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Bryan Cranston explaining the Breaking Bad scene where he lets Jane die is bone-chilling. It is wild to hear him describe how he prepared for the scene… writing down emotional possibilities and how it backfired in the most terrifying way imaginable. Cranston: "I saw her choking on the vomit...

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Bryan Cranston was nearly crying in this scene of Breaking Bad because Jane reminded him of his daughter. “All of a sudden, her facial features disappeared. I saw my real child choking to death, and it scared me.” “I guess that’s why I closed my eyes.”
1:14

Bryan Cranston was nearly crying in this scene of Breaking Bad because Jane reminded him of his daughter. “All of a sudden, her facial features disappeared. I saw my real child choking to death, and it scared me.” “I guess that’s why I closed my eyes.”

Emir Han

1,041,217 просмотров • 9 месяцев назад

In this scene, Bryan Cranston cried outside of the script — and quickly pulled himself together . When asked why, he said: “For a moment, I saw my own daughter instead of Jane and I didn’t know what to do.” 💔
0:26

In this scene, Bryan Cranston cried outside of the script — and quickly pulled himself together . When asked why, he said: “For a moment, I saw my own daughter instead of Jane and I didn’t know what to do.” 💔

Movies Scenes 🎫

2,251,448 просмотров • 10 месяцев назад

Tom Holland on his experience working with Christopher Nolan: “I had this one scene with Matt, which is arguably one of my most important scenes in the film [...] Matt and I were discussing the scene a lot, and he basically stuck his head in and went, ‘Oi, thespians, get on with it! I’m going to be on the dog.’ He just totally was like: stop thinking about it, just do it.” “I saw him do it on a few occasions with a few different actors where he just completely undercut the tension with humor and it allowed a certain freedom in the following take.”
1:42

Tom Holland on his experience working with Christopher Nolan: “I had this one scene with Matt, which is arguably one of my most important scenes in the film [...] Matt and I were discussing the scene a lot, and he basically stuck his head in and went, ‘Oi, thespians, get on with it! I’m going to be on the dog.’ He just totally was like: stop thinking about it, just do it.” “I saw him do it on a few occasions with a few different actors where he just completely undercut the tension with humor and it allowed a certain freedom in the following take.”

best of tom holland

23,550 просмотров • 2 месяцев назад

What hit me hard about the scene is how raw and dysfunctional it feels....Rick is trying (in his own messed-up way) to protect his daughter, but his approach only makes things worse... You can see the love mixed with his own failures as a father.... For me, it’s a very powerful scene cause you see he wants to be a dad, but he doesn’t know how to do it without violence and control...
1:53

What hit me hard about the scene is how raw and dysfunctional it feels....Rick is trying (in his own messed-up way) to protect his daughter, but his approach only makes things worse... You can see the love mixed with his own failures as a father.... For me, it’s a very powerful scene cause you see he wants to be a dad, but he doesn’t know how to do it without violence and control...

Every movie 🎬🍿

546,017 просмотров • 3 месяцев назад

Bryan Cranston said he didn’t even know Walter White in Breaking Bad had poisoned the little boy until he received the script for the next episode. Bryan Cranston: I remember shooting an episode of Breaking Bad where Aaron Paul's character, Jesse, comes at me with a gun because he thinks I poisoned the little boy in the show. And, and, I'm going... Rhea Seehorn: Right. Right. Bryan Cranston: ...'Why would I do that? Why would I do that?' And I point the, the finger in the direction of Giancarlo Esposito's character, right? 'Gus Fring! He's the one who would stand to gain by this!' And this is, you know, and 'So you want, you think I did it? Then kill me. Then shoot me right now if you think I did it.' Rhea Seehorn: Yeah. Bryan Cranston: And then the next, the next episode came a few days later, and I'm reading it and I go, 'Oh, I did do it.'
0:55

Bryan Cranston said he didn’t even know Walter White in Breaking Bad had poisoned the little boy until he received the script for the next episode. Bryan Cranston: I remember shooting an episode of Breaking Bad where Aaron Paul's character, Jesse, comes at me with a gun because he thinks I poisoned the little boy in the show. And, and, I'm going... Rhea Seehorn: Right. Right. Bryan Cranston: ...'Why would I do that? Why would I do that?' And I point the, the finger in the direction of Giancarlo Esposito's character, right? 'Gus Fring! He's the one who would stand to gain by this!' And this is, you know, and 'So you want, you think I did it? Then kill me. Then shoot me right now if you think I did it.' Rhea Seehorn: Yeah. Bryan Cranston: And then the next, the next episode came a few days later, and I'm reading it and I go, 'Oh, I did do it.'

