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Christopher Nolan interviewing Michael Mann, Al Pacino and Robert De Niro on the iconic coffee shop meeting in Heat... Nolan: So for all three of you, I mean, one of the great and memorable scenes in the film - there are many - but the iconic coffee shop meeting... that people were so struck by when the film came out, seeing two such great actors who had not acted in the same scene together before, together. There was such mythology around it at the time. I remember several friends of mine being convinced that you'd shot it on different days because there was no two-shot… (Michael Mann laughs) Nolan: Was it single camera? Was it two cameras? Did you have two cameras so you could shoot both close-ups at the same time? How did you approach that momentous event? Mann: It started with this consummate respect for the great artists that these two guys are. We talked about the scene and we analysed the scene… We didn't want to do the scene until we were at Cape Mandelini's. And then it was so ingrained that I knew that in all the little tiny organic details it would be different from take to take. So what I wanted to do was shoot with two cameras, two over the shoulders – I knew that there would be an organic unity to one take, and it would be a slightly different organic unity to another; because if you look at it very carefully, if Bob shifts his hand like this a little bit, right in the middle of dialogue, Al is doing something to counter it - because maybe he's shifting his positions so he can get closer to a weapon… Nolan: What do you remember about that shoot? Pacino: I do remember that Bob said – at first I wondered about it and then I thought how right he is – he said, “let’s not rehearse it.” Nolan: Because you love to rehearse. Pacino: Oh yeah. And Bob does too. De Niro: No, I do too at times, but this kind of scene we didn't have to. Pacino: But the thing is, what Bob said is so true about rehearsal – and that is that there is no sense in rehearsing if the people around you don't know how to rehearse. That is an important factor. Might as well not rehearse or rehearse very little. But it's true because it's a certain kind of thing and people either respond to it or they don't. And so, they could be great actors, of course, but they don't want to rehearse. I've had experiences like that… De Niro: Well, it was also that we were stationary. So, it wasn't we had to sort of rehearse blocking or anything and discover how our physical moves would be. We were kind of, there, though there were subtle moves in the scene itself, obviously. But anyway, and we started late and.... we didn't start till after lunch or dinner, which was really like one o'clock in the morning...I loved the scene and I wanted, you know, really wanted it to be as best as it could be. So I was a little unhappy that we started so late in the middle of the night... Mann: It was actually intentional... De Niro: I know, he wanted to tire us out. Nolan: But getting into a scene like that, that you know is going to be such a significant part of the film, huge expectation from both of you as you sit down to perform it. At the end of that night, did you know you had it? Did you feel it? Pacino: I never knew that. De Niro: You never know that. Mann: I knew we had it. Nolan: You knew. That's your job. Pacino: I'd like to do it again actually. Mann: (laughs) We’ll re-shoot it… We normally would rehearse scenes. That scene we talked about, we all as a group decided, you know, we wanted to just talk it through and save it for the event of shooting it, which was the only scene we probably did that with. But I tend to not want to rehearse things to the point where I feel like I wish I'd shot it. That's a disaster – I think things will be perfect once, and they'll never be perfect. They'll never be 100% twice. They'll only be 100% once. You want that happening in front of the camera. From a panel discussion following a special screening of Heat at the Samuel Goldwyn Theater on September 7, 2016.show more

Gangster Cinema Central

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Gary Oldman's "EVERYONE!!" scream in Léon: The Professional is so iconic people yell it at him in the street. Turns out it started as a joke between him and Luc Besson. He explains: “What's strange is that it's become this sort of iconic line, and it was all done as a joke. And that was the thing, I played the scene…. And I had a relationship with Luc. Luc Besson was kind of mad in a way — I mean, we were shooting on film. He would say to me, "OK, do the scene again, but now do it as Robert De Niro." Or do it as... And he would shoot it for kicks, and his archive. So we had a fun kind of relationship… I said to Luke, "I just want to do one more, let me do one more." And I went to the sound guy and I said, "I'm going to be really loud, so be careful." And said “bring me everyone" — you know, EVERYONE like that. I just did it as a joke to make Luc laugh. I was a little shocked when I saw it in the film, yeah. It was just me fooling around — with intensity, with feeling — and yet it's become this line now.”

Gary Oldman's "EVERYONE!!" scream in Léon: The Professional is so iconic people yell it at him in the street. Turns out it started as a joke between him and Luc Besson. He explains: “What's strange is that it's become this sort of iconic line, and it was all done as a joke. And that was the thing, I played the scene…. And I had a relationship with Luc. Luc Besson was kind of mad in a way — I mean, we were shooting on film. He would say to me, "OK, do the scene again, but now do it as Robert De Niro." Or do it as... And he would shoot it for kicks, and his archive. So we had a fun kind of relationship… I said to Luke, "I just want to do one more, let me do one more." And I went to the sound guy and I said, "I'm going to be really loud, so be careful." And said “bring me everyone" — you know, EVERYONE like that. I just did it as a joke to make Luc laugh. I was a little shocked when I saw it in the film, yeah. It was just me fooling around — with intensity, with feeling — and yet it's become this line now.”

