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Christopher Nolan talks about the video message scene in Interstellar: “It was always the north star of the film, this beautiful sequence ... We filmed McConaughey’s reaction first ... he hadn’t seen the video messages, we’d filmed them all in advance, so that everything would be there in the... moment, and he wanted to give us his first reaction. We shot it twice close-up, and I think I used the second one, because the first one was too raw. Then we shot the monitors, and the wider shots, and put it together. The last piece of the puzzle was a beautiful piece of music by Hans Zimmer that hadn’t really found a place in the film ... it was devastating ... When the messages stop, the music stops ... it’s not the sort of thing that I like to do, but it felt perfect and apt for that moment.”show more

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In Interstellar, Matthew McConaughey’s reaction to watching video messages of the children was real. He hadn’t seen the videos before. Nolan filmed them in advance. It was his first time seeing them. He was so affective he did it in one take.

In Interstellar, Matthew McConaughey’s reaction to watching video messages of the children was real. He hadn’t seen the videos before. Nolan filmed them in advance. It was his first time seeing them. He was so affective he did it in one take.

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Tom Holland says COVID changed the way Spider-Man: No Way Home was filmed and you can actually feel it in the movie. Tom Holland: "We shot it in peak COVID times, so we shot everything in a studio." "Throughout the entire process of making that film, I might have done three days on location." "And you can feel it in the film, I think." "They sent a crew to New York to shoot the streets... then brought that piece of kit back to Atlanta" "And then I'd have to try and map out what I was gonna do in a pre existing shot." "Peter Parker's supposed to be in a rush... I actually think that shot isn't in the film because I don't think it worked."

Tom Holland says COVID changed the way Spider-Man: No Way Home was filmed and you can actually feel it in the movie. Tom Holland: "We shot it in peak COVID times, so we shot everything in a studio." "Throughout the entire process of making that film, I might have done three days on location." "And you can feel it in the film, I think." "They sent a crew to New York to shoot the streets... then brought that piece of kit back to Atlanta" "And then I'd have to try and map out what I was gonna do in a pre existing shot." "Peter Parker's supposed to be in a rush... I actually think that shot isn't in the film because I don't think it worked."

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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”

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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

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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.

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.

Gangster Cinema Central

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

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

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107,383 görüntüleme • 24 gün önce

Scarlett Johansson revealed that the cast didn’t initially see the full potential of The Avengers, admitting they had no idea the film would become the massive success it did. “When we made the first The Avengers, none of us knew what the potential of The Avengers would be. Iron Man was massively successful. It built Marvel Studios. Iron Man 2 was also very successful. Then there was Thor, which felt like it came from a completely different universe because it had such a different tone. Captain America had its own identity too. When you put all the characters together, plus Hulk and Hawkeye, it honestly felt like a big mess. Even on set, it felt crazy because we all looked insane. We were like, ‘What are we doing?’ I don’t think the cast really knew if it was going to work. I’m sure Kevin Feige and Joss Whedon believed in it, but for the rest of us, it was basically blind faith in them. I remember the big scene in front of Grand Central, the famous 360-degree shot where all the Avengers are together. That was the moment when we all thought, ‘I think this is actually going to work.’ Watching the playback, it looked so powerful. But while we were filming it, a lot of it didn’t feel very cool.

Scarlett Johansson revealed that the cast didn’t initially see the full potential of The Avengers, admitting they had no idea the film would become the massive success it did. “When we made the first The Avengers, none of us knew what the potential of The Avengers would be. Iron Man was massively successful. It built Marvel Studios. Iron Man 2 was also very successful. Then there was Thor, which felt like it came from a completely different universe because it had such a different tone. Captain America had its own identity too. When you put all the characters together, plus Hulk and Hawkeye, it honestly felt like a big mess. Even on set, it felt crazy because we all looked insane. We were like, ‘What are we doing?’ I don’t think the cast really knew if it was going to work. I’m sure Kevin Feige and Joss Whedon believed in it, but for the rest of us, it was basically blind faith in them. I remember the big scene in front of Grand Central, the famous 360-degree shot where all the Avengers are together. That was the moment when we all thought, ‘I think this is actually going to work.’ Watching the playback, it looked so powerful. But while we were filming it, a lot of it didn’t feel very cool.

