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During 12 Monkeys (1995), Terry Gilliam doubted Brad Pitt could handle the character’s frantic delivery. A speech coach didn’t help, but taking away Pitt’s cigarettes did. The jittery energy became the performance Gilliam wanted.

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1,213,541 次观看 • 7 个月前 •via X (Twitter)

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In 12 Monkeys (1995), the director worried Brad Pitt couldn’t pull off the nervous, rapid speech and sent him to a speech coach, but when it didn’t work, he simply took away Pitt’s cigarettes. The resulting performance earned him his first Oscar nomination.

In 12 Monkeys (1995), the director worried Brad Pitt couldn’t pull off the nervous, rapid speech and sent him to a speech coach, but when it didn’t work, he simply took away Pitt’s cigarettes. The resulting performance earned him his first Oscar nomination.

Best Cine Moments 🍿

1,094,141 次观看 • 3 个月前

In 12 Monkeys (1995) director was afraid that Brad Pitt wouldn't be able to pull off the nervous, rapid speech. He sent him to a speech coach but in the end he just took away Pitt's cigarettes, and Pitt played the part exactly as director wanted.

In 12 Monkeys (1995) director was afraid that Brad Pitt wouldn't be able to pull off the nervous, rapid speech. He sent him to a speech coach but in the end he just took away Pitt's cigarettes, and Pitt played the part exactly as director wanted.

Emir Han

47,619 次观看 • 1 个月前

Twelve Monkeys was released 30 years ago. Brad Pitt’s manic performance wasn’t just wild improvisation. Gilliam encouraged him to play against type, exaggerating physicality and unpredictability. The result earned Pitt his first Oscar nomination.

Twelve Monkeys was released 30 years ago. Brad Pitt’s manic performance wasn’t just wild improvisation. Gilliam encouraged him to play against type, exaggerating physicality and unpredictability. The result earned Pitt his first Oscar nomination.

cinesthetic.

48,553 次观看 • 7 个月前

"I know almost everybody who loves movies loves 'Fear and Loathing in Las Vegas' (1999). I know people on the technical side, musicians & people from a generation that isn’t in denial love it, & there are these 14-year-old kids from high school who love it." — Terry Gilliam Full Excerpt: "Interviewer: You think today’s audience is corrupted by simple storylines, structured in three acts with strong motivation, just like the screenwriting manuals teach? Gilliam: Exactly. Interviewer: Whereas complexity your natural instinct is to construct as you can get away with . . Gilliam: I no longer know who does and doesn’t like my work. I’m confused. I know almost everybody who loves movies loves 'Fear and Loathing in Las Vegas' (1999). I know people on the technical side and musicians love it, and people from a generation that isn’t in denial love it, and there are these fourteen-year-old kids from high school who love it. I’m trying to corrupt youth in my own way, not in Spielberg’s: mine is a Socratic corruption. It’s been interesting to see kids write on the Web, This is the best movie I’ve ever seen.’ Interviewer: Kids who didn’t previously know the book? Gilliam: Yes, and now the book is back in the bestseller lists. I seem to make movies to get people to read books. I was hoping they would do this with 'Raspe' and 'Munchausen', but I think I’ve finally succeeded on this one. There must be a new generation who need to see that you can do these things. I met a really bright fourteen-year-old girl in New York who said that all her friends in high school were sneaking in to see it, even though it’s R-rated, and loving it. One fifteen-year-old said, when asked why he rated it so highly, ‘Because it’s honest.’ Perhaps the kids can see through the hypocrisy that currently clothes the American empire. In the end, I think it’ll be a grass-roots thing, but the way it was first released - going into 1,100 cinemas and sold as a romp - was just wrong." ('Gilliam on Gilliam', edited by Ian Christie, 1999)

