正在加载视频...

视频加载失败

返回首页

Despite being box-office flop with an impressive cast that included rising stars Liv Tyler and Renée Zellweger, Empire Records (1995) had terrific music and and remarkably successful soundtrack. According to the movie’s music supervisor, Mitchell Leib: “I think we did end up selling 2 million records, which is unbelievable...

remnantsofpast's profile picture

Remnants of the Past

20,821 subscribers

100,641 次观看 • 5 天前 •via X (Twitter)

艺术音乐
LIVE

Anya Rossi• Live Now

Private livecam show

0 条评论

暂无评论

原始帖子的评论将显示在这里

相关视频

According to an interview that screenwriter Lawrence Wright gave to CBS in 2007, the film was a box-office failure upon its theatrical release, “but it was the most-rented movie in America after 9/11.” Wright also claimed that the initial release bombed because “Muslim and Arab protesters picketed the theaters. They were furious at being stereotyped as terrorists.” • The Siege
0:58

According to an interview that screenwriter Lawrence Wright gave to CBS in 2007, the film was a box-office failure upon its theatrical release, “but it was the most-rented movie in America after 9/11.” Wright also claimed that the initial release bombed because “Muslim and Arab protesters picketed the theaters. They were furious at being stereotyped as terrorists.” • The Siege

Love Classical Music and Movies 🎺🎻💖🎥🎬

196,006 次观看 • 7 个月前

Edward Norton tells David Spade and Dana Carvey about how Fight Club was originally a massive box office FLOP, recalling getting high with Brad Pitt before its Venice Film Festival premiere and watching audiences actively boo the film 😲🎬👀 “I remember sitting in the back and watching the movie and people were actively booing and people left in the middle of it… and at the end Brad turned to me kind of tearfully saying it was the best movie he’s ever gonna be in.” 🔥
2:36

Edward Norton tells David Spade and Dana Carvey about how Fight Club was originally a massive box office FLOP, recalling getting high with Brad Pitt before its Venice Film Festival premiere and watching audiences actively boo the film 😲🎬👀 “I remember sitting in the back and watching the movie and people were actively booing and people left in the middle of it… and at the end Brad turned to me kind of tearfully saying it was the best movie he’s ever gonna be in.” 🔥

Killa 🌺

1,474,337 次观看 • 2 个月前

Despite the film's reputation as one of the biggest box-office failures of all time, it was number one at the box office in its first week of release. The next week, with the release of Beverly Hills Cop II (1987), the film quickly dropped to fourth place. The general public considered this movie as a flop, but Martin Scorsese, Quentin Tarantino, and Edgar Wright are fans of the film. Scorsese called it one of his favourite movies. Can you guess the movie name?
1:19

Despite the film's reputation as one of the biggest box-office failures of all time, it was number one at the box office in its first week of release. The next week, with the release of Beverly Hills Cop II (1987), the film quickly dropped to fourth place. The general public considered this movie as a flop, but Martin Scorsese, Quentin Tarantino, and Edgar Wright are fans of the film. Scorsese called it one of his favourite movies. Can you guess the movie name?

Love Classical Music and Movies 🎺🎻💖🎥🎬

101,398 次观看 • 7 个月前

Waterworld was a production nightmare & at the time of its release, it was the most expensive film ever made- coming in with a budget of approximately $175 million back in 1995. The film eventually became profitable, but rewrites, hurricanes, and set issues pushed the film’s budget to new heights. The entire production/release of this film did a number on Costner’s reputation. With all that said, I enjoy this film& think the criticism of it was overdone.
1:15

Waterworld was a production nightmare & at the time of its release, it was the most expensive film ever made- coming in with a budget of approximately $175 million back in 1995. The film eventually became profitable, but rewrites, hurricanes, and set issues pushed the film’s budget to new heights. The entire production/release of this film did a number on Costner’s reputation. With all that said, I enjoy this film& think the criticism of it was overdone.