Ruzy.hl

340,964 görüntüleme • 15 gün önce

The Lyrics of Imperfect Mew : Every moment in the song is based on a true story. 🗣️: Can you share some of it with us? Mew : Looking at the lyrics, the first verse starts from the moment of waking up. I wrote it when we were on a cruise, we went to the Caribbean together. The image of sunlight shining on his face, that messy, bedhead look right after waking up... just how incredibly cute he was 😆 Mew : The next verse talks about things we’ve experienced together, such as when we went traveling and missed a train. When we look back on it now, it’s actually funny. Or when it suddenly started raining and we didn’t have an umbrella, so we had to take off a shirt and cover ourselves. In those moments, the imperfection somehow became perfect for us. 🗣️: So this is all based on a true story? Mew: All of it is real. 🗣️: Not a scene from a series? 😂 Mew: No, it really happened. The train incident happened in Munich. Usually, he’s the one who checks the schedule. Like, where to go, which platform and what time. But that day, it looked like he read it wrong, so we rushed because we thought we were going to miss it. But actually, he didn’t read it wrong, the train changed platforms. We had to go to another one. It was funny. No one was at fault… the platform was the one that was wrong 😂 Mew : When I told him which moments behind the song, he related to it so much. He listens to it every night now. He probably knows the lyrics better than I do 😂 Mew : Usually when I write a song, I let him listen to it first. He relates to this one so deeply that he especially loves it.

The Lyrics of Imperfect Mew : Every moment in the song is based on a true story. 🗣️: Can you share some of it with us? Mew : Looking at the lyrics, the first verse starts from the moment of waking up. I wrote it when we were on a cruise, we went to the Caribbean together. The image of sunlight shining on his face, that messy, bedhead look right after waking up... just how incredibly cute he was 😆 Mew : The next verse talks about things we’ve experienced together, such as when we went traveling and missed a train. When we look back on it now, it’s actually funny. Or when it suddenly started raining and we didn’t have an umbrella, so we had to take off a shirt and cover ourselves. In those moments, the imperfection somehow became perfect for us. 🗣️: So this is all based on a true story? Mew: All of it is real. 🗣️: Not a scene from a series? 😂 Mew: No, it really happened. The train incident happened in Munich. Usually, he’s the one who checks the schedule. Like, where to go, which platform and what time. But that day, it looked like he read it wrong, so we rushed because we thought we were going to miss it. But actually, he didn’t read it wrong, the train changed platforms. We had to go to another one. It was funny. No one was at fault… the platform was the one that was wrong 😂 Mew : When I told him which moments behind the song, he related to it so much. He listens to it every night now. He probably knows the lyrics better than I do 😂 Mew : Usually when I write a song, I let him listen to it first. He relates to this one so deeply that he especially loves it.

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Matt Damon reveals The Odyssey crew was so big a Sicilian town opened its restaurants for them Interviewer: "Does it taste like the one you were trying to recreate?" Tom: "No. That place in Favignana was probably one of the best pizzas I’ve ever had" Matt: "Yeah. When we shot in Favignana - Favignana is this little town. But we got there offseason" "And the people in the town opened up their restaurants and opened the town up because it’s so small, and our crew was so big, that we had the run of the town for the first few weeks. It was really lovely” Tom: "It was awesome"

Matt Damon reveals The Odyssey crew was so big a Sicilian town opened its restaurants for them Interviewer: "Does it taste like the one you were trying to recreate?" Tom: "No. That place in Favignana was probably one of the best pizzas I’ve ever had" Matt: "Yeah. When we shot in Favignana - Favignana is this little town. But we got there offseason" "And the people in the town opened up their restaurants and opened the town up because it’s so small, and our crew was so big, that we had the run of the town for the first few weeks. It was really lovely” Tom: "It was awesome"

