Video wird geladen...

Video konnte nicht geladen werden

Zur Startseite

Edgar Wright explains why he watches "Raising Arizona" (1987) every time before making a new movie: "When I first saw "Raising Arizona" (1987) as a teenager, I watched it immediately again afterwards. I just couldn't quite believe that a comedy could be that stylish and that dense in terms...

DannyDrinksWine's profile picture

DepressedBergman

245,091 subscribers

288,775 Aufrufe • vor 18 Tagen •via X (Twitter)

KunstMusik
LIVE

Anya Rossi• Live Now

Private livecam show

0 Kommentare

Keine Kommentare verfügbar

Kommentare vom Original-Post werden hier angezeigt

Ähnliche Videos

Francis Ford Coppola on how young children convinced him to make 'The Outsiders' (1983) & the reason why he loves the movie: "Interviewer: 'Rumble Fish' (1983) is so completely different a film from 'The Outsiders' (1983), not just in black and white and color, but in the tone. And everybody said, “Well, he’s off in Tulsa, making two films,” rather in a way that, once, people would go up to the desert and make two westerns at the same time. 'Rumble Fish' makes 'The Outsiders' seem an odder film than I thought it was when I first saw it. 'The Outsiders' almost felt like a film in which you weren't quite there all the time. Coppola: No, I don’t think so. 'The Outsiders' (1984) was the type of film that I personally liked, a melodrama with a romantic tone. I liked the book a lot when I read it; I thought it was sweet and youthful and had something in its little, simple theme that was of value, and I wanted to make the picture very much as the book was. Maybe that’s what you're interpreting as my not always being there, except that I did make the decision to make it exactly like the book. The key to 'The Outsiders' is the score; the fact that it’s this schmaltzy classical movie score indicates that I wanted a movie told in sumptuous terms, very honestly or carefully taken from the book without changing it a lot, with young actors—putting the emphasis more on that kind of 'Gone with the Wind' (1939) lyricism which was so important to the young girl [Susie Hinton] when she wrote it. I liked the film on that basis. It’s how I made it and why I made it. But if you think about my career, I’ve never made two films that were alike... maybe the two Godfathers. But every one of my films is very different from one another and I was feeling that I was in kind of a journeyman period of my life, approaching a future style of work as a more serious, older man which would be based on a tremendous amount of exploration while I had the chance to do that. To me it’s nothing to say, well, I’m going to make that film and it’s going to be that kind of film. Like 'The Outsiders'—it’s not that I couldn’t make that sixteen other ways. People suggested, “Well, are we really going to make this book like that?” “Well,” I said, “little kids wrote me a letter and wanted me to make it that way.” Of all the letters I get from movies, 'The Outsiders' is the one where all of these cute little fourteen- year-olds . . . so I’m in it for them. I feel I must have gained something, although it wasn’t as challenging, cinematically or even on the level of acting and other things as, say, the one that came afterwards. But I always had this idea that I wanted to make one film that was romantic and schmaltzy, like 'The Godfather' (1972), and one film that was more of an art film, more in the direction of 'Apocalypse Now' (1979)." (Francis Ford Coppola's interview with David Thomson & Lucy Gray, 1983)
2:11