"I know almost everybody who loves movies loves 'Fear and Loathing in Las Vegas' (1999). I know people on the technical side, musicians & people from a generation that isn’t in denial love it, & there are these 14-year-old kids from high school who love it." — Terry Gilliam Full Excerpt: "Interviewer: You think today’s audience is corrupted by simple storylines, structured in three acts with strong motivation, just like the screenwriting manuals teach? Gilliam: Exactly. Interviewer: Whereas complexity your natural instinct is to construct as you can get away with . . Gilliam: I no longer know who does and doesn’t like my work. I’m confused. I know almost everybody who loves movies loves 'Fear and Loathing in Las Vegas' (1999). I know people on the technical side and musicians love it, and people from a generation that isn’t in denial love it, and there are these fourteen-year-old kids from high school who love it. I’m trying to corrupt youth in my own way, not in Spielberg’s: mine is a Socratic corruption. It’s been interesting to see kids write on the Web, This is the best movie I’ve ever seen.’ Interviewer: Kids who didn’t previously know the book? Gilliam: Yes, and now the book is back in the bestseller lists. I seem to make movies to get people to read books. I was hoping they would do this with 'Raspe' and 'Munchausen', but I think I’ve finally succeeded on this one. There must be a new generation who need to see that you can do these things. I met a really bright fourteen-year-old girl in New York who said that all her friends in high school were sneaking in to see it, even though it’s R-rated, and loving it. One fifteen-year-old said, when asked why he rated it so highly, ‘Because it’s honest.’ Perhaps the kids can see through the hypocrisy that currently clothes the American empire. In the end, I think it’ll be a grass-roots thing, but the way it was first released - going into 1,100 cinemas and sold as a romp - was just wrong." ('Gilliam on Gilliam', edited by Ian Christie, 1999)

DepressedBergman

25,685 次观看 • 5 个月前

A Chicago man named Terry Sturgis says a 10-year-old boy named Shawn Carter stayed with him for over 12 hours after Terry found him early one morning. Shawn had just gotten off a train on Chicago’s South Side around 4–5 a.m. with nothing but a jug of water in his bag and dirty clothes. Terry was out making his regular runs at the time. Shawn attends Scott Joplin school. Terry noticed scratches all over the boy’s neck and learned they were from beatings by his mother, Sapphire Carter. According to Shawn, the abuse happened because he wanted to play on the Xbox without asking first. Terry, who has survived child abuse himself and lost a brother to it, said he cried that day. He wanted to protect the boy, earn his trust, and show him that things could be okay. Terry gave Shawn his phone number before police arrived to take him. He’s now worried the boy is back in the same dangerous environment and hasn’t heard from him yet. Terry is asking people to help raise awareness about child abuse before it’s too late and is urging anyone who knows Shawn Carter’s family to reach out so the boy can get the help he desperately needs.

A Chicago man named Terry Sturgis says a 10-year-old boy named Shawn Carter stayed with him for over 12 hours after Terry found him early one morning. Shawn had just gotten off a train on Chicago’s South Side around 4–5 a.m. with nothing but a jug of water in his bag and dirty clothes. Terry was out making his regular runs at the time. Shawn attends Scott Joplin school. Terry noticed scratches all over the boy’s neck and learned they were from beatings by his mother, Sapphire Carter. According to Shawn, the abuse happened because he wanted to play on the Xbox without asking first. Terry, who has survived child abuse himself and lost a brother to it, said he cried that day. He wanted to protect the boy, earn his trust, and show him that things could be okay. Terry gave Shawn his phone number before police arrived to take him. He’s now worried the boy is back in the same dangerous environment and hasn’t heard from him yet. Terry is asking people to help raise awareness about child abuse before it’s too late and is urging anyone who knows Shawn Carter’s family to reach out so the boy can get the help he desperately needs.

LASHY BILLS

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In The Dark Knight (2008), the scene between the Joker and Rachel Dawes is unsettling in a way that goes beyond performance. Heath Ledger was so deeply immersed in the role that his energy on set became genuinely unpredictable. He didn’t play the Joker as a character you could anticipate, and that uncertainty bled into the atmosphere of the scene itself. According to crew reports, Maggie Gyllenhaal was so overwhelmed during the take that she looked directly at director Christopher Nolan, silently begging him to cut. Nolan kept the camera rolling, and that moment of real fear stayed in the film. You can see it in her eyes, not acted panic but genuine distress.

In The Dark Knight (2008), the scene between the Joker and Rachel Dawes is unsettling in a way that goes beyond performance. Heath Ledger was so deeply immersed in the role that his energy on set became genuinely unpredictable. He didn’t play the Joker as a character you could anticipate, and that uncertainty bled into the atmosphere of the scene itself. According to crew reports, Maggie Gyllenhaal was so overwhelmed during the take that she looked directly at director Christopher Nolan, silently begging him to cut. Nolan kept the camera rolling, and that moment of real fear stayed in the film. You can see it in her eyes, not acted panic but genuine distress.

