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Ginger Rogers on working with Cary Grant, Howard Hawks & Marilyn Monroe in "Monkey Business" (1952): "All any producer ever had to do was to tell me his proposed film had Cary Grant as the male star, and I’d be there with bells on! Then, if the director was...

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DepressedBergman

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30,654 次观看 • 2 个月前 •via X (Twitter)

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James Stewart and Cary Grant on working together in George Cukor's "The Philadelphia Story" (1940) & how this memorable scene was improvised: "James Stewart: I play a writer who falls in love with Katharine Hepburn. The night before her wedding I have a little too much to drink. This gives me the courage to go and talk to Cary, who’s playing her ex-husband. So I go to Cary’s house and knock on the door. It’s obvious I’ve had too much to drink, but he lets me in. It was time to do the scene, and Cary said, ‘George, why don’t we just go ahead? If you don’t like it, we’ll do it again.’ So, without a rehearsal or anything, we started the scene. As I was talking, it hit me that I’d had too much to drink. So, as I explained things to Cary, I hiccuped. In answer to the hiccup, Cary said —out of the clear blue sky —‘Excuse me.’ Well, I sort of said, ‘Umm?’ It was very difficult for me to keep a straight face, because his ad-libbed response had been so beautifully done. Cary had an almost perfect humor. Cary Grant: Jimmy simply mesmerized me on the screen. When I watched him act, I felt like a triangle player in the orchestra who keeps watching the conductor and then, when he finally gets the baton signal, he misses his triangle." ("Evenings with Cary Grant", Nancy Nelson, 1991) P.S: Remembering the great American Filmmaker George Cukor on his 127th birthday!
1:47

James Stewart and Cary Grant on working together in George Cukor's "The Philadelphia Story" (1940) & how this memorable scene was improvised: "James Stewart: I play a writer who falls in love with Katharine Hepburn. The night before her wedding I have a little too much to drink. This gives me the courage to go and talk to Cary, who’s playing her ex-husband. So I go to Cary’s house and knock on the door. It’s obvious I’ve had too much to drink, but he lets me in. It was time to do the scene, and Cary said, ‘George, why don’t we just go ahead? If you don’t like it, we’ll do it again.’ So, without a rehearsal or anything, we started the scene. As I was talking, it hit me that I’d had too much to drink. So, as I explained things to Cary, I hiccuped. In answer to the hiccup, Cary said —out of the clear blue sky —‘Excuse me.’ Well, I sort of said, ‘Umm?’ It was very difficult for me to keep a straight face, because his ad-libbed response had been so beautifully done. Cary had an almost perfect humor. Cary Grant: Jimmy simply mesmerized me on the screen. When I watched him act, I felt like a triangle player in the orchestra who keeps watching the conductor and then, when he finally gets the baton signal, he misses his triangle." ("Evenings with Cary Grant", Nancy Nelson, 1991) P.S: Remembering the great American Filmmaker George Cukor on his 127th birthday!

DepressedBergman

59,561 次观看 • 1 个月前

Howard Hawks on working with Marilyn Monroe: "Marilyn Monroe was the most frightened little girl who had no confidence in her ability. She was afraid to come on the screen. Very strange girl. And yet she had this strange effect when she was photographed. Nobody dated her, nobody took her out, nobody paid any attention to her. She’d sit on the set with practically nothing on, and a pretty extra girl would walk by and everybody’d whistle. But she got out in front of the camera, and the camera liked her, and all of a sudden she was a great sex symbol. Fortunately, I had her in a couple of the first pictures that she did 'Monkey Business' (1952) and 'Gentlemen Prefer Blondes' (1953), when she wasn’t worried. And also I had Jane Russell’s help in making 'Gentlemen Prefer Blondes'. We had a lot of fun doing the picture, but there were a lot of times when I was ready to give up the ghost. Jane Russell would say, “Look at me—all he wants you to do is such-and-such a thing.” And Marilyn would say to her, “Why didn’t you tell me?” But I had an easy time compared to some of the directors who worked with her afterward. Because after she got very important she became more and more frightened, and she just didn’t want to come out and do a scene. She didn’t think she was good enough to do the things that she did. She was always better in fantastic material, wasn’t she? Like in 'Gentlemen Prefer Blondes'? There wasn’t a real thing about her. Everything was completely unreal. They tried to make her play real parts in a couple of pictures, and the pictures were disasters. 'Gentlemen Prefer Blondes' was the first one where she really went good, and then they had no sense to stick with that." ("Hawks on Hawks", Joseph McBride, 1982) P.S: Remembering Marilyn Monroe on her 100th birthday!
4:01