Cinema Tweets

90,496 次观看 • 1 个月前

"'Jacob’s Ladder' (1990) came out at a time when it was just not right for that movie to be seen. We were about to go into the Gulf War, and the country did not want to see a movie about a Vietnam veteran involved in drug experiments" --- Tim Robbins Full Excerpt: "There are many different factors determining whether or not a film reaches a mass audience. How much the studio’s behind it, which other movies the studio’s releasing at the same time—I think Disney had nine or ten in release at the same time—how much energy is put into it. Who knows. It’s always been a mystery to me. 'Jacob’s Ladder' (1990) came out at a time when it was just not right for that movie to be seen. We were about to go into the Gulf War, and the country did not want to see a movie about a Vietnam veteran involved in drug experiments when, as the movie’s playing in theaters, we are inoculating Gulf War soldiers with anthrax. I got a letter from one guy that resisted—he got put in a brig because he would not take the drugs. He said, “Thank you, because I saw Jacob’s Ladder before I left, and it gave me the strength to resist.” And now they’ve found out that a lot of these soldiers got sick from these vaccines, with this Gulf War Syndrome. That movie found its audience in video and cable, and it was huge. And then you see movies that somehow hit the zeitgeist, make tons of money, are huge hits, and then you see them a few years later and you go, “What? What did I see in this? Why is this not working?” Certainly you can’t judge the success of a film based on its initial box office. You have to wait ten years, see it again. If it still works, it’s a great film. There’s a lot of great films that didn’t do well in their initial release. 'It’s a Wonderful Life' (1946) was a bomb. 'Citizen Kane' (1941) didn’t do well. 'Shawshank Redemption' (1994)." ('Projection 11: New York Filmmakers on Filmmaking, edited by Tod Lippy, 2000 )
1:14

"'Jacob’s Ladder' (1990) came out at a time when it was just not right for that movie to be seen. We were about to go into the Gulf War, and the country did not want to see a movie about a Vietnam veteran involved in drug experiments" --- Tim Robbins Full Excerpt: "There are many different factors determining whether or not a film reaches a mass audience. How much the studio’s behind it, which other movies the studio’s releasing at the same time—I think Disney had nine or ten in release at the same time—how much energy is put into it. Who knows. It’s always been a mystery to me. 'Jacob’s Ladder' (1990) came out at a time when it was just not right for that movie to be seen. We were about to go into the Gulf War, and the country did not want to see a movie about a Vietnam veteran involved in drug experiments when, as the movie’s playing in theaters, we are inoculating Gulf War soldiers with anthrax. I got a letter from one guy that resisted—he got put in a brig because he would not take the drugs. He said, “Thank you, because I saw Jacob’s Ladder before I left, and it gave me the strength to resist.” And now they’ve found out that a lot of these soldiers got sick from these vaccines, with this Gulf War Syndrome. That movie found its audience in video and cable, and it was huge. And then you see movies that somehow hit the zeitgeist, make tons of money, are huge hits, and then you see them a few years later and you go, “What? What did I see in this? Why is this not working?” Certainly you can’t judge the success of a film based on its initial box office. You have to wait ten years, see it again. If it still works, it’s a great film. There’s a lot of great films that didn’t do well in their initial release. 'It’s a Wonderful Life' (1946) was a bomb. 'Citizen Kane' (1941) didn’t do well. 'Shawshank Redemption' (1994)." ('Projection 11: New York Filmmakers on Filmmaking, edited by Tod Lippy, 2000 )

DepressedBergman

70,720 次观看 • 7 个月前

#MASTERSOFTHEUNIVERSE LIVES ON!!! Despite being a Box Office Flop I haven’t seen a film THIS universally loved across all social media platforms. 87% on Rotten Tomatoes 🍅, 7.1/10 on IMDB, Closing in on $90M Globally, The Marketing Department is posting more and more, Amazon Executives making statements being satisfied with the film and Director Travis Knight saying he has more ideas for sequels. The future of the franchise will probably depend on Digital, Physical media and Streaming Numbers BUT it’s a big plus that Amazon is on the side of the film despite the loss at the Box Office. If the film can have a second or third lifespan with its upcoming releases then who knows what will happen. If they can lower the budget and perhaps make the sequel a Prime Video exclusive the why not give it another shot with the reception it’s getting from fans right now. Near perfect adaptation of the animated series and we finally have a HE-MAN ⚔️ & SKELETOR 💀 worthy to take the characters forward for more installments.
2:38