sara

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Quentin Tarantino recounts a dinner with Robert De Niro during the making of Jackie Brown, where he asked him whether he understood when he landed the role of Vito in The Godfather Part II, that it would change his life. De Niro’s answer revealed a great deal about his mindset at the time. “I was working with Robert De Niro on Jackie brown, and we went out to dinner once. - When he got Vito in the Godfather Part II, that was going to be a big thing for him. He won the Oscar for it - it set him up to be a movie star. So I asked him - and I've asked this to quite a few actors when it comes to when they got the role that would end up changing their career - did he realize that the moment when he got the role, that it would have this sort of effect? And he goes oh, “I tried not to let it do that. I tried not to think about that” I go, "really? and why did you try not to think about that?" “Well because I’ve seen it happen and then go the other way” And then he used an example. “There was this guy, he was a young actor, and he was part of our crowd in New York. He'd been doing okay, but we were all in the same boat. Then all of a sudden he got a lead role. He's one of the two leads in a brand new movie by a director who had just done a smash hit.” And he's talking about Larry Pierce (the director) and uh... Goodbye Columbus. ”And he started dining out on it. And all of a sudden I go to the places that we used to go to, and now he's there and everyone's kind of revolving around him. He's kind of holding court. He's not doing anything bad; he's just arisen in the way that none of us have - and we're all treating him different. Then the movie comes out; nobody likes it - The movie comes out, and it goes away, and he's exactly in the same place he was. And I just wanted to make sure that that would never happen to me because I watched it happen to him.” Quote from Video Archives Podcast, sourced from James Whale Bake Sale YouTube channel. Clip below from the Godfather Part II (1974)

Gangster Cinema Central

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Christopher Nolan reveals the exact shot he had to wait two decades to film after being rejected from the original Troy movie "That's an image that I had had in my head for about 20 years" "I'd been briefly attached to direct Troy, which was David Benioff's script based on the Iliad, and he had included the Trojan horse in that script" "I came up with this idea of the horse kind of sinking into the sand, about to be destroyed by the waves" "sort of the last thing you would imagine was intended to be, you know, dragged into the city" "to see it there, sort of fully realized, the way I... very much the way I'd imagined it all those years ago, and finally get to do that... yeah, that was a special moment" "I felt that sense of privilege as I drove in the morning over the sand dunes on the beach in Morocco for the first day shoot"

Christopher Nolan reveals the exact shot he had to wait two decades to film after being rejected from the original Troy movie "That's an image that I had had in my head for about 20 years" "I'd been briefly attached to direct Troy, which was David Benioff's script based on the Iliad, and he had included the Trojan horse in that script" "I came up with this idea of the horse kind of sinking into the sand, about to be destroyed by the waves" "sort of the last thing you would imagine was intended to be, you know, dragged into the city" "to see it there, sort of fully realized, the way I... very much the way I'd imagined it all those years ago, and finally get to do that... yeah, that was a special moment" "I felt that sense of privilege as I drove in the morning over the sand dunes on the beach in Morocco for the first day shoot"

Rixlerr

876,672 görüntüleme • 11 gün önce

zhang hao sharing his thoughts after watching twice concert 🎻 the concert was really fun. it was amazing because it was a four-sided stage so there were a lot of movements. in terms of the performance, i think that the stage was a big help but it was amazing because sunbaenims were able to remember that many movements. i thought/got the impression that they practiced a lot. 🎻 i think that there was not a lot of talking parts (ments) and they just kept on doing stages/performances. there was also not a lot of vcr in between. i think it was fun that the band people just created the atmosphere inside the venue or the fans just did random dance challenges. i’ll give my opinion (to the company) and i think that it would be good if we can pick up some of those when we do our concert too. i saw how they (twice) prepared really hard and i was touched.

zhang hao sharing his thoughts after watching twice concert 🎻 the concert was really fun. it was amazing because it was a four-sided stage so there were a lot of movements. in terms of the performance, i think that the stage was a big help but it was amazing because sunbaenims were able to remember that many movements. i thought/got the impression that they practiced a lot. 🎻 i think that there was not a lot of talking parts (ments) and they just kept on doing stages/performances. there was also not a lot of vcr in between. i think it was fun that the band people just created the atmosphere inside the venue or the fans just did random dance challenges. i’ll give my opinion (to the company) and i think that it would be good if we can pick up some of those when we do our concert too. i saw how they (twice) prepared really hard and i was touched.

🌱

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The backstory of Chanyeol's krump dance in Infinite Challenge, he did it to lift up the mood bcs that's what he always does with the EXO members and Yixing always likes it so much 🥹 🍒: There's a whole backstory, as far as i remember, in around 2013 when we were practicing for Wolf and Growl, at that time we would all gather in the practice room and practice, then we would joke around a lot. As someone who had the role to lift up the mood, i used to do this a lot! And Lay hyung especially loved it so much he would laugh until he cried. During the (Infinite Challenge) filming, the mood was kinda down, and when it was almost time to wrap up, suddenly Jaesuk hyung said to me "Eoh? But we haven't seen Chanyeol dance" and Lay hyung suddenly said "Chanyeolie is good at kruming!" And Bangarang is a song i really like, and of all things, it was the one that was played, so... i just left it to my body. With that, a legendary scene was born. The mood was instantly lifted, the hyungs (Infinite Challenge casts) really found it hilarious, and the members too, so i just think it was a lot of fun!