Ruzy.hl

1,146,834 просмотров • 2 месяцев назад

“When KSY sunbaenim hit him and called him a bad kid, his hands were shaking and he was crying. It was so realistic that i could feel his emotions. Those details still makes me tear up. It was so amazing that it even not enough to be called as a masterpiece (bcs it went boyond that)”. Actor Lim Choelsoo said the scene of Hosu and his Mom is the most memorable scene for him from the drama, he even choked a bit while talking abt it during interview. 🥺🥹 #미지의서울 #박진영 박진영 #OurUnwrittenSeoul
2:28

“When KSY sunbaenim hit him and called him a bad kid, his hands were shaking and he was crying. It was so realistic that i could feel his emotions. Those details still makes me tear up. It was so amazing that it even not enough to be called as a masterpiece (bcs it went boyond that)”. Actor Lim Choelsoo said the scene of Hosu and his Mom is the most memorable scene for him from the drama, he even choked a bit while talking abt it during interview. 🥺🥹 #미지의서울 #박진영 박진영 #OurUnwrittenSeoul

ᥫ᭡

234,921 просмотров • 1 год назад

this entire scene is so cathartic. lestat welcomes the muses as he accepts his own undoing and lets music be the thing that both damns him and saves him, and he exorcises them out of the room. it’s a beautiful love letter to art and how it can be a lifeline #tvlspoilers
3:12

this entire scene is so cathartic. lestat welcomes the muses as he accepts his own undoing and lets music be the thing that both damns him and saves him, and he exorcises them out of the room. it’s a beautiful love letter to art and how it can be a lifeline #tvlspoilers

lady stardust

25,758 просмотров • 3 месяцев назад

They really should have kept the extended scene where she still considers killing him even after he lets her go. It was a way stronger scene, showed how consumed with anger and vengeance she was, how nervous Quaritch really was and was the first time Jake had to almost work with him for a moment. All things which I feel will become a bigger plot moments in the next film.
0:55

They really should have kept the extended scene where she still considers killing him even after he lets her go. It was a way stronger scene, showed how consumed with anger and vengeance she was, how nervous Quaritch really was and was the first time Jake had to almost work with him for a moment. All things which I feel will become a bigger plot moments in the next film.

LA\/ENDER

307,065 просмотров • 9 месяцев назад

Bryan Cranston said Netflix streaming was the turning point in the success of Breaking Bad. Bryan Cranston: We got the Netflix effect, and it is a real thing. Um, in 2008 or 9, Netflix changed from sending out little envelopes, I don't know if they did it here in the UK, but there were envelopes with the, uh, disc, the movie on it... Romesh: Yeah. Bryan Cranston: ...and you'd give, and you'd pop it into your DVD player and that's how, and then you'd send it back through the post. They switched from that to streaming. When it went from just a finger, bing, and there it is. And all of a sudden, they had to have these, you know, these tiles up to show, "Oh, this is getting great reviews," "Oh, I heard about that, I've never seen it," and they start watching it, and that's what changed everything. When Netflix went to streaming, we were on it, and it's like skyrocketed. I will always be grateful to Netflix for what they've done. I mean, that was the turning point in the in the house of the success of Breaking Bad.
1:04

Bryan Cranston said Netflix streaming was the turning point in the success of Breaking Bad. Bryan Cranston: We got the Netflix effect, and it is a real thing. Um, in 2008 or 9, Netflix changed from sending out little envelopes, I don't know if they did it here in the UK, but there were envelopes with the, uh, disc, the movie on it... Romesh: Yeah. Bryan Cranston: ...and you'd give, and you'd pop it into your DVD player and that's how, and then you'd send it back through the post. They switched from that to streaming. When it went from just a finger, bing, and there it is. And all of a sudden, they had to have these, you know, these tiles up to show, "Oh, this is getting great reviews," "Oh, I heard about that, I've never seen it," and they start watching it, and that's what changed everything. When Netflix went to streaming, we were on it, and it's like skyrocketed. I will always be grateful to Netflix for what they've done. I mean, that was the turning point in the in the house of the success of Breaking Bad.