#MASTERSOFTHEUNIVERSE LIVES ON!!! Despite being a Box Office Flop I haven’t seen a film THIS universally loved across all social media platforms. 87% on Rotten Tomatoes 🍅, 7.1/10 on IMDB, Closing in on $90M Globally, The Marketing Department is posting more and more, Amazon Executives making statements being satisfied with the film and Director Travis Knight saying he has more ideas for sequels. The future of the franchise will probably depend on Digital, Physical media and Streaming Numbers BUT it’s a big plus that Amazon is on the side of the film despite the loss at the Box Office. If the film can have a second or third lifespan with its upcoming releases then who knows what will happen. If they can lower the budget and perhaps make the sequel a Prime Video exclusive the why not give it another shot with the reception it’s getting from fans right now. Near perfect adaptation of the animated series and we finally have a HE-MAN ⚔️ & SKELETOR 💀 worthy to take the characters forward for more installments.

MoviesThatMaher

20,520 次观看 • 2 个月前

Lipstick (1976) A controversial rape-and-revenge thriller directed by Lamont Johnson. Despite being panned by critics upon its release, the film has since developed a significant cult following. Margaux Hemingway, in her film debut, the 1970s supermodel played Chris McCormick, a high-fashion model who seeks justice after being assaulted. While her beauty was praised, critics widely criticized her acting as stiff and unconvincing. Margaux’s 14-year-old sister also made her debut, playing Chris's younger sister Kathy. In a reversal of expectations, Mariel received critical acclaim and a Golden Globe nomination, which reportedly caused professional tension between the sisters. The film featured established stars including Anne Bancroft as a determined district attorney and Chris Sarandon as the brutal music teacher. The film was largely a failure at the time of its release for several reasons. Critics like Roger Ebert and those at Variety condemned the film as "cynical exploitation," arguing it used a serious subject to pander to voyeuristic interests through graphic nudity and violence. Reviewers found the narrative uneven, moving from a glossy fashion-world drama to a brutal courtroom procedural, and finally to a "Rambo-like" vigilante ending that many felt lacked credibility. (Personally, this is exactly what I like about it). Its depiction of a victim taking the law into her own hands after a legal failure was highly polarizing in 1976. Despite its initial failure, Lipstick gained cult status over the following decades. Modern viewers often view the film as an early, if flawed, attempt to address the "real horror story" of the judicial system's failure to protect women. The film is remembered for its slick 1970s Los Angeles aesthetic and its avant-garde synthesizer soundtrack by French musician Michel Polnareff, which became a disco hit in its own right. Filmmakers such as Quentin Tarantino and Edgar Wright have cited the film as a notable example of the genre, further solidifying its place in cult cinema history.
2:18

Lipstick (1976) A controversial rape-and-revenge thriller directed by Lamont Johnson. Despite being panned by critics upon its release, the film has since developed a significant cult following. Margaux Hemingway, in her film debut, the 1970s supermodel played Chris McCormick, a high-fashion model who seeks justice after being assaulted. While her beauty was praised, critics widely criticized her acting as stiff and unconvincing. Margaux’s 14-year-old sister also made her debut, playing Chris's younger sister Kathy. In a reversal of expectations, Mariel received critical acclaim and a Golden Globe nomination, which reportedly caused professional tension between the sisters. The film featured established stars including Anne Bancroft as a determined district attorney and Chris Sarandon as the brutal music teacher. The film was largely a failure at the time of its release for several reasons. Critics like Roger Ebert and those at Variety condemned the film as "cynical exploitation," arguing it used a serious subject to pander to voyeuristic interests through graphic nudity and violence. Reviewers found the narrative uneven, moving from a glossy fashion-world drama to a brutal courtroom procedural, and finally to a "Rambo-like" vigilante ending that many felt lacked credibility. (Personally, this is exactly what I like about it). Its depiction of a victim taking the law into her own hands after a legal failure was highly polarizing in 1976. Despite its initial failure, Lipstick gained cult status over the following decades. Modern viewers often view the film as an early, if flawed, attempt to address the "real horror story" of the judicial system's failure to protect women. The film is remembered for its slick 1970s Los Angeles aesthetic and its avant-garde synthesizer soundtrack by French musician Michel Polnareff, which became a disco hit in its own right. Filmmakers such as Quentin Tarantino and Edgar Wright have cited the film as a notable example of the genre, further solidifying its place in cult cinema history.

