kind of just decided I was going to say yes to everything. And the momentum of that has just brought, like, so many positive things in a lot of different ways into my life. And it's been a really beautiful time in my life. And I think also, just when I would play people the music, it was always the song that I played first. […] I want to say and where I'm at in my life. And I think there's nothing more fulfilling, I think, as a musician than putting out a song that you feel like represents where you're at in your life. I think sometimes, you know, you write a song and by the time it comes out, you've kind of been through a bunch of things, and you're not really kind of aligned with necessarily what is happening in the song. And I think I really felt it when we put As It Was at or I felt like, “oh, I feel like this really represents where I'm at in this moment” and that felt really fulfilling. So I think kind of I wanted to do that again this time. And just I feel great about, like, pressing play and going like, I want to play something. And that's kind of why it ended up being the first song.” - 102.7 KIIS FM

HSNews

39,591 просмотров • 7 месяцев назад

🎥| “Already I fucking love this city. I love this country. I love the people. This was the first country as a band when I was about, when I was about 19 years old, I think. Um, it was pretty much one of the only countries I've ever been to really outside of the UK. It was the first country as a band. You don't have to cheer for me. I do appreciate it though. It was the first time as a band that, you know, it felt like maybe might have a few fans outside of the UK and I remember that being really, really excited. And I think we were here for about four or five weeks. We actually recorded What Makes You Beautiful. I know you like it but shit song. So... it was so this is, this is one of, there's not many countries that kind of grab me with nostalgia like this. And it's also not many countries that I would go out and have about a two hour walk, which I did yesterday. I'm not much of a walker, but I wanted to get myself out. It was really cool to see. It was really, really cool to see it with this, this country had a massive, massive impression on me as a young lad and I have it to have a lot to thank this country for. So, yeah, thank you. Thank you for being cool. Alright, it's emotional.” Louis Tomlinson on stage at #HDWGHWTStockholm (Via centr_mass)
1:29

🎥| “Already I fucking love this city. I love this country. I love the people. This was the first country as a band when I was about, when I was about 19 years old, I think. Um, it was pretty much one of the only countries I've ever been to really outside of the UK. It was the first country as a band. You don't have to cheer for me. I do appreciate it though. It was the first time as a band that, you know, it felt like maybe might have a few fans outside of the UK and I remember that being really, really excited. And I think we were here for about four or five weeks. We actually recorded What Makes You Beautiful. I know you like it but shit song. So... it was so this is, this is one of, there's not many countries that kind of grab me with nostalgia like this. And it's also not many countries that I would go out and have about a two hour walk, which I did yesterday. I'm not much of a walker, but I wanted to get myself out. It was really cool to see. It was really, really cool to see it with this, this country had a massive, massive impression on me as a young lad and I have it to have a lot to thank this country for. So, yeah, thank you. Thank you for being cool. Alright, it's emotional.” Louis Tomlinson on stage at #HDWGHWTStockholm (Via centr_mass)

World Tomlinson

35,330 просмотров • 5 месяцев назад

Bonnie Blue explains what it was like having sex with over 1,500 men in a single event: “It was a lot of work. It was like a rotation.” “Every 40 seconds somebody new was inside of me.” “You say that so blankly. Like it was just like…” “Well, for the logistics to work, it was very structured.” “I love the idea that I don't know who's going to be inside of me.” “There was times I was in doggy and I'd turn around and I would have no idea who's in the back of me.” “And I love that.” “That’s disgusting.” “I love it... I have to remind them, spit on me, slap me, choke me, pull my hair because they're too polite.”
1:43

Sensitive content

Bonnie Blue explains what it was like having sex with over 1,500 men in a single event: “It was a lot of work. It was like a rotation.” “Every 40 seconds somebody new was inside of me.” “You say that so blankly. Like it was just like…” “Well, for the logistics to work, it was very structured.” “I love the idea that I don't know who's going to be inside of me.” “There was times I was in doggy and I'd turn around and I would have no idea who's in the back of me.” “And I love that.” “That’s disgusting.” “I love it... I have to remind them, spit on me, slap me, choke me, pull my hair because they're too polite.”