Love Classical Music and Movies 🎺🎻💖🎥🎬

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According to Terry Gilliam, Robin Williams' character in "'The Fisher King' (1991) is in many ways the closest one to Robin, just that range — the madness, the damage, the pain, the sweetness, the outrageousness. That was the role I think that stretched him to the limits." Gilliam considered the filming of this important scene in the movie to be easy as far as effects were concerned, but as for acting, it was very hard as Robin Williams was tearing himself out emotionally. About how Robin Williams approached the scene, Gilliam said, "The interesting thing about Robin in all of those scenes was that he always wanted to do another take. He felt he had even more anguish and pain to spill out of the character. And I had to really stop him. I had to say, ‘Robin, you’ve reached a point here, way beyond what we expected. We’ve got what we needed. Now you’re just hurting yourself. That happened a couple of times while we were shooting this scene. The most worrisome moment for me was after he’s been chased by the Red Knight, when he’s running through the streets, and then he comes to the river, where the teenage punks arrive and knife him. We had to do other things on that night shoot, too, and things were going very slowly. Suddenly, we realized that we had like an hour until the dawn [would arrive]. The last shot we had to do was Robin running at the end of this scene, in this hysterical state. You can even see the light ever so slightly beginning to come on the river in the background. But Robin was so angry because it was such a crucial moment, and he felt he’d been cheated of his ability to really give this moment his all. And Robin was an incredibly strong guy: When he’d worked himself into this state of madness for the part, nobody could approach him. The first assistant, the stunt guy … nobody wanted to get near him. They were terrified. So, I had to go up there and tell him, ‘Robin, what we have here is very good. And if we look at the rushes and it isn’t, I promise you I will reshoot it.’ And I had to hug him basically, and hold him. I could feel these muscles that were so tense and so strong, they felt like they could easily r!p my he@d off. But that’s what was so extraordinary about him — how he would commit everything and more to what he had to do." ("Terry Gilliam Breaks Down a Particularly Hard Night With Robin Williams on The Fisher King", Bilge Ebiri, Vulture, 2014) P.S: Remembering the great American actor, Robin Williams, on his 75th birthday!

According to Terry Gilliam, Robin Williams' character in "'The Fisher King' (1991) is in many ways the closest one to Robin, just that range — the madness, the damage, the pain, the sweetness, the outrageousness. That was the role I think that stretched him to the limits." Gilliam considered the filming of this important scene in the movie to be easy as far as effects were concerned, but as for acting, it was very hard as Robin Williams was tearing himself out emotionally. About how Robin Williams approached the scene, Gilliam said, "The interesting thing about Robin in all of those scenes was that he always wanted to do another take. He felt he had even more anguish and pain to spill out of the character. And I had to really stop him. I had to say, ‘Robin, you’ve reached a point here, way beyond what we expected. We’ve got what we needed. Now you’re just hurting yourself. That happened a couple of times while we were shooting this scene. The most worrisome moment for me was after he’s been chased by the Red Knight, when he’s running through the streets, and then he comes to the river, where the teenage punks arrive and knife him. We had to do other things on that night shoot, too, and things were going very slowly. Suddenly, we realized that we had like an hour until the dawn [would arrive]. The last shot we had to do was Robin running at the end of this scene, in this hysterical state. You can even see the light ever so slightly beginning to come on the river in the background. But Robin was so angry because it was such a crucial moment, and he felt he’d been cheated of his ability to really give this moment his all. And Robin was an incredibly strong guy: When he’d worked himself into this state of madness for the part, nobody could approach him. The first assistant, the stunt guy … nobody wanted to get near him. They were terrified. So, I had to go up there and tell him, ‘Robin, what we have here is very good. And if we look at the rushes and it isn’t, I promise you I will reshoot it.’ And I had to hug him basically, and hold him. I could feel these muscles that were so tense and so strong, they felt like they could easily r!p my he@d off. But that’s what was so extraordinary about him — how he would commit everything and more to what he had to do." ("Terry Gilliam Breaks Down a Particularly Hard Night With Robin Williams on The Fisher King", Bilge Ebiri, Vulture, 2014) P.S: Remembering the great American actor, Robin Williams, on his 75th birthday!