Tom😈Loves❤️Horror😱

100,285 次观看 • 7 个月前

Ben Affleck breaks down exactly why Hollywood is dying and the math is brutal. It costs a minimum of $25 million just to shoot a movie today with any A-list stars, no massive action sequences just 40 to 50 days of standard production. Then you spend another $25 million to market it, which puts you at $50 million before a single ticket is sold. From there, theaters take 50% of every dollar at the box office so if your movie grosses $100 million, you walk away with $50 million , the exact amount you already spent making and marketing it. Which means a $25 million movie has to gross $100 million at the box office just to get back to zero. And most movies don't come close. The 2025 domestic box office hit $8.9 billion which sounds okay until you realize it's still down more than 20% from pre-pandemic levels, with the average wide release earning 14% less than it did the year before. So what happens when the math stops working? Studios stop taking risks. "When things are more expensive, people get risk averse. And when they're risk averse, they do the same shit. That's how you get the safe, homogenized stuff. And so it's a vicious cycle." The second thing killing it is streaming, people see the trailer, think it looks good, and decide to wait for it to hit Netflix. The only movies that survive the math are the ones audiences refuse to wait for which is why every theater slate looks like a Marvel calendar and why even Ryan Coogler making a Creed film with Michael B. Jordan is still considered a risk because it's not a sequel to a sequel. The system doesn't reward creativity but rather punishes it.
4:20

Ben Affleck breaks down exactly why Hollywood is dying and the math is brutal. It costs a minimum of $25 million just to shoot a movie today with any A-list stars, no massive action sequences just 40 to 50 days of standard production. Then you spend another $25 million to market it, which puts you at $50 million before a single ticket is sold. From there, theaters take 50% of every dollar at the box office so if your movie grosses $100 million, you walk away with $50 million , the exact amount you already spent making and marketing it. Which means a $25 million movie has to gross $100 million at the box office just to get back to zero. And most movies don't come close. The 2025 domestic box office hit $8.9 billion which sounds okay until you realize it's still down more than 20% from pre-pandemic levels, with the average wide release earning 14% less than it did the year before. So what happens when the math stops working? Studios stop taking risks. "When things are more expensive, people get risk averse. And when they're risk averse, they do the same shit. That's how you get the safe, homogenized stuff. And so it's a vicious cycle." The second thing killing it is streaming, people see the trailer, think it looks good, and decide to wait for it to hit Netflix. The only movies that survive the math are the ones audiences refuse to wait for which is why every theater slate looks like a Marvel calendar and why even Ryan Coogler making a Creed film with Michael B. Jordan is still considered a risk because it's not a sequel to a sequel. The system doesn't reward creativity but rather punishes it.

StockMarket.News

217,500 次观看 • 4 个月前

a horror movie made for $750,000 is about to become one of the most profitable films ever made. Obsession - shot in 20 days in Alabama by a 26-year-old YouTuber with no stars in the cast - is now eyeing a $250 million+ box office finish. that's a return north of 300 times its budget. it's already the highest-grossing release in Focus Features history. now look at what the industry spent that same money on: - Joker: Folie a Deux - ~$200 million budget. a punchline. - Mickey 17 - ~$118 million. forgotten in a month. - The Mandalorian & Grogu - $165 million, 7 years, the entire Lucasfilm machine. it's currently losing the weekday box office to... Obsession. Hollywood keeps insisting you need $200 million, a pre-sold IP, and a marketing budget the size of a small country to make a hit. then a guy with a camera, a wish-granting toy, and three weeks in Alabama outearned all of them on a rounding error of their catering bill. the most profitable movie of the year cost less than a single second of screen time in the average blockbuster. turns out audiences never wanted the budget. they wanted a good movie.
1:14

a horror movie made for $750,000 is about to become one of the most profitable films ever made. Obsession - shot in 20 days in Alabama by a 26-year-old YouTuber with no stars in the cast - is now eyeing a $250 million+ box office finish. that's a return north of 300 times its budget. it's already the highest-grossing release in Focus Features history. now look at what the industry spent that same money on: - Joker: Folie a Deux - ~$200 million budget. a punchline. - Mickey 17 - ~$118 million. forgotten in a month. - The Mandalorian & Grogu - $165 million, 7 years, the entire Lucasfilm machine. it's currently losing the weekday box office to... Obsession. Hollywood keeps insisting you need $200 million, a pre-sold IP, and a marketing budget the size of a small country to make a hit. then a guy with a camera, a wish-granting toy, and three weeks in Alabama outearned all of them on a rounding error of their catering bill. the most profitable movie of the year cost less than a single second of screen time in the average blockbuster. turns out audiences never wanted the budget. they wanted a good movie.