Ruzy.hl

45,125 просмотров • 2 месяцев назад

In Backrooms (2026), there's a scene where Clark and Kat get separated and he can hear her voice but there's just a blank wall in front of him. Kat on the other hand can see him fine through what she describes as a glass on her side. The Backrooms shapes itself around whoever is experiencing it and what kind of person they are at that moment. Clark had just run the other way while Kat sprinted after Bobby to try and save him. So for her there's a glass, and for him there's a wall
0:53

In Backrooms (2026), there's a scene where Clark and Kat get separated and he can hear her voice but there's just a blank wall in front of him. Kat on the other hand can see him fine through what she describes as a glass on her side. The Backrooms shapes itself around whoever is experiencing it and what kind of person they are at that moment. Clark had just run the other way while Kat sprinted after Bobby to try and save him. So for her there's a glass, and for him there's a wall

cinemoments

552,771 просмотров • 2 месяцев назад

Bryan Cranston says he had only ever gotten someone fired once in his career — and it happened on the set of Breaking Bad. Cranston says the crew member was "incredibly inappropriate and inebriated" and had made "a lot of people on our show feel very uncomfortable." He recalled telling the producer, "We've got to let him go. We've got to fire him. It's inexcusable behavior." The producer replied, "It's already done." Cranston explained, "It rewards good behavior, and I like doing that."
0:55

Bryan Cranston says he had only ever gotten someone fired once in his career — and it happened on the set of Breaking Bad. Cranston says the crew member was "incredibly inappropriate and inebriated" and had made "a lot of people on our show feel very uncomfortable." He recalled telling the producer, "We've got to let him go. We've got to fire him. It's inexcusable behavior." The producer replied, "It's already done." Cranston explained, "It rewards good behavior, and I like doing that."

Movies Scenes 🎫

419,473 просмотров • 1 месяц назад

the fact this is one of the most emotional parts of this song and for years, it has been him and hee doing it and now he has to get up there and do this part all alone for an entire tour. it might be hard for us to take it but for him doing it, i can’t imagine the pressure he must feel having to carry that part all by himself and seeing him get emotional right before starting actually breaks me. i hope he knows he still did as amazing and magical as always. ☆🪽 𓈒 ྀ༷ ˳ ׅ
0:25

the fact this is one of the most emotional parts of this song and for years, it has been him and hee doing it and now he has to get up there and do this part all alone for an entire tour. it might be hard for us to take it but for him doing it, i can’t imagine the pressure he must feel having to carry that part all by himself and seeing him get emotional right before starting actually breaks me. i hope he knows he still did as amazing and magical as always. ☆🪽 𓈒 ྀ༷ ˳ ׅ

eris ♱

81,721 просмотров • 4 месяцев назад

I'm recovering from surgery and decided to watch the Green Lantern. I've never seen it before and wanted to see if it really is as bad as every says it it - it is! But I noticed that about 30 mins into the film, there's a scene where Lively and Reynolds characters dance in a bar in an almost identical way to the slow dance scene from IEWU. The only difference is the characters were talking Could it be possible that Lively was trying to recreate the scene to be similar to the scene she did with her husband when she fell in love with him? Did she rewrite the scene to mirror the details of the dance? Is this what she means when she says her husband is "all over this movie"? Did Reynolds see this and get jealous because it hit a nerve? *side observation - she's rubbing her hands all over him and not intimacy coordinator is around
0:57