DepressedBergman

31,441 次观看 • 10 天前

During the filming of "The Collector" (1965), William Wyler instructed Terence Stamp not to have communication of any sort with Samantha Eggar. Stamp knew her from his days at the drama school and had a crush on her. Stamp felt that Wyler wanted him to withdraw his friendship. According to Stamp, Wyler wanted her to live the role. So, he didn't let her off the set during the day & she wasn't allowed to eat with the rest of the crew. Wyler didn't want Eggar to go anywhere or talk to anyone except her coach. He wanted to keep her in constant state of terror. Wyler said to Stamp, "This is going to look cruel, but we will get a great performance out of her." Stamp said, "The two of us tortured her. We weren't actually nasty, but I had to be incredibly indifferent. And the fact is, he got her an Academy Award nomination." Samantha Eggar didn't forgive Stamp for the way he treated her on the set (At least until 1995 when the below mentioned book was published). ["A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director - William Wyler", Jan Herman, 1995]

During the filming of "The Collector" (1965), William Wyler instructed Terence Stamp not to have communication of any sort with Samantha Eggar. Stamp knew her from his days at the drama school and had a crush on her. Stamp felt that Wyler wanted him to withdraw his friendship. According to Stamp, Wyler wanted her to live the role. So, he didn't let her off the set during the day & she wasn't allowed to eat with the rest of the crew. Wyler didn't want Eggar to go anywhere or talk to anyone except her coach. He wanted to keep her in constant state of terror. Wyler said to Stamp, "This is going to look cruel, but we will get a great performance out of her." Stamp said, "The two of us tortured her. We weren't actually nasty, but I had to be incredibly indifferent. And the fact is, he got her an Academy Award nomination." Samantha Eggar didn't forgive Stamp for the way he treated her on the set (At least until 1995 when the below mentioned book was published). ["A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director - William Wyler", Jan Herman, 1995]

DepressedBergman

61,161 次观看 • 12 天前

On this day, 64 years ago, Chris Marker's "La Jetée" (1962) was released in France. Chris Marker talks about "Twelve Monkeys" (1995), how he made "La Jetée" (1962), & one thing he valued more than the Oscars: "Marker: (...)There is too much to see on the news, on the music channels or on the indispensable Animal Channel. And I feed my hunger for fiction with what is by far the most accomplished source: those great American TV series, like 'The Practice' inspired a video by David Bowie and a film by Terry Gilliam. And there’s also a bar called “La Jetée,” in Japan. Interviewer: How do you feel about this cult? Does Terry Gilliam’s imagination intersect with yours? Marker: Terry’s imagination is rich enough that there’s no need to play with comparisons. Certainly, for me '12 Monkeys' (1995) is a magnificent film (there are people who think they are flattering me by saying otherwise, that 'La Jetée' is much better—the world is a strange place). It’s just one of the happy signs, like Bowie’s video, like the bar in Shinjuku (Hello, Tomoyo! To know that for almost 40 years, a group of Japanese are getting slightly drunk beneath my images every night—that’s worth more to me than any number of Oscars!), that have accompanied the strange destiny of this particular film. It was made like a piece of automatic writing. I was filming 'Le Joli mai' (1963), completely immersed in the reality of Paris 1962, and the euphoric discovery of “direct cinema” (you will never make me say “cinema verité”) and on the crew’s day off, I photographed a story I didn’t completely understand. It was in the editing that the pieces of the puzzle came together, and it wasn’t me who designed the puzzle. I’d have a hard time taking credit for it. It just happened, that’s all. (Chris Marker's interview to Film Comment, 2003)