frostzy

4,359,542 次观看 • 3 个月前

CHRISTOPHER NOLAN DIDN'T JUST MAKE A BIG MOVIE. HE MADE THE BIGGEST FILM OF HIS CAREER. For years, The Dark Knight Rises stood as Nolan's box office peak. Now The Odyssey has crossed $1.1 billion worldwide, making it his highest-grossing film ever and pushing his career into a new tier of cinematic history. What makes that so impressive is not just the number. It's the fact that Nolan keeps winning with films that feel like events, not products. From IMAX spectacle to giant-scale storytelling, he has built a career on trusting audiences with ambition. The Odyssey is now tracking even higher, with some reports placing it on course for an even bigger global finish. • The Odyssey has crossed $1.1 billion worldwide. • It has officially surpassed The Dark Knight Rises as Nolan's biggest film. • The movie's IMAX-heavy presentation helped turn it into a true event release. • Nolan once again proved that original-scale filmmaking can still dominate globally. Some directors chase box office records. Christopher Nolan keeps making the kind of movies that become the record.
1:25

CHRISTOPHER NOLAN DIDN'T JUST MAKE A BIG MOVIE. HE MADE THE BIGGEST FILM OF HIS CAREER. For years, The Dark Knight Rises stood as Nolan's box office peak. Now The Odyssey has crossed $1.1 billion worldwide, making it his highest-grossing film ever and pushing his career into a new tier of cinematic history. What makes that so impressive is not just the number. It's the fact that Nolan keeps winning with films that feel like events, not products. From IMAX spectacle to giant-scale storytelling, he has built a career on trusting audiences with ambition. The Odyssey is now tracking even higher, with some reports placing it on course for an even bigger global finish. • The Odyssey has crossed $1.1 billion worldwide. • It has officially surpassed The Dark Knight Rises as Nolan's biggest film. • The movie's IMAX-heavy presentation helped turn it into a true event release. • Nolan once again proved that original-scale filmmaking can still dominate globally. Some directors chase box office records. Christopher Nolan keeps making the kind of movies that become the record.

Digital Crave

160,075 次观看 • 1 个月前

For over a decade, I have not held an elected office. Yet my commitment to justice, constitutionalism, and the rights of Kenyans has never wavered. I did not enter public life in search of status or privilege. I entered it to serve and that purpose remains unchanged. The struggle for a better Kenya does not begin at the ballot box, nor does it end with an election. It is a lifelong commitment to the people. #TuunganeTujikomboe Sifa Fm LionObimbo Media
0:32

For over a decade, I have not held an elected office. Yet my commitment to justice, constitutionalism, and the rights of Kenyans has never wavered. I did not enter public life in search of status or privilege. I entered it to serve and that purpose remains unchanged. The struggle for a better Kenya does not begin at the ballot box, nor does it end with an election. It is a lifelong commitment to the people. #TuunganeTujikomboe Sifa Fm LionObimbo Media

Martha Karua

37,950 次观看 • 1 个月前

Do you know there exists a song on gramophone records which has Lyrics credited to Gandhi ji. The only song of its kind was recorded by Manna Dey for commissioned composer Vasant Desai by Govt of Mah to mark Birth Centenary celebrations of Mahatma Gandhi. The lyrics was a poetic response by Gandhi ji to a little girl's letter and the letter was composed as the song-prayer for the special commemorative record with lyrics credits to Gandhi ji. Unfortunately the published records were not distributed and did not reach public. Decades later Suresh ji found the set of records in a Govt Godown kept as a trash and without care or anyone noticing it. Suresh ji brought the record from the office, cleaned it up and shared the recording so that people know of Gandhi ji's contribution as a recorded lyricist. Without Suresh ji, we wouldn't have known of this. Alive in Music & Memories. Swanand Kirkire Raj Shekhar SWA India Org Puneet Sharma वरुण 🇮🇳
3:13