Howard Hawks on working with Marilyn Monroe: "Marilyn Monroe was the most frightened little girl who had no confidence in her ability. She was afraid to come on the screen. Very strange girl. And yet she had this strange effect when she was photographed. Nobody dated her, nobody took her out, nobody paid any attention to her. She’d sit on the set with practically nothing on, and a pretty extra girl would walk by and everybody’d whistle. But she got out in front of the camera, and the camera liked her, and all of a sudden she was a great sex symbol. Fortunately, I had her in a couple of the first pictures that she did 'Monkey Business' (1952) and 'Gentlemen Prefer Blondes' (1953), when she wasn’t worried. And also I had Jane Russell’s help in making 'Gentlemen Prefer Blondes'. We had a lot of fun doing the picture, but there were a lot of times when I was ready to give up the ghost. Jane Russell would say, “Look at me—all he wants you to do is such-and-such a thing.” And Marilyn would say to her, “Why didn’t you tell me?” But I had an easy time compared to some of the directors who worked with her afterward. Because after she got very important she became more and more frightened, and she just didn’t want to come out and do a scene. She didn’t think she was good enough to do the things that she did. She was always better in fantastic material, wasn’t she? Like in 'Gentlemen Prefer Blondes'? There wasn’t a real thing about her. Everything was completely unreal. They tried to make her play real parts in a couple of pictures, and the pictures were disasters. 'Gentlemen Prefer Blondes' was the first one where she really went good, and then they had no sense to stick with that." ("Hawks on Hawks", Joseph McBride, 1982) P.S: Remembering Marilyn Monroe on her 100th birthday!

DepressedBergman

170,665 次观看 • 2 个月前

Hunter Biden says he was 7 years sober when a Bloody Mary cart rolled up to his seat and he was the only one in business class. That’s the moment he relapsed “I’m on a plane, it was 2010, I’m coming back from a business trip in Europe. Clean. It’s over. I’d been upgraded to business class, but I was the only one in there” “And she comes by with a cart, and it’s a Bloody Mary cart. A full Bloody Mary cart. And I swear to God, you know what went through my head?” “One of my counselors at Crossroads had told me a story about how he’d been sober for seven years, and he had a drink on a plane on his way to DC from the West Coast… and he woke up in Indianapolis, Indiana, in a motel” “I’m like, Maybe I should try this. But I did. I had a drink. And of course… I didn’t have one Bloody Mary on that plane. I came and told people in my group I had six” “So I got off the plane, went to a liquor store on the way home, picked up a fifth of Smirnoff in that plastic bottle, and put it in my bag”
1:24

Hunter Biden says he was 7 years sober when a Bloody Mary cart rolled up to his seat and he was the only one in business class. That’s the moment he relapsed “I’m on a plane, it was 2010, I’m coming back from a business trip in Europe. Clean. It’s over. I’d been upgraded to business class, but I was the only one in there” “And she comes by with a cart, and it’s a Bloody Mary cart. A full Bloody Mary cart. And I swear to God, you know what went through my head?” “One of my counselors at Crossroads had told me a story about how he’d been sober for seven years, and he had a drink on a plane on his way to DC from the West Coast… and he woke up in Indianapolis, Indiana, in a motel” “I’m like, Maybe I should try this. But I did. I had a drink. And of course… I didn’t have one Bloody Mary on that plane. I came and told people in my group I had six” “So I got off the plane, went to a liquor store on the way home, picked up a fifth of Smirnoff in that plastic bottle, and put it in my bag”

katsu

2,833,989 次观看 • 1 个月前

Chamath's $420M debt story: “If I ever do that again, punch me in the face.” Chamath: “ I've been in debt. I've had a $420M credit line. And I had a moment where it was reflexively kind of collapsing inward because the assets that I was using to secure it shrank in value in a moment of market disruption. I was scrambling, and then at the same time, there was a risk, it was the worst moment of my professional working life. I had a couple hundred million dollars sitting at Credit Suisse and they were about to implode, and so on a weekend I was trying to figure out whether my money was still there. I had always had this rule, don't have debt, and then I violated it to try to run the number up. I almost got run over. I almost lost everything. I will never do it again, and if I ever do it again, if you guys ever hear me do it again, please just come and punch me in the face. Jason: “We will. We've been waiting for an excuse.” Friedberg: “Can we punch you in the face for other things too?” Chamath: “Yeah, absolutely.” Sacks: “This is how smart guys go bankrupt, they take on debt.”
1:05