On this day, 64 years ago, Chris Marker's "La Jetée" (1962) was released in France. Chris Marker talks about "Twelve Monkeys" (1995), how he made "La Jetée" (1962), & one thing he valued more than the Oscars: "Marker: (...)There is too much to see on the news, on the music channels or on the indispensable Animal Channel. And I feed my hunger for fiction with what is by far the most accomplished source: those great American TV series, like 'The Practice' inspired a video by David Bowie and a film by Terry Gilliam. And there’s also a bar called “La Jetée,” in Japan. Interviewer: How do you feel about this cult? Does Terry Gilliam’s imagination intersect with yours? Marker: Terry’s imagination is rich enough that there’s no need to play with comparisons. Certainly, for me '12 Monkeys' (1995) is a magnificent film (there are people who think they are flattering me by saying otherwise, that 'La Jetée' is much better—the world is a strange place). It’s just one of the happy signs, like Bowie’s video, like the bar in Shinjuku (Hello, Tomoyo! To know that for almost 40 years, a group of Japanese are getting slightly drunk beneath my images every night—that’s worth more to me than any number of Oscars!), that have accompanied the strange destiny of this particular film. It was made like a piece of automatic writing. I was filming 'Le Joli mai' (1963), completely immersed in the reality of Paris 1962, and the euphoric discovery of “direct cinema” (you will never make me say “cinema verité”) and on the crew’s day off, I photographed a story I didn’t completely understand. It was in the editing that the pieces of the puzzle came together, and it wasn’t me who designed the puzzle. I’d have a hard time taking credit for it. It just happened, that’s all. (Chris Marker's interview to Film Comment, 2003)

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Luka postgame interview: - Be better in the first half - 24 assists isn’t bad, could be better - JJ said at halftime ball needs to move more and that’s what we did - I didn’t help the team enough to win this game but I think the energy from everybody was there - Vando was unbelievable - There was a lot of Lakers fans here and I really liked that (after he made the 3) - Dallas will always feel like home. Had a special bond with the fans - Spend a lot of time with the team

Luka postgame interview: - Be better in the first half - 24 assists isn’t bad, could be better - JJ said at halftime ball needs to move more and that’s what we did - I didn’t help the team enough to win this game but I think the energy from everybody was there - Vando was unbelievable - There was a lot of Lakers fans here and I really liked that (after he made the 3) - Dallas will always feel like home. Had a special bond with the fans - Spend a lot of time with the team

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224,717 次观看 • 6 个月前

Zinedine Zidane in his first interview as France manager: “It’s a continuation of Deschamps’ work, my friend. I saw the direction he was taking over the past two tournaments, and he told me, ‘I don’t think I can do this anymore, and you’re the only one who can help the national team.’ He wanted to leave before the World Cup, but I told him I couldn’t take over at that point because he was the one who had qualified France for the World Cup, and he deserved to finish what he started. I didn’t want to take away his glory if France eventually won the World Cup, because I genuinely believed we had the squad to become world champions. Unfortunately, it didn’t happen. During the 4–5 years I was away from management, I received several offers to take charge of clubs, but I turned them all down,including Barcelona, Liverpool, and even the England national team because managing the French national team was the only job I wanted after my experience at Real Madrid.”

Zinedine Zidane in his first interview as France manager: “It’s a continuation of Deschamps’ work, my friend. I saw the direction he was taking over the past two tournaments, and he told me, ‘I don’t think I can do this anymore, and you’re the only one who can help the national team.’ He wanted to leave before the World Cup, but I told him I couldn’t take over at that point because he was the one who had qualified France for the World Cup, and he deserved to finish what he started. I didn’t want to take away his glory if France eventually won the World Cup, because I genuinely believed we had the squad to become world champions. Unfortunately, it didn’t happen. During the 4–5 years I was away from management, I received several offers to take charge of clubs, but I turned them all down,including Barcelona, Liverpool, and even the England national team because managing the French national team was the only job I wanted after my experience at Real Madrid.”

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Jason Terry breaks down how the Mavericks slowed down LeBron in 2011, but had ZERO answers for Dwyane Wade: “This is at a point in LeBrons career where he didn’t have the consistent jump shot yet. We knew he wanted to get to certain spots on the floor but if we can set our zone defense where he can see a wall of 3 guys, he would be less likely to attack. — D Wade was a monster at that time in his career. There was no defensive gameplan you could do to stop him. We tried. Did not work.” (Via Bleacher Report)

Jason Terry breaks down how the Mavericks slowed down LeBron in 2011, but had ZERO answers for Dwyane Wade: “This is at a point in LeBrons career where he didn’t have the consistent jump shot yet. We knew he wanted to get to certain spots on the floor but if we can set our zone defense where he can see a wall of 3 guys, he would be less likely to attack. — D Wade was a monster at that time in his career. There was no defensive gameplan you could do to stop him. We tried. Did not work.” (Via Bleacher Report)