Francis Ford Coppola on how young children convinced him to make 'The Outsiders' (1983) & the reason why he loves the movie: "Interviewer: 'Rumble Fish' (1983) is so completely different a film from 'The Outsiders' (1983), not just in black and white and color, but in the tone. And everybody said, “Well, he’s off in Tulsa, making two films,” rather in a way that, once, people would go up to the desert and make two westerns at the same time. 'Rumble Fish' makes 'The Outsiders' seem an odder film than I thought it was when I first saw it. 'The Outsiders' almost felt like a film in which you weren't quite there all the time. Coppola: No, I don’t think so. 'The Outsiders' (1984) was the type of film that I personally liked, a melodrama with a romantic tone. I liked the book a lot when I read it; I thought it was sweet and youthful and had something in its little, simple theme that was of value, and I wanted to make the picture very much as the book was. Maybe that’s what you're interpreting as my not always being there, except that I did make the decision to make it exactly like the book. The key to 'The Outsiders' is the score; the fact that it’s this schmaltzy classical movie score indicates that I wanted a movie told in sumptuous terms, very honestly or carefully taken from the book without changing it a lot, with young actors—putting the emphasis more on that kind of 'Gone with the Wind' (1939) lyricism which was so important to the young girl [Susie Hinton] when she wrote it. I liked the film on that basis. It’s how I made it and why I made it. But if you think about my career, I’ve never made two films that were alike... maybe the two Godfathers. But every one of my films is very different from one another and I was feeling that I was in kind of a journeyman period of my life, approaching a future style of work as a more serious, older man which would be based on a tremendous amount of exploration while I had the chance to do that. To me it’s nothing to say, well, I’m going to make that film and it’s going to be that kind of film. Like 'The Outsiders'—it’s not that I couldn’t make that sixteen other ways. People suggested, “Well, are we really going to make this book like that?” “Well,” I said, “little kids wrote me a letter and wanted me to make it that way.” Of all the letters I get from movies, 'The Outsiders' is the one where all of these cute little fourteen- year-olds . . . so I’m in it for them. I feel I must have gained something, although it wasn’t as challenging, cinematically or even on the level of acting and other things as, say, the one that came afterwards. But I always had this idea that I wanted to make one film that was romantic and schmaltzy, like 'The Godfather' (1972), and one film that was more of an art film, more in the direction of 'Apocalypse Now' (1979)." (Francis Ford Coppola's interview with David Thomson & Lucy Gray, 1983)

DepressedBergman

36,099 Aufrufe • vor 7 Monaten

Wim Wenders explains why Jean Renoir's "The Rules of the Game" (1939) is one of his favourite movies: "'The Rules of the Game' (1939) appears on many lists of the greatest films of all time, and Renoir is one of the great filmmakers. He's also the lead actor in his own movie. It's a film made before the Second World War that anticipates that war in an amazing way. It was another film that was a revelation when I saw it for the first time, and then I saw it again and again. It played in a little neighborhood theater where I lived, and I saw it every day. I don't know how many times I have seen it, but it's one of the films I know by heart. For me, it's almost the ideal movie. It's very funny, fluid, and has an incredible range of characters. It also has the premonition that war is in the air. Nobody knew that a World War was coming, but he anticipated it, and it is a totally amazing film." ('Perfect Days' Director Wim Wenders' Top 5, Aframe Oscars, 2023)
1:59

Wim Wenders explains why Jean Renoir's "The Rules of the Game" (1939) is one of his favourite movies: "'The Rules of the Game' (1939) appears on many lists of the greatest films of all time, and Renoir is one of the great filmmakers. He's also the lead actor in his own movie. It's a film made before the Second World War that anticipates that war in an amazing way. It was another film that was a revelation when I saw it for the first time, and then I saw it again and again. It played in a little neighborhood theater where I lived, and I saw it every day. I don't know how many times I have seen it, but it's one of the films I know by heart. For me, it's almost the ideal movie. It's very funny, fluid, and has an incredible range of characters. It also has the premonition that war is in the air. Nobody knew that a World War was coming, but he anticipated it, and it is a totally amazing film." ('Perfect Days' Director Wim Wenders' Top 5, Aframe Oscars, 2023)

DepressedBergman

19,789 Aufrufe • vor 1 Monat

Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000
1:54

Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000

RadiantFilm

93,086 Aufrufe • vor 9 Monaten

Adrian Chiarella tells us about the inspiration behind 'LEVITICUS': "I turned to [horror movies] when I was a queer teenager growing up, and I think I shared that with a lot of other queer young people. There's something about this genre that really speaks to us. I knew that horror movies — the genre of fear — they tap into the things that we're scared of. And homophobia, at its core, is a type of fear. So it just made sense to bring these things together."
0:51

Adrian Chiarella tells us about the inspiration behind 'LEVITICUS': "I turned to [horror movies] when I was a queer teenager growing up, and I think I shared that with a lot of other queer young people. There's something about this genre that really speaks to us. I knew that horror movies — the genre of fear — they tap into the things that we're scared of. And homophobia, at its core, is a type of fear. So it just made sense to bring these things together."