Do you know there exists a song on gramophone records which has Lyrics credited to Gandhi ji. The only song of its kind was recorded by Manna Dey for commissioned composer Vasant Desai by Govt of Mah to mark Birth Centenary celebrations of Mahatma Gandhi. The lyrics was a poetic response by Gandhi ji to a little girl's letter and the letter was composed as the song-prayer for the special commemorative record with lyrics credits to Gandhi ji. Unfortunately the published records were not distributed and did not reach public. Decades later Suresh ji found the set of records in a Govt Godown kept as a trash and without care or anyone noticing it. Suresh ji brought the record from the office, cleaned it up and shared the recording so that people know of Gandhi ji's contribution as a recorded lyricist. Without Suresh ji, we wouldn't have known of this. Alive in Music & Memories. Swanand Kirkire Raj Shekhar SWA India Org Puneet Sharma वरुण 🇮🇳

Pavan Jha

30,778 次观看 • 2 年前

Being here on these steps feels spiritual to me. I’ve stared at the Salad Days cover since I learned of Minor Threat when I was 14. I think back to that first mixtape Jared Hein gave me in class sophomore year of highschool. Hearing Minor Threat on that tape for the first time opened a new door I didn’t even know existed. It pulled me into a world that felt raw, honest, and completely alive. The Salad Days cover. Those steps. It resonates with all of us who came up in this scene. It is more than an image. It is a feeling, a moment, a shared memory. This is my second time here. The first was over 20 years ago, and I can’t find that photo anywhere. So I had to take this one for myself. Just to reconnect. To bring myself back to the music and to that version of me that first felt it. Walking up to the Dischord Records house really does feel spiritual and like a time portal to when I was a teenager and all I cared about was going to shows and listening to records with my friends. Sitting on these steps, you can feel the history in a way that is hard to explain. One day I will meet Ian MacKaye. That would be a dream.
0:26

Being here on these steps feels spiritual to me. I’ve stared at the Salad Days cover since I learned of Minor Threat when I was 14. I think back to that first mixtape Jared Hein gave me in class sophomore year of highschool. Hearing Minor Threat on that tape for the first time opened a new door I didn’t even know existed. It pulled me into a world that felt raw, honest, and completely alive. The Salad Days cover. Those steps. It resonates with all of us who came up in this scene. It is more than an image. It is a feeling, a moment, a shared memory. This is my second time here. The first was over 20 years ago, and I can’t find that photo anywhere. So I had to take this one for myself. Just to reconnect. To bring myself back to the music and to that version of me that first felt it. Walking up to the Dischord Records house really does feel spiritual and like a time portal to when I was a teenager and all I cared about was going to shows and listening to records with my friends. Sitting on these steps, you can feel the history in a way that is hard to explain. One day I will meet Ian MacKaye. That would be a dream.

Steve Aoki

12,612 次观看 • 4 个月前

A whistleblower from the BOM has come forward to criticise its managing director Mr Johnson over his poor leadership. He has blew the whistle on his behaviour including his views which include: “He has openly questioned why anyone with a life would watch Senate estimates. He sees these as an opportunity for Senators to big note themselves and hopefully get a sound bite on radio or TV.” ••••••••••••••••••••••••••••••• Oversight of the Bureau of Meteorology is extremely important as it is responsible for reporting weather records. It should not however amend prior records and then mislead the public into believing the fudged records are the real ones. Had someone said to me years ago that it would be necessary to pull up our government for telling lies about our historical weather records I would never have believed them. Yet here we are. A government agency creating new records so it can push climate change lies onto the people of Australia. Billions of dollars are being wasted on renewables because of these lies. And with an attitude like that of the managing director it’s no wonder we need to drain the Billabong. #auspol
2:19

A whistleblower from the BOM has come forward to criticise its managing director Mr Johnson over his poor leadership. He has blew the whistle on his behaviour including his views which include: “He has openly questioned why anyone with a life would watch Senate estimates. He sees these as an opportunity for Senators to big note themselves and hopefully get a sound bite on radio or TV.” ••••••••••••••••••••••••••••••• Oversight of the Bureau of Meteorology is extremely important as it is responsible for reporting weather records. It should not however amend prior records and then mislead the public into believing the fudged records are the real ones. Had someone said to me years ago that it would be necessary to pull up our government for telling lies about our historical weather records I would never have believed them. Yet here we are. A government agency creating new records so it can push climate change lies onto the people of Australia. Billions of dollars are being wasted on renewables because of these lies. And with an attitude like that of the managing director it’s no wonder we need to drain the Billabong. #auspol