Chamath's $420M debt story: “If I ever do that again, punch me in the face.” Chamath: “ I've been in debt. I've had a $420M credit line. And I had a moment where it was reflexively kind of collapsing inward because the assets that I was using to secure it shrank in value in a moment of market disruption. I was scrambling, and then at the same time, there was a risk, it was the worst moment of my professional working life. I had a couple hundred million dollars sitting at Credit Suisse and they were about to implode, and so on a weekend I was trying to figure out whether my money was still there. I had always had this rule, don't have debt, and then I violated it to try to run the number up. I almost got run over. I almost lost everything. I will never do it again, and if I ever do it again, if you guys ever hear me do it again, please just come and punch me in the face. Jason: “We will. We've been waiting for an excuse.” Friedberg: “Can we punch you in the face for other things too?” Chamath: “Yeah, absolutely.” Sacks: “This is how smart guys go bankrupt, they take on debt.”

The All-In Podcast

327,612 次观看 • 3 个月前

Mel Brooks on one of his favourite scenes in "Robin Hood: Men in Tights" (1993): "Sometime in 1992, a talented young writer by the name of J. D. Shapiro came to me with a wonderful new take on the classic Robin Hood story. He was a pleasure to work with and in no time, we had a script worth making. I stole my Robin Hood once again from Rob Reiner, from whom I had earlier stolen Daphne Zuniga for 'Spaceballs' (1987). In Rob’s magical picture 'The Princess Bride' (1987), I found my perfect Robin Hood: Cary Elwes. He had the look, the voice, and the charm. I thought he could possibly be the next Errol Flynn! Cary was a delight to work with; we got along really well on the set and to this day we are still good friends. One scene from the movie I particularly love is the exchange between Cary and Mark Blankfield, who played Blinkin. Upon Robin’s return from the crusades, Blinkin catches him up on what's happened to his family during his absence." ("All About Me!", Mel Brooks, 2021)
1:08

Mel Brooks on one of his favourite scenes in "Robin Hood: Men in Tights" (1993): "Sometime in 1992, a talented young writer by the name of J. D. Shapiro came to me with a wonderful new take on the classic Robin Hood story. He was a pleasure to work with and in no time, we had a script worth making. I stole my Robin Hood once again from Rob Reiner, from whom I had earlier stolen Daphne Zuniga for 'Spaceballs' (1987). In Rob’s magical picture 'The Princess Bride' (1987), I found my perfect Robin Hood: Cary Elwes. He had the look, the voice, and the charm. I thought he could possibly be the next Errol Flynn! Cary was a delight to work with; we got along really well on the set and to this day we are still good friends. One scene from the movie I particularly love is the exchange between Cary and Mark Blankfield, who played Blinkin. Upon Robin’s return from the crusades, Blinkin catches him up on what's happened to his family during his absence." ("All About Me!", Mel Brooks, 2021)

DepressedBergman

61,311 次观看 • 1 个月前

This was the moment that I found out that Take This had won the A State of Trance Tune of the Year for 2022. It had all been kept a secret from me. My manager and wife both knew. They were told by Ruben de Ronde when I was away in Australia and never said a word to me. Well played🤣
1:28

This was the moment that I found out that Take This had won the A State of Trance Tune of the Year for 2022. It had all been kept a secret from me. My manager and wife both knew. They were told by Ruben de Ronde when I was away in Australia and never said a word to me. Well played🤣

Bryan Kearney

32,856 次观看 • 3 年前

Peter Bogdanovich on the phone call he had with Howard Hawks on the set of "What’s Up, Doc?" (1972) & what Howard Hawks thought of the movie: "Interviewer: Howard Hawks phoned you on the set while you were shooting. Bogdanovich: We were actually having a table read. I think it was before the read had started. The whole cast was assembled, and we were chatting. The assistant director comes over and says, “Peter, you’ve got a call on the stage phone. It’s Howard Hawks.” Everybody went, Ohhh, it’s Howard Hawks! I went over, and I said, “Howard?” “Peter?” “Howard?” “Peter?” “Howard!” “Peter!” I said, “Hi, how are you?” I had sent him the script of What’s Up, Doc?, and I had told him we had stolen a few things from him. Now, he calls me, and he says, “Well, you didn’t steal the leopard.” “I couldn’t steal the leopard, Howard! I mean, it’s too much identified with your picture.” “Well, yeah, I guess. Well, you didn’t steal the dinosaur.” “No, I couldn’t steal the dinosaur, Howard. Again, it’s very associated with your picture. I just took the basic plot.” “Yeah, well, it’s okay. It’s fine. Who you got in it?” “Well, Barbra Streisand and Ryan O’Neal. I know they’re not Katharine Hepburn and Cary Grant …” “You’re damn right they’re not. Well, just don’t let ’em be cute.” “Okay, Howard. Thank you.” “All right, boy. See you later.” Interviewer: What did Hawks think when he saw it? Bogdanovich: He was very proud of it. [Laughs.] He took a lot of bows for it. Interviewer: But that was fine with you Bogdanovich: Oh, yeah, I told everybody it was stolen from Bringing Up Baby, and then everybody said, “He stole it from Bringing Up Baby.” [Laughs.] One of them said I stole it from Bringing Up Father, which was a comic strip at that time. Interviewer: But Hawks felt you did a good job. Bogdanovich: He went down to Rio, and it was playing there. With his own little camera, he took pictures of the marquee, showing what it looked like for me. Isn’t that sweet? ("Picturing Peter Bogdanovich", Peter Tonguette, 2020) P.S: On this day, 54 Years ago, "What’s Up, Doc?" (1972) premiered in New York City, USA.
1:53