The backstory of Chanyeol's krump dance in Infinite Challenge, he did it to lift up the mood bcs that's what he always does with the EXO members and Yixing always likes it so much 🥹 🍒: There's a whole backstory, as far as i remember, in around 2013 when we were practicing for Wolf and Growl, at that time we would all gather in the practice room and practice, then we would joke around a lot. As someone who had the role to lift up the mood, i used to do this a lot! And Lay hyung especially loved it so much he would laugh until he cried. During the (Infinite Challenge) filming, the mood was kinda down, and when it was almost time to wrap up, suddenly Jaesuk hyung said to me "Eoh? But we haven't seen Chanyeol dance" and Lay hyung suddenly said "Chanyeolie is good at kruming!" And Bangarang is a song i really like, and of all things, it was the one that was played, so... i just left it to my body. With that, a legendary scene was born. The mood was instantly lifted, the hyungs (Infinite Challenge casts) really found it hilarious, and the members too, so i just think it was a lot of fun!

큥베리 | Grace 💫

23,583 görüntüleme • 1 yıl önce

Christopher Nolan says the music in “The Odyssey” gets faster and faster and was done intentionally to make you feel anxious Tom Holland: “I wanted to ask you about the music in that sequence.” “That kind of repetitive…” “I don’t even know how to describe it.” Christopher Nolan: “It’s a rhythm.” “The rhythm just goes faster and faster and faster.” “So it gives you this sort of feeling of anxiety.” “This kind of tension.” “It’s a wonderful musical structure.” “Ludwig Göransson did music for this film.” “He fully embraced it.” “The siege of Troy being one of these sequences where…” “You just want the audience on the edge of their seats.” “You just want to continually put them in the heads of the guys who were running through that city at night.” “I really wanted the music to just try and continually…” “Have the tension.”

Christopher Nolan says the music in “The Odyssey” gets faster and faster and was done intentionally to make you feel anxious Tom Holland: “I wanted to ask you about the music in that sequence.” “That kind of repetitive…” “I don’t even know how to describe it.” Christopher Nolan: “It’s a rhythm.” “The rhythm just goes faster and faster and faster.” “So it gives you this sort of feeling of anxiety.” “This kind of tension.” “It’s a wonderful musical structure.” “Ludwig Göransson did music for this film.” “He fully embraced it.” “The siege of Troy being one of these sequences where…” “You just want the audience on the edge of their seats.” “You just want to continually put them in the heads of the guys who were running through that city at night.” “I really wanted the music to just try and continually…” “Have the tension.”

agim𓍯

55,623 görüntüleme • 11 gün önce

Christopher Nolan says there are only six lightweight IMAX cameras in the world and he has destroyed more than one “There are two new ones for this film. So now there are six of the lightweight ones around the world. There’s enough for multiple productions” Tom Holland: “Do you think there are cameras that you used on The Dark Knight that we used on this movie? These hidden characters that have gone through your career” Nolan: “They’re all old friends. Every now and again, we would destroy an IMAX camera, and it would be very heartbreaking. But I’ve always managed to build it back together” “On The Dark Knight, we crushed one between a truck and a car. It was on a crane arm. There wasn’t a camera operator. We smashed it, but they actually managed to fix it and save the film” “Then on Dunkirk, we strapped one to the side of a crashing Spitfire, housed in an underwater housing. The Spitfire landed, but then the thing sank immediately, which no one was expecting” “It took a couple of hours to get the camera out. By then, it was completely waterlogged. We called the lab in LA and said, ‘Is there anything you could do with the film?’” “They said, ‘Fill the film cans with water, keep them sealed and send them to us in water.’ They put it through the bath, processed it, and the shot is in the film” “Try doing that with a digital camera”