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A delivery guy was arrested by police for trafficking cocaine without knowing it. It was just another day at work. He received a call from a Nigerian lady at Dagoretti Corner. She wanted him to deliver food in a hotpot. The lady instructed him to take it to Kileleshwa estate in Nairobi. The guy did as instructed. When he arrived, he called the Nigerian man. While waiting, detectives suddenly appeared, opened the delivery bag, and to his shock, found cocaine wrapped in a small polythene pouch hidden inside the food. He was immediately arrested. As the officers were taking him away, he pleaded with them, insisting he was just an innocent delivery guy. He offered to help them catch the person who was supposed to receive the package. The police agreed. Some officers moved ahead while others stayed behind, watching him from a safe distance. He called the Nigerian man again. When the man came down from the apartment and was in the middle of paying him, he was arrested in a swift swoop. The delivery guy was released since he was innocent and had cooperated with the police.

A delivery guy was arrested by police for trafficking cocaine without knowing it. It was just another day at work. He received a call from a Nigerian lady at Dagoretti Corner. She wanted him to deliver food in a hotpot. The lady instructed him to take it to Kileleshwa estate in Nairobi. The guy did as instructed. When he arrived, he called the Nigerian man. While waiting, detectives suddenly appeared, opened the delivery bag, and to his shock, found cocaine wrapped in a small polythene pouch hidden inside the food. He was immediately arrested. As the officers were taking him away, he pleaded with them, insisting he was just an innocent delivery guy. He offered to help them catch the person who was supposed to receive the package. The police agreed. Some officers moved ahead while others stayed behind, watching him from a safe distance. He called the Nigerian man again. When the man came down from the apartment and was in the middle of paying him, he was arrested in a swift swoop. The delivery guy was released since he was innocent and had cooperated with the police.

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Now that Starship Flight 12 is completed, how did the new V3 Booster performance compare to the older Flight 11 V2 Booster and did the redesign, higher TWR and flight path management really make a big difference? I thought we would look at one aspect of the Booster design to help answer this question, specifically how well the new design reduces gravity losses during the launch to hot staging portion of flight. Come alone with me for a simplified aerodynamics & rocket engineering discussion and then do a direct performance comparison using video clips from the SpaceX live streams. My intent is to help appreciate some of the effort the engineers have put into the new V3 booster and Raptor engine designs to increase the capabilities of the Starship system and greatly increase the payload to orbit potential of Starship. Obviously there are many other considerations (it is rocket science), but I hope you find this helpful.

Now that Starship Flight 12 is completed, how did the new V3 Booster performance compare to the older Flight 11 V2 Booster and did the redesign, higher TWR and flight path management really make a big difference? I thought we would look at one aspect of the Booster design to help answer this question, specifically how well the new design reduces gravity losses during the launch to hot staging portion of flight. Come alone with me for a simplified aerodynamics & rocket engineering discussion and then do a direct performance comparison using video clips from the SpaceX live streams. My intent is to help appreciate some of the effort the engineers have put into the new V3 booster and Raptor engine designs to increase the capabilities of the Starship system and greatly increase the payload to orbit potential of Starship. Obviously there are many other considerations (it is rocket science), but I hope you find this helpful.

Joe Tegtmeyer 🚀 🤠🛸😎

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This man woke up that morning and wanted to get some Dunkin’ Donuts coffee door dashed. He admits that he didn’t have enough for a tip but ordered anyways, he also states that he didn’t get it himself because his wife has separation anxiety. When he goes and gets his order, he runs into the delivery driver who was angry because he didn’t leave a tip. The driver takes his order and throws it onto the ground. He then claims he didn’t know that not tipping in general was even a big deal and that he doesn’t know why the driver was so upset. Do you feel he’s being honest when he claims he didn’t think people cared that much about their tips or did the driver overreact since he could see there wasn’t going to be a tip before he even took the order?

This man woke up that morning and wanted to get some Dunkin’ Donuts coffee door dashed. He admits that he didn’t have enough for a tip but ordered anyways, he also states that he didn’t get it himself because his wife has separation anxiety. When he goes and gets his order, he runs into the delivery driver who was angry because he didn’t leave a tip. The driver takes his order and throws it onto the ground. He then claims he didn’t know that not tipping in general was even a big deal and that he doesn’t know why the driver was so upset. Do you feel he’s being honest when he claims he didn’t think people cared that much about their tips or did the driver overreact since he could see there wasn’t going to be a tip before he even took the order?