I'm recovering from surgery and decided to watch the Green Lantern. I've never seen it before and wanted to see if it really is as bad as every says it it - it is! But I noticed that about 30 mins into the film, there's a scene where Lively and Reynolds characters dance in a bar in an almost identical way to the slow dance scene from IEWU. The only difference is the characters were talking Could it be possible that Lively was trying to recreate the scene to be similar to the scene she did with her husband when she fell in love with him? Did she rewrite the scene to mirror the details of the dance? Is this what she means when she says her husband is "all over this movie"? Did Reynolds see this and get jealous because it hit a nerve? *side observation - she's rubbing her hands all over him and not intimacy coordinator is around

Leanne Newton

528,288 просмотров • 1 год назад

In Carlito’s Way, when Benny Blanco confronts Carlito, De Palma doesn’t cut back and forth like most directors would in a normal dialogue scene. Instead, he keeps the camera at a distance and pans between the two actors, capturing the rising tension between them. And as the scene becomes more chaotic, so does the camera's movements, amplifying the intensity of their performances until the scene finally erupts. This is a perfect example of the type of stylish visual storytelling Brian De Palma is known for, something he learned from studying masters like Billy Wilder -as he’s stated before… “Great directors like William Wilder, when he's staging a scene - just gets the camera in one position and lets the actors act through the emotion of the scene. And you can see the transference of feelings between them... This idea of cutting to close-ups back and forth, I think, shatters the sort of emotion going between the actors - the whole idea of catching lightning in the bottle. Something happens uniquely between the actors as they're playing a scene with each other, and it changes from take to take to take to take.”
1:05

In Carlito’s Way, when Benny Blanco confronts Carlito, De Palma doesn’t cut back and forth like most directors would in a normal dialogue scene. Instead, he keeps the camera at a distance and pans between the two actors, capturing the rising tension between them. And as the scene becomes more chaotic, so does the camera's movements, amplifying the intensity of their performances until the scene finally erupts. This is a perfect example of the type of stylish visual storytelling Brian De Palma is known for, something he learned from studying masters like Billy Wilder -as he’s stated before… “Great directors like William Wilder, when he's staging a scene - just gets the camera in one position and lets the actors act through the emotion of the scene. And you can see the transference of feelings between them... This idea of cutting to close-ups back and forth, I think, shatters the sort of emotion going between the actors - the whole idea of catching lightning in the bottle. Something happens uniquely between the actors as they're playing a scene with each other, and it changes from take to take to take to take.”

Gangster Cinema Central

197,922 просмотров • 5 месяцев назад

This is where understanding nuance becomes important. Mihawk’s relationship with the government is made very clear. He gains the benefits of being a warlord, and still does exactly what he wants. They did not even expect him to show up to the warlord meeting to begin with, and he makes it clear the only reason he did was because of his own personal interest. This relationship between Mihawks and the government is shown even better in the Live Action. Where Mihawk is kicking his feet up on a table while talking to his supposed “higher up” and the HERO of the Marines. Telling him he didn’t complete his mission. And the reason why? Because he didn’t want to. This entire scene he is literally talking down to Garp in a disrespectful tone. And this is one of the faces of the WG organization itself. Garp even tries to use the government excuse by telling Mihawk he works for them. And Mihawks response perfectly encapsulates his position as a Warlord “I would still do precisely as I want. No more and no less.” He does not have this position out of necessity, he uses it for his own quality of life. He was using the WG for his own benefit and they sat by and let him do it for years.
0:33

This is where understanding nuance becomes important. Mihawk’s relationship with the government is made very clear. He gains the benefits of being a warlord, and still does exactly what he wants. They did not even expect him to show up to the warlord meeting to begin with, and he makes it clear the only reason he did was because of his own personal interest. This relationship between Mihawks and the government is shown even better in the Live Action. Where Mihawk is kicking his feet up on a table while talking to his supposed “higher up” and the HERO of the Marines. Telling him he didn’t complete his mission. And the reason why? Because he didn’t want to. This entire scene he is literally talking down to Garp in a disrespectful tone. And this is one of the faces of the WG organization itself. Garp even tries to use the government excuse by telling Mihawk he works for them. And Mihawks response perfectly encapsulates his position as a Warlord “I would still do precisely as I want. No more and no less.” He does not have this position out of necessity, he uses it for his own quality of life. He was using the WG for his own benefit and they sat by and let him do it for years.