Gangster Cinema Central

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Scottie Scheffler says they didn’t find his ball on 17 and he actually asked people to stop searching for it: “The rules official said it landed just barely left of the grandstand thing. I don't know what you call that, like a sponsor area or something. And Teddy had a beat right on where it was coming down. So when we get up there, it's past the fence that marks the TIO, so he said anything that's in there is it part of the TIO. So then we said -- we tried to figure it out. I said, if I find it, does that help me; can I drop it -- since that would be about 50 yards closer to the hole. He said, yes, you can then use that spot, but you might have to go to the other side of the TIO, which I didn't know exactly where that would be, and that's not a great angle coming across there. “So decided to stop the search and go back and drop it doing point-of-entry TIO relief. Actually I did that once this year during the Byron as well. Not something I'm proud of but I was familiar with.” He went on to say: “I stopped them. They had guys pointing from up there, like it landed right here, and I just kind of hauled up there, and I was like, guys, get out of there, stop, do not find the ball. Fortunately it was my security guy that I've had for a few years here. His name is Brucey. And then Woody was up there as well. So both those guys are pretty -- I know them quite well, so when I said, please don't look for the ball, they got out of there.” The Open

Scottie Scheffler says they didn’t find his ball on 17 and he actually asked people to stop searching for it: “The rules official said it landed just barely left of the grandstand thing. I don't know what you call that, like a sponsor area or something. And Teddy had a beat right on where it was coming down. So when we get up there, it's past the fence that marks the TIO, so he said anything that's in there is it part of the TIO. So then we said -- we tried to figure it out. I said, if I find it, does that help me; can I drop it -- since that would be about 50 yards closer to the hole. He said, yes, you can then use that spot, but you might have to go to the other side of the TIO, which I didn't know exactly where that would be, and that's not a great angle coming across there. “So decided to stop the search and go back and drop it doing point-of-entry TIO relief. Actually I did that once this year during the Byron as well. Not something I'm proud of but I was familiar with.” He went on to say: “I stopped them. They had guys pointing from up there, like it landed right here, and I just kind of hauled up there, and I was like, guys, get out of there, stop, do not find the ball. Fortunately it was my security guy that I've had for a few years here. His name is Brucey. And then Woody was up there as well. So both those guys are pretty -- I know them quite well, so when I said, please don't look for the ball, they got out of there.” The Open

Flushing It

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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 • 1 месяц назад

Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”

Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”

neandrewthal

41,422 просмотров • 1 год назад

Jacob talks about making deliberate choices with his shoots: ‘Another trick that I learned years ago is that I don't shoot very much, so nobody can cut my show the way I don't want them to cut it. There's no excess. "Is there a close up?" and I'm like, "No." And so, I do a lot of that, and it's very deliberate. I mean, the thing about the show when you talk about the money and the resources, the reason that it is stretched to a point, is that we shot, I think, 57 locations in 34 days? So to keep the scope of the show the way we wanted, we had to move fast, and we had to get things done. And so that means there's going to be some one-ers, there's going to be some things, and instead of you seeing that as a limitation, you have to view that as like, “This is a fun opportunity to do something interesting.” We shot that cottage in two days. We had two days to do it, and so it was like, “Okay, here we are doing it.” And we finished early. 🗣️ CSA Presents: Focal Point, May 31, 2026. ▶️ ✍🏼 transcription by Heated Rivalry News

Jacob talks about making deliberate choices with his shoots: ‘Another trick that I learned years ago is that I don't shoot very much, so nobody can cut my show the way I don't want them to cut it. There's no excess. "Is there a close up?" and I'm like, "No." And so, I do a lot of that, and it's very deliberate. I mean, the thing about the show when you talk about the money and the resources, the reason that it is stretched to a point, is that we shot, I think, 57 locations in 34 days? So to keep the scope of the show the way we wanted, we had to move fast, and we had to get things done. And so that means there's going to be some one-ers, there's going to be some things, and instead of you seeing that as a limitation, you have to view that as like, “This is a fun opportunity to do something interesting.” We shot that cottage in two days. We had two days to do it, and so it was like, “Okay, here we are doing it.” And we finished early. 🗣️ CSA Presents: Focal Point, May 31, 2026. ▶️ ✍🏼 transcription by Heated Rivalry News