Film Updates

51,920 Aufrufe • vor 1 Monat

SRK talking about the first time Atlee came to narrate Jawan: "Atlee just came to see me in and he said you know I have a film, and I found it very interesting because the first line he told me for the film was that it's you sir with five girls and that's my film because my wife Priya and myself we really feel that you look the nicest when you have a bunch of ladies with you in a film. So I said okay a lot of action yeah it's lots of high speed shots he said yeah there's lots of dancing he said yeah lots of good dialogues he said yeah, so that's how jawan started"
0:34

SRK talking about the first time Atlee came to narrate Jawan: "Atlee just came to see me in and he said you know I have a film, and I found it very interesting because the first line he told me for the film was that it's you sir with five girls and that's my film because my wife Priya and myself we really feel that you look the nicest when you have a bunch of ladies with you in a film. So I said okay a lot of action yeah it's lots of high speed shots he said yeah there's lots of dancing he said yeah lots of good dialogues he said yeah, so that's how jawan started"

Raj

98,081 Aufrufe • vor 3 Monaten

Zack Snyder answers the major criticism of his remake of George A. Romero's "Dawn of the De@d" (1978): "Interviewer: The most common criticism of your film is that it doesn't go as deeply into sociology as Romero's film–I disagree with that read, I don't think the original is all that deep and, in fact, I think that your picture has a broader, subtler, more satirical edge. Snyder: I feel like it does, too. One of the comments I've made is that when Romero made his movie, mass consumerism was a really fresh topic, y'know, something that we were first waking up to. People were more unaware that they were living in a mass consumerist society, but now, man, if people don't know that we're living in a commercial, a cynically commercial, society now, a movie ain't gonna wake you up to it. We took a lot of time and effort on the satirical structure–even the construction of the mall was meant to reflect this corporate vision of our world. A sophisticated aesthetic to give the illusion of uniqueness when the truth is that it's mass-produced, manufactured, and given over to the illusion of specialness. Interviewer: Echoing the fact of the film itself… Snyder: Exactly. The way it's marketed and sold–a movie modeled after a cult classic to emulate that cult experience–but it's none of those things. I mean, it's Universal Studios. (laughs) That part of it, the movie itself is a conversation about mass consumerism and just how hard–how impossible–it is to replicate sort of the pioneering spirit of Romero. But we can do this self-knowing thing without being self-hating and that's the line to walk." (Zack Snyder's interview to Film Freak Central, 2004)
1:06

Zack Snyder answers the major criticism of his remake of George A. Romero's "Dawn of the De@d" (1978): "Interviewer: The most common criticism of your film is that it doesn't go as deeply into sociology as Romero's film–I disagree with that read, I don't think the original is all that deep and, in fact, I think that your picture has a broader, subtler, more satirical edge. Snyder: I feel like it does, too. One of the comments I've made is that when Romero made his movie, mass consumerism was a really fresh topic, y'know, something that we were first waking up to. People were more unaware that they were living in a mass consumerist society, but now, man, if people don't know that we're living in a commercial, a cynically commercial, society now, a movie ain't gonna wake you up to it. We took a lot of time and effort on the satirical structure–even the construction of the mall was meant to reflect this corporate vision of our world. A sophisticated aesthetic to give the illusion of uniqueness when the truth is that it's mass-produced, manufactured, and given over to the illusion of specialness. Interviewer: Echoing the fact of the film itself… Snyder: Exactly. The way it's marketed and sold–a movie modeled after a cult classic to emulate that cult experience–but it's none of those things. I mean, it's Universal Studios. (laughs) That part of it, the movie itself is a conversation about mass consumerism and just how hard–how impossible–it is to replicate sort of the pioneering spirit of Romero. But we can do this self-knowing thing without being self-hating and that's the line to walk." (Zack Snyder's interview to Film Freak Central, 2004)

DepressedBergman

27,663 Aufrufe • vor 6 Monaten

Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”
0:42

Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”