Christopher Nolan says there are only six lightweight IMAX cameras in the world and he has destroyed more than one “There are two new ones for this film. So now there are six of the lightweight ones around the world. There’s enough for multiple productions” Tom Holland: “Do you think there are cameras that you used on The Dark Knight that we used on this movie? These hidden characters that have gone through your career” Nolan: “They’re all old friends. Every now and again, we would destroy an IMAX camera, and it would be very heartbreaking. But I’ve always managed to build it back together” “On The Dark Knight, we crushed one between a truck and a car. It was on a crane arm. There wasn’t a camera operator. We smashed it, but they actually managed to fix it and save the film” “Then on Dunkirk, we strapped one to the side of a crashing Spitfire, housed in an underwater housing. The Spitfire landed, but then the thing sank immediately, which no one was expecting” “It took a couple of hours to get the camera out. By then, it was completely waterlogged. We called the lab in LA and said, ‘Is there anything you could do with the film?’” “They said, ‘Fill the film cans with water, keep them sealed and send them to us in water.’ They put it through the bath, processed it, and the shot is in the film” “Try doing that with a digital camera”

Casper

3,237,342 görüntüleme • 9 gün önce

David Lynch on using Roy Orbison's "In Dreams" in Blue Velvet (1986), and Roy Orbison's reaction to the film: Chris Rodley: "I’ve always assumed that ‘In Dreams’ was conceived as an integral part of the movie from the beginning. It seems conceptually essential to the story’s intentions and mood. Is that true?" Lynch: "‘In Dreams’ came about while we were in production for Blue Velvet. Kyle MacLachlan and I were on our way down to Wilmington, North Carolina, from New York City. We were going through Central Park on our way to the airport when over the cab’s radio came ‘Crying’ by Roy Orbison, and I’m listening to this song and I said, ‘That! I’ve got to get that for Blue Velvet. When I got to Wilmington I sent somebody out to get Roy Orbison’s greatest hits. I played ‘Crying’ and then I played ‘In Dreams’, and as soon as I did, I forgot ‘Crying’. ‘In Dreams’ explained to me so much of what the film was all about. I immediately called Dennis Hopper and told him about the scene I had in mind and that he had to memorize this song. Dennis and Dean Stockwell are old friends. Dean got together with Dennis to help him work out the song and memorize the lyrics. I wonder why! [Laughs.] So we finally got to the day we were going to shoot the scene in Ben’s apartment where Dennis was going to sing the song. We were rehearsing and Dean said, ‘I’ll stand here and kind of help Dennis if he needs it.’ So we started playing the music and both Dennis and Dean began to sing ‘In Dreams’. All of a sudden Dennis stops singing and looks at Dean — who’s continuing to sing. Dennis is solidly in character and he is moved by Dean’s (Ben’s) singing. There was the scene in front of me. It was so perfect. Once it was decided Dean would be singing ‘In Dreams’, another strange thing happened. I was going to use a small candle-style table lamp as the microphone. Dean knew the microphone was going to be a lamp of some sort and when he went over to the area of Ben’s apartment where we were going to set the song, thinking he saw the prop light, he picked up a work light that was hanging on a nail on the wall. He turned it on and flipped the long cord like a microphone cord and obviously it couldn’t have been more perfect. The strange thing is no one on the crew put that work light there. No one knew where it came from. Who can say how it happens?" Rodley: "The use of ‘In Dreams’ in that scene revived Roy Orbison’s career, but what did he think of the movie and the use of his music in it?" Lynch: "When Roy first saw the movie he didn’t like it. His song ‘In Dreams’ meant another whole thing to him, and it was, like, a precious thing. I think some people he respected must have gotten him to see the movie again and reconsider his feelings. Roy told me that when he saw the movie the second time, he got past what the song was for him and then could appreciate the fact that it was working in another way." — "Lynch on Lynch" (1997), edited by Chris Rodley