Heated Rivalry News

33,607 просмотров • 2 месяцев назад

Will Ferrell says the iconic Anchorman news team fight was his favorite scene to film, revealing it was shot in 100-degree heat in just one day and captured the absurd comedy that defined the movie. “One of my favorite scenes in the movie. It’s such an incredible joke bag. Before we get into the fight, Brick Tamland, played by Steve Carell, is holding a grenade. We don’t know how he got ahold of it. There is a man on fire, there is someone being dragged by a net by horseback, which is kind of an homage to early Planet of the Apes.” “I think it’s something like 30 to 35 different setups, with two units, a stunt unit working at the same time as the main film unit in downtown LA in the middle of July. And I think it was 100 degrees that day.” “And we only had the one day to complete all that. And it’s probably a scene that should have taken three days to shoot. So silly, so absurdist. I think it is really one of the touchstone moments that defines the tone of Anchorman.” “I think Adam and I wanted to create this film where we got to indulge every comedy idea we ever had and follow it all the way through without someone telling us, “No, that scene’s too long,” “No one would ever do that,” “That doesn’t make sense.” We just wanted it to be like, it may not make sense, but it’s just funny.” “I think when people saw that film, they were like, “This feels like someone gave you the keys to a car and you’re 5 years old and you don’t know how to drive.” No one wanted to make it, no one understood why this would be funny. We just felt like we were playing with the house’s money, and let’s just make the craziest film we can, because we may never be allowed to make another movie ever again.”

Will Ferrell says the iconic Anchorman news team fight was his favorite scene to film, revealing it was shot in 100-degree heat in just one day and captured the absurd comedy that defined the movie. “One of my favorite scenes in the movie. It’s such an incredible joke bag. Before we get into the fight, Brick Tamland, played by Steve Carell, is holding a grenade. We don’t know how he got ahold of it. There is a man on fire, there is someone being dragged by a net by horseback, which is kind of an homage to early Planet of the Apes.” “I think it’s something like 30 to 35 different setups, with two units, a stunt unit working at the same time as the main film unit in downtown LA in the middle of July. And I think it was 100 degrees that day.” “And we only had the one day to complete all that. And it’s probably a scene that should have taken three days to shoot. So silly, so absurdist. I think it is really one of the touchstone moments that defines the tone of Anchorman.” “I think Adam and I wanted to create this film where we got to indulge every comedy idea we ever had and follow it all the way through without someone telling us, “No, that scene’s too long,” “No one would ever do that,” “That doesn’t make sense.” We just wanted it to be like, it may not make sense, but it’s just funny.” “I think when people saw that film, they were like, “This feels like someone gave you the keys to a car and you’re 5 years old and you don’t know how to drive.” No one wanted to make it, no one understood why this would be funny. We just felt like we were playing with the house’s money, and let’s just make the craziest film we can, because we may never be allowed to make another movie ever again.”

Ruzy.hl

60,046 просмотров • 22 дней назад

Wiz Khalifa says he rewrote his second verse for “See You Again” after Paul Walker's death, just one week before Furious 7 was released “It was right when he passed. He was filming for the movie, and they were like, ‘Something happened. We need to do a whole little redirection, and you're going to be a part of that” “So they're like, ‘This is the last scene of the movie. He's in the movie, but we're generating his face on a couple scenes. And this is going to be one of them where it's going to be him riding off into the sunset, but it's going to represent his departure’” “But by the time the movie had come out, it was like a week before the movie came out, they were like, ‘We need to finish the song, and we're going to shoot the video, and we just want you and Charlie Puth on there. Everybody else we don't want, so you need to write another verse.’ So I quickly came in there. I watched the scene, because I already did the first verse just based off what they told me it was going to be like. Then for the second verse, they were like watch the scene and write it based off that” “I watched the scene, wrote my verse real quick, recorded it, we shot the video the next week, and then it comes out with the movie. It's just supposed to be a soundtrack song, but as soon as it got on the radio, it went number one and stayed there for like 12 or 13 weeks. I never knew it was going to do all of that at all” “It's unfortunate that Paul Walker lost his life, and his legacy is always going to live on. I met his family and they loved it. But I think ‘See You Again’ connects because you can tell everybody goes through those losses, and you can feel that in those verses. I've taken losses, and I've personally felt what that feels like. So to be able to channel that through the music, tell his story, help his legacy live on, and also connect with other people who go through similar things, that was my main goal. That's what I knew I could do through my personal experiences, and I'm glad that the world”