SonnyBoy🇺🇸

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🚨 THE NISSAN ALTIMA BECAME AMERICA’S “LOW CREDIT” CAR — AND WHAT NISSAN DID HAS PEOPLE STUNNED A breakdown going viral claims Nissan didn’t just sell cars… it built a system around high-risk loans. Not performance. Not reliability. Debt. • Easier approvals than competitors • Interest rates reportedly pushed past 20% • Loans stretched to 7 YEARS to keep monthly payments looking “normal” • The higher the interest rate… the MORE that loan could be sold for • Loans bundled and flipped to investors for $4,000+ profit per deal • The car becomes secondary… the loan becomes the real product Buyers with strong credit shop for the lowest rate. Buyers with weak credit take what they can get approved for. That gap? That’s where the money is. And over time, one car kept showing up in those deals with repossessions, missed payments, “last resort” financing... The Altima. But it didn’t come free. • Higher repossessions • Owners struggling to maintain the cars • A stigma that stuck • Sales and brand perception taking a hit The strangest part? The same company behind the Nissan GT-R went from performance icon… to being tied to one of the most controversial lending reputations in the market. Is this smart business… or a system that made more money the worse people did? 📹: rohrsteam

HustleBitch

39,615 次观看 • 3 个月前

George Lucas deliberately opened The Empire Strikes Back with the Battle of Hoth because he didn’t want the visual effects to be easy. In space, the black background could hide matte lines, blue-screen artifacts, and compositing flaws. But on a bright white snow-covered planet, every shadow and mismatch in lighting stood out, leaving ILM nowhere to hide mistakes. Lucas wanted to push the effects team to achieve a level of realism that simply wasn’t possible by taking the easy route. The results became some of the most impressive effects ever put on film, and the Battle of Hoth remains one of the most legendary scenes in all of Star Wars.

George Lucas deliberately opened The Empire Strikes Back with the Battle of Hoth because he didn’t want the visual effects to be easy. In space, the black background could hide matte lines, blue-screen artifacts, and compositing flaws. But on a bright white snow-covered planet, every shadow and mismatch in lighting stood out, leaving ILM nowhere to hide mistakes. Lucas wanted to push the effects team to achieve a level of realism that simply wasn’t possible by taking the easy route. The results became some of the most impressive effects ever put on film, and the Battle of Hoth remains one of the most legendary scenes in all of Star Wars.

Best of Star Wars

396,533 次观看 • 3 天前

🇺🇸 ‘NOT COAL? YOU MEAN CLEAN AND BEAUTIFUL!’ TRUMP JOKES WITH CHILD DURING CHRISTMAS MOMENT AT WHITE HOUSE Trump shared a lighthearted exchange with a child this Christmas after asking what they wanted for the holiday and getting an unexpected answer: not coal. When the child replied that they didn’t want coal - long a symbol in Trump’s pro-energy rhetoric - the president laughed and quickly turned the moment into a joke. “You mean clean, beautiful coal?” Trump said with a grin, before adding, “I had to do that, I’m sorry!” The brief exchange, delivered in Trump’s familiar improvisational style, played off his long-standing promotion of U.S. energy production and his habit of reframing criticism as humor. What could have been a throwaway comment instead became a small snapshot of how Trump blends policy, personality, and performance - even in a Christmas conversation with a child. Authenticity ladies and gentlemen. Source: Fox News

🇺🇸 ‘NOT COAL? YOU MEAN CLEAN AND BEAUTIFUL!’ TRUMP JOKES WITH CHILD DURING CHRISTMAS MOMENT AT WHITE HOUSE Trump shared a lighthearted exchange with a child this Christmas after asking what they wanted for the holiday and getting an unexpected answer: not coal. When the child replied that they didn’t want coal - long a symbol in Trump’s pro-energy rhetoric - the president laughed and quickly turned the moment into a joke. “You mean clean, beautiful coal?” Trump said with a grin, before adding, “I had to do that, I’m sorry!” The brief exchange, delivered in Trump’s familiar improvisational style, played off his long-standing promotion of U.S. energy production and his habit of reframing criticism as humor. What could have been a throwaway comment instead became a small snapshot of how Trump blends policy, personality, and performance - even in a Christmas conversation with a child. Authenticity ladies and gentlemen. Source: Fox News