David Lynch on using Roy Orbison's "In Dreams" in Blue Velvet (1986), and Roy Orbison's reaction to the film: Chris Rodley: "I’ve always assumed that ‘In Dreams’ was conceived as an integral part of the movie from the beginning. It seems conceptually essential to the story’s intentions and mood. Is that true?" Lynch: "‘In Dreams’ came about while we were in production for Blue Velvet. Kyle MacLachlan and I were on our way down to Wilmington, North Carolina, from New York City. We were going through Central Park on our way to the airport when over the cab’s radio came ‘Crying’ by Roy Orbison, and I’m listening to this song and I said, ‘That! I’ve got to get that for Blue Velvet. When I got to Wilmington I sent somebody out to get Roy Orbison’s greatest hits. I played ‘Crying’ and then I played ‘In Dreams’, and as soon as I did, I forgot ‘Crying’. ‘In Dreams’ explained to me so much of what the film was all about. I immediately called Dennis Hopper and told him about the scene I had in mind and that he had to memorize this song. Dennis and Dean Stockwell are old friends. Dean got together with Dennis to help him work out the song and memorize the lyrics. I wonder why! [Laughs.] So we finally got to the day we were going to shoot the scene in Ben’s apartment where Dennis was going to sing the song. We were rehearsing and Dean said, ‘I’ll stand here and kind of help Dennis if he needs it.’ So we started playing the music and both Dennis and Dean began to sing ‘In Dreams’. All of a sudden Dennis stops singing and looks at Dean — who’s continuing to sing. Dennis is solidly in character and he is moved by Dean’s (Ben’s) singing. There was the scene in front of me. It was so perfect. Once it was decided Dean would be singing ‘In Dreams’, another strange thing happened. I was going to use a small candle-style table lamp as the microphone. Dean knew the microphone was going to be a lamp of some sort and when he went over to the area of Ben’s apartment where we were going to set the song, thinking he saw the prop light, he picked up a work light that was hanging on a nail on the wall. He turned it on and flipped the long cord like a microphone cord and obviously it couldn’t have been more perfect. The strange thing is no one on the crew put that work light there. No one knew where it came from. Who can say how it happens?" Rodley: "The use of ‘In Dreams’ in that scene revived Roy Orbison’s career, but what did he think of the movie and the use of his music in it?" Lynch: "When Roy first saw the movie he didn’t like it. His song ‘In Dreams’ meant another whole thing to him, and it was, like, a precious thing. I think some people he respected must have gotten him to see the movie again and reconsider his feelings. Roy told me that when he saw the movie the second time, he got past what the song was for him and then could appreciate the fact that it was working in another way." — "Lynch on Lynch" (1997), edited by Chris Rodley

RadiantFilm

96,565 görüntüleme • 5 ay önce

"Abel Ferrara's 'Bad Lieutenant' (1992) is among the greatest pictures made about a man’s descent in search of redemption." --- Martin Scorsese Full Excerpt: "I thought 'Bad Lieutenant' (1992) was a key film. It’s the kind of film that I wanted 'The Last Temptation of Christ' (1988) to be. But maybe it was because I dealt with the iconography of Jesus directly that I was not able to get certain aspects that I wanted. Harvey Keitel really felt that it’s what he was aiming for all his life; we had stumbled around it ourselves in the movies we made together, Keitel and myself. And we tried to get it directly in 'The Last Temptation of Christ', but it’s better the way Ferrara and he got it here — especially the confrontation with the image of Jesus in the church. And not just the obviously shocking part of it; it’s when he breaks down and cries and says he’s bad. There’s this beautiful ending with the boy leaving, then Keitel being shot in the car. And there’s the use of Pledging My Love by Johnny Ace, which we had in 'Mean Streets' (1973). In any event, it’s an exceptional movie, extraordinary — I mean, it’s not to everybody’s taste. I loved the themes, and the way Ferrara’s style is so straightforward. You cut into a scene with two women, and they’re naked and music is playing, and then suddenly Keitel is naked, in a sort of trance. Then you cut and you’re into another scene. It’s so strong you don’t need a style. Another example: he goes and gets shot up with some heroin from a woman who is obviously a junkie — it must be for real. So what do you need to know? If you dare, follow him through till the end of the night. It’s among the greatest pictures made about a man’s descent in search of redemption." ('Projections 7', edited by John Boorman and Walter Donohue, 1997)

"Abel Ferrara's 'Bad Lieutenant' (1992) is among the greatest pictures made about a man’s descent in search of redemption." --- Martin Scorsese Full Excerpt: "I thought 'Bad Lieutenant' (1992) was a key film. It’s the kind of film that I wanted 'The Last Temptation of Christ' (1988) to be. But maybe it was because I dealt with the iconography of Jesus directly that I was not able to get certain aspects that I wanted. Harvey Keitel really felt that it’s what he was aiming for all his life; we had stumbled around it ourselves in the movies we made together, Keitel and myself. And we tried to get it directly in 'The Last Temptation of Christ', but it’s better the way Ferrara and he got it here — especially the confrontation with the image of Jesus in the church. And not just the obviously shocking part of it; it’s when he breaks down and cries and says he’s bad. There’s this beautiful ending with the boy leaving, then Keitel being shot in the car. And there’s the use of Pledging My Love by Johnny Ace, which we had in 'Mean Streets' (1973). In any event, it’s an exceptional movie, extraordinary — I mean, it’s not to everybody’s taste. I loved the themes, and the way Ferrara’s style is so straightforward. You cut into a scene with two women, and they’re naked and music is playing, and then suddenly Keitel is naked, in a sort of trance. Then you cut and you’re into another scene. It’s so strong you don’t need a style. Another example: he goes and gets shot up with some heroin from a woman who is obviously a junkie — it must be for real. So what do you need to know? If you dare, follow him through till the end of the night. It’s among the greatest pictures made about a man’s descent in search of redemption." ('Projections 7', edited by John Boorman and Walter Donohue, 1997)