Wiz Khalifa says he rewrote his second verse for “See You Again” after Paul Walker's death, just one week before Furious 7 was released “It was right when he passed. He was filming for the movie, and they were like, ‘Something happened. We need to do a whole little redirection, and you're going to be a part of that” “So they're like, ‘This is the last scene of the movie. He's in the movie, but we're generating his face on a couple scenes. And this is going to be one of them where it's going to be him riding off into the sunset, but it's going to represent his departure’” “But by the time the movie had come out, it was like a week before the movie came out, they were like, ‘We need to finish the song, and we're going to shoot the video, and we just want you and Charlie Puth on there. Everybody else we don't want, so you need to write another verse.’ So I quickly came in there. I watched the scene, because I already did the first verse just based off what they told me it was going to be like. Then for the second verse, they were like watch the scene and write it based off that” “I watched the scene, wrote my verse real quick, recorded it, we shot the video the next week, and then it comes out with the movie. It's just supposed to be a soundtrack song, but as soon as it got on the radio, it went number one and stayed there for like 12 or 13 weeks. I never knew it was going to do all of that at all” “It's unfortunate that Paul Walker lost his life, and his legacy is always going to live on. I met his family and they loved it. But I think ‘See You Again’ connects because you can tell everybody goes through those losses, and you can feel that in those verses. I've taken losses, and I've personally felt what that feels like. So to be able to channel that through the music, tell his story, help his legacy live on, and also connect with other people who go through similar things, that was my main goal. That's what I knew I could do through my personal experiences, and I'm glad that the world”

dank

38,260 просмотров • 21 дней назад

they were truly meant to be :( AAS AT LOVE MOMENT AWARDS #LoveMomentAwards2026xDMD #auausave 👤: in the beginning was there a time where it felt like you both had conflicts (incompatible) and felt like letting go or backing out 🦋: ohooo thats such a deep question— do you have the answer (🐱) 🐱: its a deep question but i can answer— there was in the beginning during reality A staff member asked me, “ save, are you sure?" yeah, they really asked that. 🐱: “Are you sure? because phi au doesn't seem to be matching with you at all are you sure you want to go on, to keep pushing forward?" That was behind the scenes, i dont know if phi au know that this happened. 🦋: *shakes head in no* 🐱: A staff member came to ask me, and I said let's give it a try I didn't know how it would turn out, but let's try first If it didn't work out, then its fine we’ll just see how it goes 👤: and what made you confident in him at that time, when even the staff was asking if you wanted to continue with him 🐱: But I... I.I thought that we... even though we weren't close and didn't... what do you call it, even though we did have conflicts, deep down at that time, there was something that made me feel we could work together. For myself, I knew what I needed to do when it came to working. As for phi au, he had things he could do—whether it was singing or dancing, phi au is fully capable. 🐱: The two of us could become like pieces of a jigsaw puzzle that could fit together if we connected. That's how it felt back then 🦋: *smiles so wide*

they were truly meant to be :( AAS AT LOVE MOMENT AWARDS #LoveMomentAwards2026xDMD #auausave 👤: in the beginning was there a time where it felt like you both had conflicts (incompatible) and felt like letting go or backing out 🦋: ohooo thats such a deep question— do you have the answer (🐱) 🐱: its a deep question but i can answer— there was in the beginning during reality A staff member asked me, “ save, are you sure?" yeah, they really asked that. 🐱: “Are you sure? because phi au doesn't seem to be matching with you at all are you sure you want to go on, to keep pushing forward?" That was behind the scenes, i dont know if phi au know that this happened. 🦋: shakes head in no 🐱: A staff member came to ask me, and I said let's give it a try I didn't know how it would turn out, but let's try first If it didn't work out, then its fine we’ll just see how it goes 👤: and what made you confident in him at that time, when even the staff was asking if you wanted to continue with him 🐱: But I... I.I thought that we... even though we weren't close and didn't... what do you call it, even though we did have conflicts, deep down at that time, there was something that made me feel we could work together. For myself, I knew what I needed to do when it came to working. As for phi au, he had things he could do—whether it was singing or dancing, phi au is fully capable. 🐱: The two of us could become like pieces of a jigsaw puzzle that could fit together if we connected. That's how it felt back then 🦋: smiles so wide

kash‎ #thirdwan !

21,470 просмотров • 1 месяц назад

mc: during wlgyt, a poster with chungseob's back reveal and i ask staff who was that but they didn't answer me. they didn't tell us until the end even we ask who is the actor behind it but no answer, it is bcs it's was a spoiler that needs a tight security? seonho: the director talk to me during our last team dinner that they made something like an album or something "i didn't include chungseob because i was afraid it would be a spoiler," he said. mc: your first appearance was during the closet scene right? and i was like oh? i know that actor is let me find it later but still i didn't recognize you. seonho: back then, it took almost 4 hours each time just to get the makeup and styling done. they had to attach each strand of hair one by one. so we put an incredible amount of time and effort into it and in a way, i was actually happy that people didn't recognize me. mc: and during the time that you asked permission for marriage you made a cute scene like- jungie: abonim~ mc: i heard that there's a lot of adlibs. seonho: it was bcs the director instructed me where to where to walk as other actors need to be seen on camera angles, so ofc the actors need to be on angle and while having their scene i came in while thinking 'i need to be close to my father in law while smiling' and then i started to walk towards them so i did the slapstick to fill in the gaps.. just like we do during rehearsal and the good thing about this is we filmed when IU said the "omonim~" first and i remember it to clearly and do it the same.