Clairvoyant

26,880 просмотров • 18 дней назад

The pool hall scene in Carlito’s Way is one of the most suspenseful set pieces in all of crime cinema. However, when the studio executives saw an early cut, they thought it was too long and asked Brian De Palma to cut it back - but instead, he made it even longer. The writer of the film, David Koepp explains…. “We showed an early cut to the studio, and one of their notes was that the pool hall scene seemed too long. I was talking to Brian about it, and I said, “what do you think about this note that the pool hall scene is too long? I don't think they're right about that.” And he said, “No, no, no, they're absolutely right, they're absolutely right. But what they mean is that it's not long enough” And I thought he was just being cheeky and defiant. But actually, no - I mean, he knows suspense so well, he felt that it was just that he had failed to set up a little bit of the geography of the suspense - which is of course, his mastery. You know - the guys in the bathroom, the door is slightly open, the other guys over here - all that great establishment of where everybody is, and how close they are to each other, and what all the stakes are. The suspense only works later if that stuff's set up properly before. And so when he went back and furthered some of that coverage and expanded the front of the scene a little bit, the scene was nail biting and great. And they saw another cut and said, “much better shorter, much better shorter.”
7:23

The pool hall scene in Carlito’s Way is one of the most suspenseful set pieces in all of crime cinema. However, when the studio executives saw an early cut, they thought it was too long and asked Brian De Palma to cut it back - but instead, he made it even longer. The writer of the film, David Koepp explains…. “We showed an early cut to the studio, and one of their notes was that the pool hall scene seemed too long. I was talking to Brian about it, and I said, “what do you think about this note that the pool hall scene is too long? I don't think they're right about that.” And he said, “No, no, no, they're absolutely right, they're absolutely right. But what they mean is that it's not long enough” And I thought he was just being cheeky and defiant. But actually, no - I mean, he knows suspense so well, he felt that it was just that he had failed to set up a little bit of the geography of the suspense - which is of course, his mastery. You know - the guys in the bathroom, the door is slightly open, the other guys over here - all that great establishment of where everybody is, and how close they are to each other, and what all the stakes are. The suspense only works later if that stuff's set up properly before. And so when he went back and furthered some of that coverage and expanded the front of the scene a little bit, the scene was nail biting and great. And they saw another cut and said, “much better shorter, much better shorter.”

Gangster Cinema Central

62,984 просмотров • 5 месяцев назад

Asked Chet Holmgren about facing former Gonzaga teammate Drew Timme and what he has learned from him: “I’m extremely happy for him. He’s a helluva player and a helluva worker. I’m happy to see him get some opportunity and make the most of it out there. We were both extremely focused on the game, but lots of jokes going back and forth up and down the floor. I kind of learned how to be a professional when it comes down to being on the court. Obviously, Drew is very known for being a goofy and not-take-life-too-serious kind of guy. But when it came to basketball, he was all business with how he prepared for it and how he played the game. It was great to be able to watch that and learn from him. I’ve just tried to apply that to my journey.”
1:02

Asked Chet Holmgren about facing former Gonzaga teammate Drew Timme and what he has learned from him: “I’m extremely happy for him. He’s a helluva player and a helluva worker. I’m happy to see him get some opportunity and make the most of it out there. We were both extremely focused on the game, but lots of jokes going back and forth up and down the floor. I kind of learned how to be a professional when it comes down to being on the court. Obviously, Drew is very known for being a goofy and not-take-life-too-serious kind of guy. But when it came to basketball, he was all business with how he prepared for it and how he played the game. It was great to be able to watch that and learn from him. I’ve just tried to apply that to my journey.”