DepressedBergman

42,563 görüntüleme • 6 ay önce

#LiuYuning mentioning #BaiLu and #AoRuipeng’s one-hand princess carry video on his livestream today LYN: Some friends (fans) said “Did you film any collaboration video one-hand princess carry videos? (for tpob promotions)” I’ll be honest with you, I’ve seen netizens say to film promotional drama marketing videos, including the one-hand princess carry, collaboration videos etc, I’ve really seen the requests, and I really was preparing to film them. However, when I first saw the picture it was just their back, I didn’t know who it was, then when I took a look (at the video) again, I remembered and I thought, “didn’t a coworker within the industry film this before?”. So I searched it up and other people have already filmed this for the promotional materials. Other people have already filmed this for the promotional materials. It’s not that I don’t want to, but others have filmed this before. If we film it, it’ll be easy for people to criticise us, saying that “you’re copying others. You’re copying BaiLu and Ao Ruipeng. When I saw the video I realised it was indeed the two of them who filmed it. People may say, “you’re afraid of people saying that you’re copying others”, and I’d say “yeah, because it’s better to avoid unnecessary trouble, especially during this time frame, so in the end we didn’t film it. But it indeed looks good when seeing others take the video. It looks pretty good, that’s why I thought we could do it too, but in the end we didn’t film it. #刘宇宁 #白鹿 #敖瑞鹏 #MoonlightMystique

#LiuYuning mentioning #BaiLu and #AoRuipeng’s one-hand princess carry video on his livestream today LYN: Some friends (fans) said “Did you film any collaboration video one-hand princess carry videos? (for tpob promotions)” I’ll be honest with you, I’ve seen netizens say to film promotional drama marketing videos, including the one-hand princess carry, collaboration videos etc, I’ve really seen the requests, and I really was preparing to film them. However, when I first saw the picture it was just their back, I didn’t know who it was, then when I took a look (at the video) again, I remembered and I thought, “didn’t a coworker within the industry film this before?”. So I searched it up and other people have already filmed this for the promotional materials. Other people have already filmed this for the promotional materials. It’s not that I don’t want to, but others have filmed this before. If we film it, it’ll be easy for people to criticise us, saying that “you’re copying others. You’re copying BaiLu and Ao Ruipeng. When I saw the video I realised it was indeed the two of them who filmed it. People may say, “you’re afraid of people saying that you’re copying others”, and I’d say “yeah, because it’s better to avoid unnecessary trouble, especially during this time frame, so in the end we didn’t film it. But it indeed looks good when seeing others take the video. It looks pretty good, that’s why I thought we could do it too, but in the end we didn’t film it. #刘宇宁 #白鹿 #敖瑞鹏 #MoonlightMystique

blackkrabbit ☔️ 鹤雨夫妇期

17,663 görüntüleme • 1 yıl önce

Quentin Tarantino on Sergio Leone: "People sometimes think that Leone was the first Italian to make spaghetti westerns. But of course he wasn’t. Sergio Corbucci was doing a spaghetti western in 1964, the same time Leone was doing Fistful of Dollars. But he wasn’t trying to do something different at that time — he was actually trying to be more like the American westerns, and this is reflected in the music, which isn’t operatic at all. It was Leone who put the music to task and turned it to opera. I know there are examples that will be contrary to what I am saying, but it feels as if Leone is the first guy ever to cut picture to music in that way. Before him it just happened by accident where somebody thought it would be cool for a little sequence, but didn’t think they should do it for the rest of the movie. But the way we cut to music now: you pick some rock song and you cut your scene to that song. That all started with Leone and Morricone, and particularly with The Good, the Bad and the Ugly." — excerpt from Quentin Tarantino's forward to “Once Upon a Time in the West: Shooting a Masterpiece” by Christopher Frayling, published in 2019