mc: during wlgyt, a poster with chungseob's back reveal and i ask staff who was that but they didn't answer me. they didn't tell us until the end even we ask who is the actor behind it but no answer, it is bcs it's was a spoiler that needs a tight security? seonho: the director talk to me during our last team dinner that they made something like an album or something "i didn't include chungseob because i was afraid it would be a spoiler," he said. mc: your first appearance was during the closet scene right? and i was like oh? i know that actor is let me find it later but still i didn't recognize you. seonho: back then, it took almost 4 hours each time just to get the makeup and styling done. they had to attach each strand of hair one by one. so we put an incredible amount of time and effort into it and in a way, i was actually happy that people didn't recognize me. mc: and during the time that you asked permission for marriage you made a cute scene like- jungie: abonim~ mc: i heard that there's a lot of adlibs. seonho: it was bcs the director instructed me where to where to walk as other actors need to be seen on camera angles, so ofc the actors need to be on angle and while having their scene i came in while thinking 'i need to be close to my father in law while smiling' and then i started to walk towards them so i did the slapstick to fill in the gaps.. just like we do during rehearsal and the good thing about this is we filmed when IU said the "omonim~" first and i remember it to clearly and do it the same.

juyz 🥐

29,584 просмотров • 7 месяцев назад

BREAKING NEWS: Trump announces economic plan. “So there are some of the most brilliant people in Wall Street that are saying that if President Trump doesn't win, you're going to have a depression. I have to agree. I think that's true. Because I know how bad these people are. You know, they like to say that they did this and that. You saw the seven trillion that they said it was me for seven trillion. It wasn't me. It was them. They said that I had inflation. They took over 9% in inflation. No, no, I had 1% inflation. I had actually no inflation because if you look at the categories, we had just about no inflation. But I had a very minor-- I actually had a positive inflation. It was a perfect number. Because you don't want zero. I mean, I'm not going to give you a whole course on economics. But you don't want zero. 1% 1.4% is great. You want a little bit because you don't want to have deflation. Deflation is, in many ways, even worse. I had a perfect number right around the 1% number. It was perfect. And to show you, it stayed there for two years. And then he did all of the different borrowings that he did. And then he did so many things wrong. Every time he would do it, I'd say big mistake. And don't forget they sell hats. And they sell stories. Trump was right about everything. I happened right about a lot.”

BREAKING NEWS: Trump announces economic plan. “So there are some of the most brilliant people in Wall Street that are saying that if President Trump doesn't win, you're going to have a depression. I have to agree. I think that's true. Because I know how bad these people are. You know, they like to say that they did this and that. You saw the seven trillion that they said it was me for seven trillion. It wasn't me. It was them. They said that I had inflation. They took over 9% in inflation. No, no, I had 1% inflation. I had actually no inflation because if you look at the categories, we had just about no inflation. But I had a very minor-- I actually had a positive inflation. It was a perfect number. Because you don't want zero. I mean, I'm not going to give you a whole course on economics. But you don't want zero. 1% 1.4% is great. You want a little bit because you don't want to have deflation. Deflation is, in many ways, even worse. I had a perfect number right around the 1% number. It was perfect. And to show you, it stayed there for two years. And then he did all of the different borrowings that he did. And then he did so many things wrong. Every time he would do it, I'd say big mistake. And don't forget they sell hats. And they sell stories. Trump was right about everything. I happened right about a lot.”

Jim Stewartson, Decelerationist 🇨🇦🇺🇦🇺🇸

2,407,728 просмотров • 2 лет назад

"At school or university, the thing is to be brilliant and to get the answer right first time. And there are brilliant people who can do that, but for the rest of us, we're not brilliant. And to get there, we have to strive and we have to go through failure. And we realize that you don't get it right first time, you don't get it right second time. In my case, and I counted it, it's 5,127 times. One of the things I always want to say is that sounds like a struggle. It was a struggle, but actually it was a hugely enjoyable struggle. The debt was mounting and I had three children, a wife and a home, and then a mortgage to pay, like everybody else. But I had a real point in life, I had a real aim and I had to get there. And the failures were interesting because I'd learned from every single one of them."