Mario Nawfal

23,536 次观看 • 7 个月前

DOOCY TIME, PART TWO: “President Trump, did President Biden leave you a letter?” Trump: “He may have. Wait, don't they leave it in the desk? I don't know. Oh.” Doocy: “What's in there?” Trump: “Thank you, Peter. It could have been years before we found this. Wow. Thank you.” Doocy: “Can you read the [inaudible] on the outside?” Trump: “ Maybe we should all read it together.” Doocy: “Let's read it.” Trump: “Well, maybe I'll read it first and then make that determination.” Doocy: “That sounds great.” Trump: “Peter, thank you very much. I may not have seen this for months.” Doocy: “Happy to help with the passing of the torch.” Trump: “I did. I left him one in the desk just like this.” Doocy: “What did — what did you talk about [inaudible]?” Trump: “Unification of our country. You know, I didn't know that he gave a pardon to his family, because he did it during my speech.” Doocy: “He didn’t tell you [inaudible]?” Trump: “No, he didn't tell me, no, no. He did it — they released it during my speech. I mean, during my speech, so all I could do was say excuse me, I would like to come back and speak some more. So, no, I was surprised by that. It’s bad precedent, obviously.”

DOOCY TIME, PART TWO: “President Trump, did President Biden leave you a letter?” Trump: “He may have. Wait, don't they leave it in the desk? I don't know. Oh.” Doocy: “What's in there?” Trump: “Thank you, Peter. It could have been years before we found this. Wow. Thank you.” Doocy: “Can you read the [inaudible] on the outside?” Trump: “ Maybe we should all read it together.” Doocy: “Let's read it.” Trump: “Well, maybe I'll read it first and then make that determination.” Doocy: “That sounds great.” Trump: “Peter, thank you very much. I may not have seen this for months.” Doocy: “Happy to help with the passing of the torch.” Trump: “I did. I left him one in the desk just like this.” Doocy: “What did — what did you talk about [inaudible]?” Trump: “Unification of our country. You know, I didn't know that he gave a pardon to his family, because he did it during my speech.” Doocy: “He didn’t tell you [inaudible]?” Trump: “No, he didn't tell me, no, no. He did it — they released it during my speech. I mean, during my speech, so all I could do was say excuse me, I would like to come back and speak some more. So, no, I was surprised by that. It’s bad precedent, obviously.”

Curtis Houck

3,004,519 次观看 • 1 年前

behind of yeonjun taking off his shirt during his performance today 🦊 i didn’t plan on doing it 🧸 ah really? 🦊 i really didn’t have any plans of doing it until the rehearsals 🐿️ was it too hot? 🦊 why i did it was…before going on stage, the staff said “yeonjun, today is the last day so do everything and do whatever you want” so the sadness and frustration i had at the end of ‘no labels: part 01’ suddenly exploded from within me 🦊 so i was like “yeah, i’m going to vent my spite today” and decided to take it off right before the performance 🐿️ what an artist 🐧🐿️ the staff must’ve been like “do everything you want to do” and then been like “🤦 he really did everything he wanted to do…” 🦊 so that’s what happened…because i had a lot of pent up frustration against the company 🐿️ that can happen, you really worked very hard while preparing for it 🦊 i did…so that’s the story.

behind of yeonjun taking off his shirt during his performance today 🦊 i didn’t plan on doing it 🧸 ah really? 🦊 i really didn’t have any plans of doing it until the rehearsals 🐿️ was it too hot? 🦊 why i did it was…before going on stage, the staff said “yeonjun, today is the last day so do everything and do whatever you want” so the sadness and frustration i had at the end of ‘no labels: part 01’ suddenly exploded from within me 🦊 so i was like “yeah, i’m going to vent my spite today” and decided to take it off right before the performance 🐿️ what an artist 🐧🐿️ the staff must’ve been like “do everything you want to do” and then been like “🤦 he really did everything he wanted to do…” 🦊 so that’s what happened…because i had a lot of pent up frustration against the company 🐿️ that can happen, you really worked very hard while preparing for it 🦊 i did…so that’s the story.

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427,170 次观看 • 5 个月前