Quentin Tarantino on Sergio Leone: "People sometimes think that Leone was the first Italian to make spaghetti westerns. But of course he wasn’t. Sergio Corbucci was doing a spaghetti western in 1964, the same time Leone was doing Fistful of Dollars. But he wasn’t trying to do something different at that time — he was actually trying to be more like the American westerns, and this is reflected in the music, which isn’t operatic at all. It was Leone who put the music to task and turned it to opera. I know there are examples that will be contrary to what I am saying, but it feels as if Leone is the first guy ever to cut picture to music in that way. Before him it just happened by accident where somebody thought it would be cool for a little sequence, but didn’t think they should do it for the rest of the movie. But the way we cut to music now: you pick some rock song and you cut your scene to that song. That all started with Leone and Morricone, and particularly with The Good, the Bad and the Ugly." — excerpt from Quentin Tarantino's forward to “Once Upon a Time in the West: Shooting a Masterpiece” by Christopher Frayling, published in 2019

RadiantFilm

100,797 görüntüleme • 6 ay önce

🤍: I liked that scene because… the person riding the motorcycle coming out from the other side 🤍: (laughs) The motorcycle rider almost crashed into Film. ❤️‍🩹: Ohhh right, P’. 🤍: You could tell he was super tense while driving. 🤍: And we had to act all serious in front of— (laughs) 🤍:That was the last day of filming too, wasn't it? ❤️‍🩹: Yeah... 🤍: it was so exhausted 🤍: Seriously intense. Especially that part where you said, Don’t pity me. I just want love. 🤎 Honestly, this part was real. I wasn't even looking at the monitor. I was standing right beside the set, watching it happen live. 🤍 Do you know what happened then? 🤍 Tears were running down both cheeks. 🤍 There was such a heavy feeling in that moment. I don’t even know if it was fear of Bambi or fear of something else at the moment ❤️‍🩹 But I'd say that was one of the most challenging scenes for me since I started acting in series, because... 🤍 Between that scene and the under the table scene, which one was harder emotionally? ❤️‍🩹 That one… that one was harder. Because of the limited time, and also that feeling when you're having a panic attack. ❤️‍🩹 We were supposed to gradually build the emotions up, right? But when we actually filmed it, they had us go straight into the peak of it. Straight to the climax. 🤍: I can imagine. ❤️‍🩹: Yeah… so it became physically difficult too. Because when you’re shaking that much, it’s really hard to control everything. So I just wanted to get it out as fast as possible. But then there were these... flashes. Driving home, I felt like crying the whole time. ❤️‍🩹: It just felt suffocating. Really suffocating. Because… I don’t know, it’s hard to explain. But it was a good challenge. 🤍 But the under the table scene was really intense too. You’d be shocked #GirlRulesSeriesEP9

🤍: I liked that scene because… the person riding the motorcycle coming out from the other side 🤍: (laughs) The motorcycle rider almost crashed into Film. ❤️‍🩹: Ohhh right, P’. 🤍: You could tell he was super tense while driving. 🤍: And we had to act all serious in front of— (laughs) 🤍:That was the last day of filming too, wasn't it? ❤️‍🩹: Yeah... 🤍: it was so exhausted 🤍: Seriously intense. Especially that part where you said, Don’t pity me. I just want love. 🤎 Honestly, this part was real. I wasn't even looking at the monitor. I was standing right beside the set, watching it happen live. 🤍 Do you know what happened then? 🤍 Tears were running down both cheeks. 🤍 There was such a heavy feeling in that moment. I don’t even know if it was fear of Bambi or fear of something else at the moment ❤️‍🩹 But I'd say that was one of the most challenging scenes for me since I started acting in series, because... 🤍 Between that scene and the under the table scene, which one was harder emotionally? ❤️‍🩹 That one… that one was harder. Because of the limited time, and also that feeling when you're having a panic attack. ❤️‍🩹 We were supposed to gradually build the emotions up, right? But when we actually filmed it, they had us go straight into the peak of it. Straight to the climax. 🤍: I can imagine. ❤️‍🩹: Yeah… so it became physically difficult too. Because when you’re shaking that much, it’s really hard to control everything. So I just wanted to get it out as fast as possible. But then there were these... flashes. Driving home, I felt like crying the whole time. ❤️‍🩹: It just felt suffocating. Really suffocating. Because… I don’t know, it’s hard to explain. But it was a good challenge. 🤍 But the under the table scene was really intense too. You’d be shocked #GirlRulesSeriesEP9

Belle

19,084 görüntüleme • 2 ay önce