"At school or university, the thing is to be brilliant and to get the answer right first time. And there are brilliant people who can do that, but for the rest of us, we're not brilliant. And to get there, we have to strive and we have to go through failure. And we realize that you don't get it right first time, you don't get it right second time. In my case, and I counted it, it's 5,127 times. One of the things I always want to say is that sounds like a struggle. It was a struggle, but actually it was a hugely enjoyable struggle. The debt was mounting and I had three children, a wife and a home, and then a mortgage to pay, like everybody else. But I had a real point in life, I had a real aim and I had to get there. And the failures were interesting because I'd learned from every single one of them."

David Senra

137,546 просмотров • 8 месяцев назад

Robert De Niro originally wanted to play Max Cherry in Jackie Brown, the role that eventually went to Robert Forster. However, Quentin Tarantino had written the role with Forster in mind and had already promised him the part. Tarantino explains… “I wrote Jackie Brown, and I decided at some point in writing the script that Robert Forster would be terrific as Max Cherry. So, while I’m still writing the script, I bump into Robert Forster - we go to the same coffee shop. ….so I decided I’m gonna give him the part, because I figure, look, this would be a big, big deal part. So if I don’t give him the part, then once I’m done with it and it gets out in the town, then it’s gonna be Gene Hackman and Paul Newman and people like that, and it would be pretty hard to say no to. But if I just give him the part right now, I’ve got the juice to get it through, and now I can’t take it back because I wouldn’t be a man of my word. So to lock myself into that decision, I give it to him before I finish writing it. And then now comes the time to do it. Robert De Niro reads it, and he wants to be in it, but he wants to play Max. And I go, “Well, look, you would be a fantastic Max, but I’ve already given that to Robert Forster, and I’m a man of my word. I can’t take it back.” Now, De Niro is very much a man of his word, so he understands that. He gets that. And he’s just like, “Yeah, yeah. That’s just disappointing. It’s just regretful.” I go, “What?” “Well, just because, you know, you were thinking about him, so you wrote it for him. But if we had had more dinners and hung out a little bit more, then you would have been thinking about me and you would have written it for me. And I understand what happened, but that could have been changed if we had spent more time with each other before this.” And so he kind of gives me the – “just think about it for a couple of days, all right? - and then let’s talk again. Maybe Bob (Robert Foster) could play Louis, the other guy.” So then I actually have Bob read Louis with me, and then read Max. And if that could work, maybe that could work. But no, everything that made him perfect for Max made him wrong for Louis. And so I get on the phone with De Niro — and I go, “Yeah, you know, I explored that. But no, everything about him that makes him perfect for Max makes him wrong to play this ex-convict guy.” And he goes, “Yeah, yeah, I get that. I get that, I get that, I get that. Okay, so tell me about this Louis character.” And I go, “You would consider playing Louis?” “Yeah, it’s a good character. It’s a good movie. I wanna be part of it. It’s a good character. I wanted the other character, but yeah, this is a good character. I’d be happy to play it.” I go, “Well, you didn’t let me know that before.” He goes, “Well, I didn’t wanna let you off the hook. I wanted you on the hook. But now if that ship has sailed, then let’s talk about Louis.” And then it was a done deal.”

Robert De Niro originally wanted to play Max Cherry in Jackie Brown, the role that eventually went to Robert Forster. However, Quentin Tarantino had written the role with Forster in mind and had already promised him the part. Tarantino explains… “I wrote Jackie Brown, and I decided at some point in writing the script that Robert Forster would be terrific as Max Cherry. So, while I’m still writing the script, I bump into Robert Forster - we go to the same coffee shop. ….so I decided I’m gonna give him the part, because I figure, look, this would be a big, big deal part. So if I don’t give him the part, then once I’m done with it and it gets out in the town, then it’s gonna be Gene Hackman and Paul Newman and people like that, and it would be pretty hard to say no to. But if I just give him the part right now, I’ve got the juice to get it through, and now I can’t take it back because I wouldn’t be a man of my word. So to lock myself into that decision, I give it to him before I finish writing it. And then now comes the time to do it. Robert De Niro reads it, and he wants to be in it, but he wants to play Max. And I go, “Well, look, you would be a fantastic Max, but I’ve already given that to Robert Forster, and I’m a man of my word. I can’t take it back.” Now, De Niro is very much a man of his word, so he understands that. He gets that. And he’s just like, “Yeah, yeah. That’s just disappointing. It’s just regretful.” I go, “What?” “Well, just because, you know, you were thinking about him, so you wrote it for him. But if we had had more dinners and hung out a little bit more, then you would have been thinking about me and you would have written it for me. And I understand what happened, but that could have been changed if we had spent more time with each other before this.” And so he kind of gives me the – “just think about it for a couple of days, all right? - and then let’s talk again. Maybe Bob (Robert Foster) could play Louis, the other guy.” So then I actually have Bob read Louis with me, and then read Max. And if that could work, maybe that could work. But no, everything that made him perfect for Max made him wrong for Louis. And so I get on the phone with De Niro — and I go, “Yeah, you know, I explored that. But no, everything about him that makes him perfect for Max makes him wrong to play this ex-convict guy.” And he goes, “Yeah, yeah, I get that. I get that, I get that, I get that. Okay, so tell me about this Louis character.” And I go, “You would consider playing Louis?” “Yeah, it’s a good character. It’s a good movie. I wanna be part of it. It’s a good character. I wanted the other character, but yeah, this is a good character. I’d be happy to play it.” I go, “Well, you didn’t let me know that before.” He goes, “Well, I didn’t wanna let you off the hook. I wanted you on the hook. But now if that ship has sailed, then let’s talk about Louis.” And then it was a done deal.”