Hollywood Golden Age of Cinema

198,315 Aufrufe • vor 7 Monaten

Will Ferrell reveals why he turned down a massive payday for the ELF sequel "I was offered a crazy amount of money" "there was a lot of movement after the film initially came out, of which I maintained that it's going to be really hard because it's a classic fish out of water story" "an attempt was made at a script, which, you know, tried its best, but I just was like, I don't know" "I have to be able to sit in a setting like this and talk about the movie in a way that I feel good about" "if I were to promote that movie, I'd be literally saying I did it for the money. Straight up" "I'm like, do you want that messaging out there? then they tried a little bit later down the road and it just..."
1:00

Will Ferrell reveals why he turned down a massive payday for the ELF sequel "I was offered a crazy amount of money" "there was a lot of movement after the film initially came out, of which I maintained that it's going to be really hard because it's a classic fish out of water story" "an attempt was made at a script, which, you know, tried its best, but I just was like, I don't know" "I have to be able to sit in a setting like this and talk about the movie in a way that I feel good about" "if I were to promote that movie, I'd be literally saying I did it for the money. Straight up" "I'm like, do you want that messaging out there? then they tried a little bit later down the road and it just..."

Rixlerr

1,007,631 Aufrufe • vor 1 Monat

John McTiernan on how he learnt moviemaking by watching 'Day for Night' (1972): "I remember when I decided that that's what I was going to do. I went about it like it was reverse engineering. I knew that I had to go and learn what a movie was, not just my experience of going and watching a movie. So I went and sat in Truffaut's Day for Night (1972), watched it for three days straight, eight hours at a time and memorized it shot-for-shot. I got past the story, all the original and secondary experience, so I could study what it was that I was really watching. Film is really sort of a chain that's really linear. Yet when it's all strung together, it just sort of feels like an experience. It takes quite a while to be able to deconstruct that experience to figure out what you really saw." (John McTiernan's interview with Alex Simon, The Hollywood Interview, 1999)
2:07

John McTiernan on how he learnt moviemaking by watching 'Day for Night' (1972): "I remember when I decided that that's what I was going to do. I went about it like it was reverse engineering. I knew that I had to go and learn what a movie was, not just my experience of going and watching a movie. So I went and sat in Truffaut's Day for Night (1972), watched it for three days straight, eight hours at a time and memorized it shot-for-shot. I got past the story, all the original and secondary experience, so I could study what it was that I was really watching. Film is really sort of a chain that's really linear. Yet when it's all strung together, it just sort of feels like an experience. It takes quite a while to be able to deconstruct that experience to figure out what you really saw." (John McTiernan's interview with Alex Simon, The Hollywood Interview, 1999)

DepressedBergman

108,696 Aufrufe • vor 1 Jahr

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
6:40

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

Gangster Cinema Central

85,366 Aufrufe • vor 1 Monat

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q
1:15

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q

HSNews

179,234 Aufrufe • vor 5 Monaten

More of Harry about Aperture “The reason why it's called Aperture is like, you control how much light you let in to your life. And I think the start of this year, I kind of just decided I was going to say yes to everything. And the momentum of that has just brought, like, so many positive things in a lot of different ways into my life. And it's been a really beautiful time in my life. And I think also, just when I would play people the music, it was always the song that I played first. […] I want to say and where I'm at in my life. And I think there's nothing more fulfilling, I think, as a musician than putting out a song that you feel like represents where you're at in your life. I think sometimes, you know, you write a song and by the time it comes out, you've kind of been through a bunch of things, and you're not really kind of aligned with necessarily what is happening in the song. And I think I really felt it when we put As It Was at or I felt like, “oh, I feel like this really represents where I'm at in this moment” and that felt really fulfilling. So I think kind of I wanted to do that again this time. And just I feel great about, like, pressing play and going like, I want to play something. And that's kind of why it ended up being the first song.” - 102.7 KIIS FM
1:42