Gerard Rennick

79,851 次观看 • 1 年前

Robert Rodriguez on the reason why 'The Faculty' (1998) didn't perform as well as it could have in the box office & it's cult status: "Rodriguez: Making 'The Faculty' (1998) was just a blast. There was so much young energy and the actors were just so into it. I will say, I was worried it wouldn’t do well though. I wanted them to use a different title because our target audience wasn’t gonna want to see a movie about teachers. So I fought for a better title. Interviewer: Did you have some title ideas in your head? Rodriguez: I did. There was 'Alienated', but my favorite idea was The Others. And the studio was like, “No no, let’s just go with The Faculty.” Then two years later that same studio released a movie titled 'The Others' (2001) with Nicole Kidman. But I came up with that name for 'The Faculty'. I mean, it’s possible that its script already had that title, but yeah, I wanted that title for my movie. I think 'The Faculty' didn’t perform as well as it could have because of the title. I remember growing up there was a movie with Nick Nolte called 'Teachers' (1984). And I remember being like … what kid wants to see a movie about teachers? That’s what I was worried about with my movie, that we weren’t going to attract a younger audience because of the title. They even had to shoot extra footage of the faculty doing stuff like closing windows and locking doors for the trailer, which just strengthened the idea of teachers being the bad guys. So yeah, I think they didn’t know how to sell it, which is why I think so many people discovered it later and are now coming out and being like, “Hey, this movie is pretty good!”" ("Robert Rodriguez on Hypnotic and the 25th anniversary of his cult hit The Faculty", Keith Langston, digital trends, 2023) P.S: Happy 58th birthday, Robert Rodriguez!
1:11

Robert Rodriguez on the reason why 'The Faculty' (1998) didn't perform as well as it could have in the box office & it's cult status: "Rodriguez: Making 'The Faculty' (1998) was just a blast. There was so much young energy and the actors were just so into it. I will say, I was worried it wouldn’t do well though. I wanted them to use a different title because our target audience wasn’t gonna want to see a movie about teachers. So I fought for a better title. Interviewer: Did you have some title ideas in your head? Rodriguez: I did. There was 'Alienated', but my favorite idea was The Others. And the studio was like, “No no, let’s just go with The Faculty.” Then two years later that same studio released a movie titled 'The Others' (2001) with Nicole Kidman. But I came up with that name for 'The Faculty'. I mean, it’s possible that its script already had that title, but yeah, I wanted that title for my movie. I think 'The Faculty' didn’t perform as well as it could have because of the title. I remember growing up there was a movie with Nick Nolte called 'Teachers' (1984). And I remember being like … what kid wants to see a movie about teachers? That’s what I was worried about with my movie, that we weren’t going to attract a younger audience because of the title. They even had to shoot extra footage of the faculty doing stuff like closing windows and locking doors for the trailer, which just strengthened the idea of teachers being the bad guys. So yeah, I think they didn’t know how to sell it, which is why I think so many people discovered it later and are now coming out and being like, “Hey, this movie is pretty good!”" ("Robert Rodriguez on Hypnotic and the 25th anniversary of his cult hit The Faculty", Keith Langston, digital trends, 2023) P.S: Happy 58th birthday, Robert Rodriguez!

DepressedBergman

83,466 次观看 • 2 个月前

Masters of the Universe film opened to a global $54.1M, combining a $29.4M US weekend with $24.7M from 85 international markets including a strong $4.5M from Brazil with a $170M production budget. It may be a Box Office flop BUT Amazon views theatrical releases primarily as a tool for cultural relevance rather than funding the company, so they will be happy if the film drives subscription and/or watch hours to Prime Video. PREORDER’s for the 4K Blu-ray is the #1 seller in movies & TV on Amazon, Critic and audience reviews have been overwhelmingly positive, and the merchandise is selling out. Amazon MGM’s Kevin Wilson is pushing back on negative buzz surrounding the box office numbers for Masters of the Universe Wilson called the opening a "very solid start," highlighting a "passionate, multigenerational audience response" and a massive 96% "definite recommend" from kids under 12 in PostTrak polls Jared Leto’s Skeletor was so good and will be an instant meme for all the right reasons. Maybe the best villain in yearssss Will the film have a second life? #MastersOfTheUniverse
1:36