The Jedi M@n 🧑‍🦯

665,400 просмотров • 18 дней назад

GIVE PEACE A CHANCE First released on July 4, 1969. Yoko: All those Vietnam protests really changed the world. There was always that element who were really resisting it. That was the saving grace – that people were aware that they were that young generation who were really against it. And so it worked very well for the world. And the Bed-In was just part of it, a definite part of it. It was a statement on a very theatrical level and I think it was very effective. We were artists and did it our own way. We felt very good about it then, and it was such an incredibly strange thing that we were doing. At the time it was a courageous thing to do. John was making the statement in a way that he was looking at the far, far future. I saw it in his eyes. He was saying, ‘OK this is what we’re going to do together.’ And we’re going to give peace a chance. To the world.
0:22

GIVE PEACE A CHANCE First released on July 4, 1969. Yoko: All those Vietnam protests really changed the world. There was always that element who were really resisting it. That was the saving grace – that people were aware that they were that young generation who were really against it. And so it worked very well for the world. And the Bed-In was just part of it, a definite part of it. It was a statement on a very theatrical level and I think it was very effective. We were artists and did it our own way. We felt very good about it then, and it was such an incredibly strange thing that we were doing. At the time it was a courageous thing to do. John was making the statement in a way that he was looking at the far, far future. I saw it in his eyes. He was saying, ‘OK this is what we’re going to do together.’ And we’re going to give peace a chance. To the world.

Yoko Ono

122,080 просмотров • 2 месяцев назад

Lana Rhodes admits that she is not a sexual person and her time in the industry was short and negative "One thing that contributed to me having such a short time in it and also majority of my experiences being negative was the part that I'm just not a very sexual person" "It's extremely not my personality at all" "If I'm not doing it in real life, why should I think that I should be paid to do it, I guess?" "...and force myself to do things that I wouldn't usually do, is what I'm trying to say"
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Lana Rhodes admits that she is not a sexual person and her time in the industry was short and negative "One thing that contributed to me having such a short time in it and also majority of my experiences being negative was the part that I'm just not a very sexual person" "It's extremely not my personality at all" "If I'm not doing it in real life, why should I think that I should be paid to do it, I guess?" "...and force myself to do things that I wouldn't usually do, is what I'm trying to say"

Rixlerr

10,986,654 просмотров • 1 месяц назад

👤i thought that story was really cute…that you kissed each other to catch the flu 👤 this really feels like ‘divorce camp’ (*tv show); how did this come about? 🐰 it was probably right before the debut line up was decided, right? 🦊 yeah 🐰 it was the end of the year and it was a hard time for all the trainees…nobody could sleep or eat…and the flu was really going around at the time so a couple of people got to sit out of it…yeonjun hyung was one of them and i really wanted to sit out of it too because it means you can rest so as a joke, i rubbed against hyung and was like “hyung~ pass your flu onto me~” but the next day, i was shedding tears of blood because i was so sick 👤🤣 “shedding tears of blood” 🐰 it was the first time i got that sick, my body hurt so much, it felt like it would shatter….but the other members…something that made me feel really unfair was that if the other members were like “i feel like i caught the flu”, the dance teacher would be “okay okay, go home and rest” but starting from me, they started stopping us like “leave after you do this! finish this and then go!”…after the dance lesson, i looked like i was about to die so the dance teacher was like “this is not it, you should go home too” so on my way back to the dorm, i was sobbing like crazy because i was so sad like “why didn’t they let me sit it out 😭” because i was so sick…! 👤 so did it pass on to you when you were like “hyung, pass it onto me~” 🐰 probably..i wasn’t in contact with anyone else that got it and i was only like that with yeonjun hyung so i think it probably passed on then
1:27