Gangster Cinema Central

89,214 просмотров • 1 месяц назад

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder Film

23,149 просмотров • 7 месяцев назад

“When we were doing in the soop together, there were things I talked to you about when I was under a lot of stress. And people talked about that a lot. I mentioned how I wanted to be like you, but the truth is I don’t really remember much about it because it was two years ago.” “That means you’re like me now. Because you’re doing exactly what I told you to do. I told you to just forget everything, the past is the past”

“When we were doing in the soop together, there were things I talked to you about when I was under a lot of stress. And people talked about that a lot. I mentioned how I wanted to be like you, but the truth is I don’t really remember much about it because it was two years ago.” “That means you’re like me now. Because you’re doing exactly what I told you to do. I told you to just forget everything, the past is the past”

Daily Suchwita

29,495 просмотров • 9 месяцев назад

lando about the DSQ: “from what i had to do in the race, there was already some expectation that it might happen. so it wasn't a shock, it wasn't a surprise. we knew we were having a lot more issues than we ever expected during the race and that led to already the expectation that some things might not be as we expect. maybe it would have hurt more if we won the race, but we didn't so it didn't change. it doesn't change anything. there's no point being too sad about it. of course everyone in the team was a bit gutted about the result because there's a lot of effort that goes into it. so yeah it's the same for everyone but like 0.1 millimeters or whatever, it's like a piece of paper. so it was frustrating but actually i was quite okay, just excited to go again this weekend. it doesn't change anything i want to try and win in qatar and try and win in abu dhabi. so yeah it sucks, but that's life sometimes”

lando about the DSQ: “from what i had to do in the race, there was already some expectation that it might happen. so it wasn't a shock, it wasn't a surprise. we knew we were having a lot more issues than we ever expected during the race and that led to already the expectation that some things might not be as we expect. maybe it would have hurt more if we won the race, but we didn't so it didn't change. it doesn't change anything. there's no point being too sad about it. of course everyone in the team was a bit gutted about the result because there's a lot of effort that goes into it. so yeah it's the same for everyone but like 0.1 millimeters or whatever, it's like a piece of paper. so it was frustrating but actually i was quite okay, just excited to go again this weekend. it doesn't change anything i want to try and win in qatar and try and win in abu dhabi. so yeah it sucks, but that's life sometimes”

ray

214,829 просмотров • 8 месяцев назад

Sergey Brin on AI and Jeff Dean back in December when Gemini peaked: “I would say in some ways we for sure messed up in that we underinvested and sort of didn't take it as seriously as we should have, say, eight years ago when we published the Transformer paper. We actually didn't take it all that seriously and didn't necessarily invest in scaling the compute. And also we were too scared to bring it to people because chatbots say dumb things. And, you know, OpenAI ran with it, which is good for them. It was a super smart insight, and it was also our people like Ilya who went there to do that. But I do think we still have benefited from that long history. So we had a lot of the research and development of neural networks kind of going back to Google Brain. That was also kind of lucky. It wasn't luck that we hired Jeff Dean. I mean, we were lucky to get him. But we were in this sort of mindset that deep technical things matter. And so we hired him. We hired a lot of people from DEC, honestly, because they had the top research labs at the time. But he [Jeff Dean] was passionate about neural networks. And it stemmed, I think, from actually his college experiment. I don't know. He was like, whatever, curing third world disease and figuring out neural networks when he was like 16. He's done crazy things. But he was passionate about it. He built up a whole effort. And actually in my division at the time in Google X. We had him but I didn't I was like okay Jeff you do whatever you want. He's like oh we can tell cats from dogs. I'm like oh okay cool. But you know, you also trust your technical people and soon enough they were developing all these algorithms these neural nets that were doing some of our search. And then, you know, Noam came up with a transformer and we were able to do more and more. But yeah, I mean, so we had the underpinnings, we had the R&D. We did underinvest for a number of years and didn't take it as seriously as we should have.” Both Jeff Dean and Noam Shazeer left Google in the past two months.