Masters of the Universe film opened to a global $54.1M, combining a $29.4M US weekend with $24.7M from 85 international markets including a strong $4.5M from Brazil with a $170M production budget. It may be a Box Office flop BUT Amazon views theatrical releases primarily as a tool for cultural relevance rather than funding the company, so they will be happy if the film drives subscription and/or watch hours to Prime Video. PREORDER’s for the 4K Blu-ray is the #1 seller in movies & TV on Amazon, Critic and audience reviews have been overwhelmingly positive, and the merchandise is selling out. Amazon MGM’s Kevin Wilson is pushing back on negative buzz surrounding the box office numbers for Masters of the Universe Wilson called the opening a "very solid start," highlighting a "passionate, multigenerational audience response" and a massive 96% "definite recommend" from kids under 12 in PostTrak polls Jared Leto’s Skeletor was so good and will be an instant meme for all the right reasons. Maybe the best villain in yearssss Will the film have a second life? #MastersOfTheUniverse

MoviesThatMaher

20,593 次观看 • 3 个月前

In Ancient Rome, an "office" wasn't a building, it was a person's staff. The word comes from “officium”, referring to a magistrate's retinue of aides and administrators, each one called an officialis. If you held real authority, your "office" was the group of people around you handling correspondence, records, and logistics on your behalf. This wasn't a small operation. Surviving records like the Notitia Dignitatum, a late Roman administrative document, list out the staffing structures for provincial governors and military commanders in detail: ranks, roles, and reporting lines not far off from a modern org chart. Coordination happened the only way it could: in person, in the same building, one conversation at a time. It wasn't until the word crossed into English in the 1200s that "office" started to mean a place instead of a role, and even later before it came to mean the literal room or building we picture today. For most of its history, the word wasn't about where you worked. It was about who was working with you.
5:37

In Ancient Rome, an "office" wasn't a building, it was a person's staff. The word comes from “officium”, referring to a magistrate's retinue of aides and administrators, each one called an officialis. If you held real authority, your "office" was the group of people around you handling correspondence, records, and logistics on your behalf. This wasn't a small operation. Surviving records like the Notitia Dignitatum, a late Roman administrative document, list out the staffing structures for provincial governors and military commanders in detail: ranks, roles, and reporting lines not far off from a modern org chart. Coordination happened the only way it could: in person, in the same building, one conversation at a time. It wasn't until the word crossed into English in the 1200s that "office" started to mean a place instead of a role, and even later before it came to mean the literal room or building we picture today. For most of its history, the word wasn't about where you worked. It was about who was working with you.

Historic Vids

180,301 次观看 • 1 个月前

I had the pleasure of attending a private viewing of Behind the Scenes, and I want to congratulate Funke Akindele and her entire team. It is one thing to make a film, but it is another thing entire to truly capture the heart of a nation. Seeing this work cross the ₦2 billion mark at the box office is a major win for Funke and her team, and a historic moment for the Nigerian creative industry. Funke, your dedication to your craft and your ability to tell stories that resonate so deeply with our people are truly inspiring. You have set a new standard for what is possible in Nollywood, proving that with focus, grit, and vision, our local stories can achieve global success. Congratulations once again. Here is to breaking even more records.
1:34

I had the pleasure of attending a private viewing of Behind the Scenes, and I want to congratulate Funke Akindele and her entire team. It is one thing to make a film, but it is another thing entire to truly capture the heart of a nation. Seeing this work cross the ₦2 billion mark at the box office is a major win for Funke and her team, and a historic moment for the Nigerian creative industry. Funke, your dedication to your craft and your ability to tell stories that resonate so deeply with our people are truly inspiring. You have set a new standard for what is possible in Nollywood, proving that with focus, grit, and vision, our local stories can achieve global success. Congratulations once again. Here is to breaking even more records.

Babajide Sanwo-Olu

48,457 次观看 • 7 个月前