Justin Martinez

112,780 просмотров • 5 месяцев назад

Ethan Hawke says he found Robin Williams hiding alone in the dark on the Dead Poets Society set “Even at 18 I was aware of the complexity of his emotional life” “I’ve had a lot of depression in my family, and it was obvious to me that all that power and that charisma came at a certain cost” “It’s a deeply, deeply sensitive person who was highly attuned to the energy of a room” “I remember once he was making up lines and everybody’s laughing, everybody’s praising him, and then I went to get a glass of water, get a bagel or something” “And I saw him hiding in a little corner. He was hiding in the dark by himself” “Okay, it makes a lot more sense to me now, actually. It was a lot. It was taxing” “There’s a lot of stories about clowns, and the happiness that they give and at what cost” Interviewer: “How much that takes out of them” Ethan: “The end of his life does not define his life to me. When I watch the movie, I think of the spirit of the man that I knew on those days, and how powerful it was, and how much he weathered that storm of his own psyche for us and for other people” “And I admire him tremendously. You know, there aren’t two of him”
1:43

Ethan Hawke says he found Robin Williams hiding alone in the dark on the Dead Poets Society set “Even at 18 I was aware of the complexity of his emotional life” “I’ve had a lot of depression in my family, and it was obvious to me that all that power and that charisma came at a certain cost” “It’s a deeply, deeply sensitive person who was highly attuned to the energy of a room” “I remember once he was making up lines and everybody’s laughing, everybody’s praising him, and then I went to get a glass of water, get a bagel or something” “And I saw him hiding in a little corner. He was hiding in the dark by himself” “Okay, it makes a lot more sense to me now, actually. It was a lot. It was taxing” “There’s a lot of stories about clowns, and the happiness that they give and at what cost” Interviewer: “How much that takes out of them” Ethan: “The end of his life does not define his life to me. When I watch the movie, I think of the spirit of the man that I knew on those days, and how powerful it was, and how much he weathered that storm of his own psyche for us and for other people” “And I admire him tremendously. You know, there aren’t two of him”

sara

71,011 просмотров • 1 месяц назад

Tom Holland reveals he watched Matt Damon and Anne Hathaway stay in character for entire afternoons during a highly emotional 9-minute scene filmed with 3-minute camera limits "I remember a scene between Matt Damon and Anne Hathaway. It's about a 9-minute scene, and the camera can only run for 3 minutes at a time because it runs out of film. They would run it, take it out the blimp, reload it, put it back in, and then the two actors would just carry on from where they left off." "This is the most emotional scene in the movie. It's so fantastic. To see both of them stay in character, stay in that emotion, never waver, and never come out of it. They would call cut, they would reload the camera, and Matt and Anne just stayed there in the moment for 3 minutes before the camera would roll again." "It was just a masterclass in patience, professionalism, and confidence in themselves. It was awesome."
1:18

Tom Holland reveals he watched Matt Damon and Anne Hathaway stay in character for entire afternoons during a highly emotional 9-minute scene filmed with 3-minute camera limits "I remember a scene between Matt Damon and Anne Hathaway. It's about a 9-minute scene, and the camera can only run for 3 minutes at a time because it runs out of film. They would run it, take it out the blimp, reload it, put it back in, and then the two actors would just carry on from where they left off." "This is the most emotional scene in the movie. It's so fantastic. To see both of them stay in character, stay in that emotion, never waver, and never come out of it. They would call cut, they would reload the camera, and Matt and Anne just stayed there in the moment for 3 minutes before the camera would roll again." "It was just a masterclass in patience, professionalism, and confidence in themselves. It was awesome."

Moyhin 🤍

1,174,698 просмотров • 2 месяцев назад

Friends! It’s the 11th Day of Christmas and the Triplets have been told that the Decorations will come down tomorrow. Ron is particularly sad about the Small Nativity Scene. He loves it, and sits next to it a lot of the time. I think today he was saying Goodbye to it, in his own sweet way ❤️
1:35

Friends! It’s the 11th Day of Christmas and the Triplets have been told that the Decorations will come down tomorrow. Ron is particularly sad about the Small Nativity Scene. He loves it, and sits next to it a lot of the time. I think today he was saying Goodbye to it, in his own sweet way ❤️

Malcolm & Baby Dog

33,058 просмотров • 8 месяцев назад