👤i thought that story was really cute…that you kissed each other to catch the flu 👤 this really feels like ‘divorce camp’ (*tv show); how did this come about? 🐰 it was probably right before the debut line up was decided, right? 🦊 yeah 🐰 it was the end of the year and it was a hard time for all the trainees…nobody could sleep or eat…and the flu was really going around at the time so a couple of people got to sit out of it…yeonjun hyung was one of them and i really wanted to sit out of it too because it means you can rest so as a joke, i rubbed against hyung and was like “hyung~ pass your flu onto me~” but the next day, i was shedding tears of blood because i was so sick 👤🤣 “shedding tears of blood” 🐰 it was the first time i got that sick, my body hurt so much, it felt like it would shatter….but the other members…something that made me feel really unfair was that if the other members were like “i feel like i caught the flu”, the dance teacher would be “okay okay, go home and rest” but starting from me, they started stopping us like “leave after you do this! finish this and then go!”…after the dance lesson, i looked like i was about to die so the dance teacher was like “this is not it, you should go home too” so on my way back to the dorm, i was sobbing like crazy because i was so sad like “why didn’t they let me sit it out 😭” because i was so sick…! 👤 so did it pass on to you when you were like “hyung, pass it onto me~” 🐰 probably..i wasn’t in contact with anyone else that got it and i was only like that with yeonjun hyung so i think it probably passed on then

💬

169,335 просмотров • 5 месяцев назад

Sigourney Weaver on what she loved about her character in "Alien" (1979): "Interviewer: Ripley is now seen as this feminist action hero. Did you think about that or the politics of your representation at the time? Weaver: What I loved about Ripley in the first one, thanks to [producers] Walter [Hill] and David [Giler], and in the second one, thanks to Jim Cameron, was that I didn't really feel like a badass heroine ever. What I felt was like you or me in this situation, [wondering] what the f**k you were going to do. It was an everyman character that could be any of us. That was very unusual at the time that a character, a woman character, went through a whole film, doing difficult things by herself, a lot of the time, and didn't have some scene where she bursts into tears and cries in a corner for a while. Because I'm telling you, in those days, they really wanted women to be sympathetic. And that meant that either you had to be in a little skirt and run around, or you had to have these scenes where you cried and broke down because they thought if you didn't that you would seem unfeminine. So I was so lucky that I avoided all of that because I was doing science fiction, because I was in the future. And I was just playing this character who was put in this situation. And it was written like a man. It wasn't written like the way they wrote women in those days." ("At 28, Sigourney Weaver Was Thrust Into An Alien World", Zosha Millman, Bustle, 2021) P.S: On this day, 47 years ago, "Alien" (1979) had its limited release in the USA.
1:44

Sigourney Weaver on what she loved about her character in "Alien" (1979): "Interviewer: Ripley is now seen as this feminist action hero. Did you think about that or the politics of your representation at the time? Weaver: What I loved about Ripley in the first one, thanks to [producers] Walter [Hill] and David [Giler], and in the second one, thanks to Jim Cameron, was that I didn't really feel like a badass heroine ever. What I felt was like you or me in this situation, [wondering] what the f**k you were going to do. It was an everyman character that could be any of us. That was very unusual at the time that a character, a woman character, went through a whole film, doing difficult things by herself, a lot of the time, and didn't have some scene where she bursts into tears and cries in a corner for a while. Because I'm telling you, in those days, they really wanted women to be sympathetic. And that meant that either you had to be in a little skirt and run around, or you had to have these scenes where you cried and broke down because they thought if you didn't that you would seem unfeminine. So I was so lucky that I avoided all of that because I was doing science fiction, because I was in the future. And I was just playing this character who was put in this situation. And it was written like a man. It wasn't written like the way they wrote women in those days." ("At 28, Sigourney Weaver Was Thrust Into An Alien World", Zosha Millman, Bustle, 2021) P.S: On this day, 47 years ago, "Alien" (1979) had its limited release in the USA.

DepressedBergman

20,477 просмотров • 3 месяцев назад