More of Harry about Aperture “The reason why it's called Aperture is like, you control how much light you let in to your life. And I think the start of this year, I kind of just decided I was going to say yes to everything. And the momentum of that has just brought, like, so many positive things in a lot of different ways into my life. And it's been a really beautiful time in my life. And I think also, just when I would play people the music, it was always the song that I played first. […] I want to say and where I'm at in my life. And I think there's nothing more fulfilling, I think, as a musician than putting out a song that you feel like represents where you're at in your life. I think sometimes, you know, you write a song and by the time it comes out, you've kind of been through a bunch of things, and you're not really kind of aligned with necessarily what is happening in the song. And I think I really felt it when we put As It Was at or I felt like, “oh, I feel like this really represents where I'm at in this moment” and that felt really fulfilling. So I think kind of I wanted to do that again this time. And just I feel great about, like, pressing play and going like, I want to play something. And that's kind of why it ended up being the first song.” - 102.7 KIIS FM

HSNews

39,591 Aufrufe • vor 6 Monaten

Will Ferrell says the iconic Anchorman news team fight was his favorite scene to film, revealing it was shot in 100-degree heat in just one day and captured the absurd comedy that defined the movie. “One of my favorite scenes in the movie. It’s such an incredible joke bag. Before we get into the fight, Brick Tamland, played by Steve Carell, is holding a grenade. We don’t know how he got ahold of it. There is a man on fire, there is someone being dragged by a net by horseback, which is kind of an homage to early Planet of the Apes.” “I think it’s something like 30 to 35 different setups, with two units, a stunt unit working at the same time as the main film unit in downtown LA in the middle of July. And I think it was 100 degrees that day.” “And we only had the one day to complete all that. And it’s probably a scene that should have taken three days to shoot. So silly, so absurdist. I think it is really one of the touchstone moments that defines the tone of Anchorman.” “I think Adam and I wanted to create this film where we got to indulge every comedy idea we ever had and follow it all the way through without someone telling us, “No, that scene’s too long,” “No one would ever do that,” “That doesn’t make sense.” We just wanted it to be like, it may not make sense, but it’s just funny.” “I think when people saw that film, they were like, “This feels like someone gave you the keys to a car and you’re 5 years old and you don’t know how to drive.” No one wanted to make it, no one understood why this would be funny. We just felt like we were playing with the house’s money, and let’s just make the craziest film we can, because we may never be allowed to make another movie ever again.”
1:53

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

Ruzy.hl

60,067 Aufrufe • vor 23 Tagen

President Kagame on sports shaping countries’ economies in the future: It's not just the future. When you talk about, for example, the arena, the stadium, it's already happening. People are taking notice of that and counting and knowing that it has employed so many, it has brought in so much. And that interaction around people here and beyond, with the rest of the world, speaks volumes in terms of value. So it has already brought in a lot. And it's a question of growing that. And we also know that statistics show that even across Africa, in terms of sports, it's running into billions as to what sports can bring to the continent, tens of billions. I think what we do as leaders at different levels is to encourage people to be part of realizing that story and reaping the benefits. And it's happening. So it's no longer something you just listen to and think it is for others and not for you. Now people believe, they start by believing. And when they start by believing and see things happening, then they believe even more and get more involved. And, I mean, the sky is the limit.
2:17

President Kagame on sports shaping countries’ economies in the future: It's not just the future. When you talk about, for example, the arena, the stadium, it's already happening. People are taking notice of that and counting and knowing that it has employed so many, it has brought in so much. And that interaction around people here and beyond, with the rest of the world, speaks volumes in terms of value. So it has already brought in a lot. And it's a question of growing that. And we also know that statistics show that even across Africa, in terms of sports, it's running into billions as to what sports can bring to the continent, tens of billions. I think what we do as leaders at different levels is to encourage people to be part of realizing that story and reaping the benefits. And it's happening. So it's no longer something you just listen to and think it is for others and not for you. Now people believe, they start by believing. And when they start by believing and see things happening, then they believe even more and get more involved. And, I mean, the sky is the limit.