Sergey Brin on AI and Jeff Dean back in December when Gemini peaked: “I would say in some ways we for sure messed up in that we underinvested and sort of didn't take it as seriously as we should have, say, eight years ago when we published the Transformer paper. We actually didn't take it all that seriously and didn't necessarily invest in scaling the compute. And also we were too scared to bring it to people because chatbots say dumb things. And, you know, OpenAI ran with it, which is good for them. It was a super smart insight, and it was also our people like Ilya who went there to do that. But I do think we still have benefited from that long history. So we had a lot of the research and development of neural networks kind of going back to Google Brain. That was also kind of lucky. It wasn't luck that we hired Jeff Dean. I mean, we were lucky to get him. But we were in this sort of mindset that deep technical things matter. And so we hired him. We hired a lot of people from DEC, honestly, because they had the top research labs at the time. But he [Jeff Dean] was passionate about neural networks. And it stemmed, I think, from actually his college experiment. I don't know. He was like, whatever, curing third world disease and figuring out neural networks when he was like 16. He's done crazy things. But he was passionate about it. He built up a whole effort. And actually in my division at the time in Google X. We had him but I didn't I was like okay Jeff you do whatever you want. He's like oh we can tell cats from dogs. I'm like oh okay cool. But you know, you also trust your technical people and soon enough they were developing all these algorithms these neural nets that were doing some of our search. And then, you know, Noam came up with a transformer and we were able to do more and more. But yeah, I mean, so we had the underpinnings, we had the R&D. We did underinvest for a number of years and didn't take it as seriously as we should have.” Both Jeff Dean and Noam Shazeer left Google in the past two months.

tae kim

247,281 просмотров • 7 дней назад

Tom Holland says Christopher Nolan shot a massive Odyssey fight in two days that Marvel would spend two weeks filming “The thing that really amazed me was he’s so prepared when he comes to set that it means he can shoot at a pace that I have never shot at before” “Scenes that would take three days, we would shoot in one. The sequence that you shot at the end of the movie, one of the biggest and most complicated fight scenes I have ever seen, I think you did it in two days” “On a Marvel set, we could shoot that scene for two weeks. Getting accustomed to the speed in which he shot was really fun and very exhilarating”

Tom Holland says Christopher Nolan shot a massive Odyssey fight in two days that Marvel would spend two weeks filming “The thing that really amazed me was he’s so prepared when he comes to set that it means he can shoot at a pace that I have never shot at before” “Scenes that would take three days, we would shoot in one. The sequence that you shot at the end of the movie, one of the biggest and most complicated fight scenes I have ever seen, I think you did it in two days” “On a Marvel set, we could shoot that scene for two weeks. Getting accustomed to the speed in which he shot was really fun and very exhilarating”

Yonan

2,574,254 просмотров • 1 месяц назад

Baier: I just got off the phone with the president…. I asked, “what you are saying is you know there is somebody on the ground in Iran that is going to rise up?” He said, “yeah, I feel there is. I feel that and some of them are no longer with us to be honest because it was 49 leaders that were taken out. That was going to take four weeks we thought to get rid of the Iranian leadership and it is always, you know, if they hide, it is a lot longer than four weeks. They would have been hiding. We were shocked when we heard what was going on. We knew exactly what was happening… they are talking about using people now that nobody ever heard of—even they don't know. They are using people, studying people to be the leader that even they don't know who they are. Can you believe that?” I said it's a tough succession plan in Iran. He said, “49 leaders is deep. It's very deep. When they met, they met for breakfast. They assumed it was good for a lot of reasons. Number one they didn't think we knew. You never attack in the morning having to do with wind and sun and a lot of things. It was amazing that we knew everything we knew.”

Baier: I just got off the phone with the president…. I asked, “what you are saying is you know there is somebody on the ground in Iran that is going to rise up?” He said, “yeah, I feel there is. I feel that and some of them are no longer with us to be honest because it was 49 leaders that were taken out. That was going to take four weeks we thought to get rid of the Iranian leadership and it is always, you know, if they hide, it is a lot longer than four weeks. They would have been hiding. We were shocked when we heard what was going on. We knew exactly what was happening… they are talking about using people now that nobody ever heard of—even they don't know. They are using people, studying people to be the leader that even they don't know who they are. Can you believe that?” I said it's a tough succession plan in Iran. He said, “49 leaders is deep. It's very deep. When they met, they met for breakfast. They assumed it was good for a lot of reasons. Number one they didn't think we knew. You never attack in the morning having to do with wind and sun and a lot of things. It was amazing that we knew everything we knew.”

Acyn

1,065,464 просмотров • 5 месяцев назад