Presidency | Rwanda

68,782 Aufrufe • vor 1 Jahr

Brad Pitt says he watched Once Upon a Time in Hollywood 8 times in the last 18 months and calls it the second best Tarantino film after Pulp Fiction “I liked it a lot. Then 5 years went by and I'm on a plane a year and a half ago and it's there. So, I start watching it and then I'm like, 'This movie is way better than I remember.'” “And then we get off the plane and now I got to finish it. So now I'm in a hotel room watching on my iPad. Then I'm like, I got to watch it in my theater. I come home, I got to watch it in the theater.” “And I've watched it now sincerely probably eight times in the last 18 months. That movie, I'm so obsessed with that movie.” “I think it's second best to only Pulp Fiction.” “There's no bummer about being in a Tarantino movie.” “Yeah, exactly. That's what I'm saying.”
1:21

Brad Pitt says he watched Once Upon a Time in Hollywood 8 times in the last 18 months and calls it the second best Tarantino film after Pulp Fiction “I liked it a lot. Then 5 years went by and I'm on a plane a year and a half ago and it's there. So, I start watching it and then I'm like, 'This movie is way better than I remember.'” “And then we get off the plane and now I got to finish it. So now I'm in a hotel room watching on my iPad. Then I'm like, I got to watch it in my theater. I come home, I got to watch it in the theater.” “And I've watched it now sincerely probably eight times in the last 18 months. That movie, I'm so obsessed with that movie.” “I think it's second best to only Pulp Fiction.” “There's no bummer about being in a Tarantino movie.” “Yeah, exactly. That's what I'm saying.”

ramagazzi

692,859 Aufrufe • vor 1 Monat

Tom Holland and Sadie Sink share their first impressions of each other: Tom: “This movie really sings because of the work that you did. So for me, when I met you for the first time, I met someone that was really eager to do the work, really excited to be a part of the world, and someone that I know is going to carry the responsibility with a lot of grace.” Sadie: “Tom is just like a natural born leader and I think exactly the kind of person you want in this role, leading this film. So I was very impressed by him since day one.”
0:37

Tom Holland and Sadie Sink share their first impressions of each other: Tom: “This movie really sings because of the work that you did. So for me, when I met you for the first time, I met someone that was really eager to do the work, really excited to be a part of the world, and someone that I know is going to carry the responsibility with a lot of grace.” Sadie: “Tom is just like a natural born leader and I think exactly the kind of person you want in this role, leading this film. So I was very impressed by him since day one.”

best of tom holland

245,640 Aufrufe • vor 10 Tagen

Joe Rogan: “It doesn't make sense to be on a team.” “I don't consider myself a Republican. I don't consider myself a Democrat either. I consider myself an American.” “There's a lot of things that the Democrats believe that I believe too. There's a lot of things that they say that makes a lot of sense to me.” “There's a lot of things that the Republicans say that makes a lot of sense to me too.” “The idea that I have to ignore things that make sense to me because it's coming from the wrong team is just stupid.”
1:03

Joe Rogan: “It doesn't make sense to be on a team.” “I don't consider myself a Republican. I don't consider myself a Democrat either. I consider myself an American.” “There's a lot of things that the Democrats believe that I believe too. There's a lot of things that they say that makes a lot of sense to me.” “There's a lot of things that the Republicans say that makes a lot of sense to me too.” “The idea that I have to ignore things that make sense to me because it's coming from the wrong team is just stupid.”

End Tribalism in Politics

4,981,745 Aufrufe • vor 1 Jahr

Lily about Classism in the movie Parasite: “(The rich family) are clearly very classist, very elitist, idk, maybe they donate to a lot of charities, maybe? I doubt it, but maybe? the line about the smell, 'He smells like a poor person' or something like that. God, that boiled my blood so bad. That line really stuck with me after the first time that I watched the movie. It's just annoying. I don't believe that it comes from like a complete place of malice; they're really just blinded by their own privilege.”
2:13

Lily about Classism in the movie Parasite: “(The rich family) are clearly very classist, very elitist, idk, maybe they donate to a lot of charities, maybe? I doubt it, but maybe? the line about the smell, 'He smells like a poor person' or something like that. God, that boiled my blood so bad. That line really stuck with me after the first time that I watched the movie. It's just annoying. I don't believe that it comes from like a complete place of malice; they're really just blinded by their own privilege.”

nmixx pics

45,823 Aufrufe • vor 3 Monaten

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast
2:54

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast

Gangster Cinema Central

657,359 Aufrufe • vor 2 Monaten