Peter Bogdanovich on the phone call he had with Howard Hawks on the set of "What’s Up, Doc?" (1972) & what Howard Hawks thought of the movie: "Interviewer: Howard Hawks phoned you on the set while you were shooting. Bogdanovich: We were actually having a table read. I think it was before the read had started. The whole cast was assembled, and we were chatting. The assistant director comes over and says, “Peter, you’ve got a call on the stage phone. It’s Howard Hawks.” Everybody went, Ohhh, it’s Howard Hawks! I went over, and I said, “Howard?” “Peter?” “Howard?” “Peter?” “Howard!” “Peter!” I said, “Hi, how are you?” I had sent him the script of What’s Up, Doc?, and I had told him we had stolen a few things from him. Now, he calls me, and he says, “Well, you didn’t steal the leopard.” “I couldn’t steal the leopard, Howard! I mean, it’s too much identified with your picture.” “Well, yeah, I guess. Well, you didn’t steal the dinosaur.” “No, I couldn’t steal the dinosaur, Howard. Again, it’s very associated with your picture. I just took the basic plot.” “Yeah, well, it’s okay. It’s fine. Who you got in it?” “Well, Barbra Streisand and Ryan O’Neal. I know they’re not Katharine Hepburn and Cary Grant …” “You’re damn right they’re not. Well, just don’t let ’em be cute.” “Okay, Howard. Thank you.” “All right, boy. See you later.” Interviewer: What did Hawks think when he saw it? Bogdanovich: He was very proud of it. [Laughs.] He took a lot of bows for it. Interviewer: But that was fine with you Bogdanovich: Oh, yeah, I told everybody it was stolen from Bringing Up Baby, and then everybody said, “He stole it from Bringing Up Baby.” [Laughs.] One of them said I stole it from Bringing Up Father, which was a comic strip at that time. Interviewer: But Hawks felt you did a good job. Bogdanovich: He went down to Rio, and it was playing there. With his own little camera, he took pictures of the marquee, showing what it looked like for me. Isn’t that sweet? ("Picturing Peter Bogdanovich", Peter Tonguette, 2020) P.S: On this day, 54 Years ago, "What’s Up, Doc?" (1972) premiered in New York City, USA.

DepressedBergman

72,830 次观看 • 5 个月前

Ariana Madix recalls when she caught her boyfriend of nine years, Tom Sandoval, cheating on her with her best friend, Raquel. She says she was holding his phone while he was performing a song, and felt a divine intervention in that moment. She says she’s not someone who likes to snoop because she knows she’ll find something she doesn’t want to see, as that’s been the case in her past relationships. But she went through his phone anyway and found evidence of him cheating in his camera roll. “I was holding my phone and his phone just kinda as a stack. There’s nothing weird about that, we were together for 9 years. Me holding on to his phone, his laptop. So they had like one more song, then afterwards I got up to go tell him good job and give him his phone back, and he was talking to some other band members so he was a little preoccupied. And then literally in that moment, it felt like a divine intervention or something. l've always been very hesitant to become the snooper because I always feel like anytime you snoop in anyone's stuff even if they're not guilty of doing anything wrong you always end up finding something you don't want to find or seeing something you don't want to. I've been like that in past relationships. So in this one I was like I'm not going to do that and if I ask about something I will take Tom's word. I will be someone who trusts. I just had this thought, this is a time to do it. So I went into the bathroom at TomTom, he had not changed the passcode on his phone. We knew each other’s passcodes. So, it felt like if you were going to be the type of person who is going to have an affair or be cheating or hiding things, you wouldn’t also be so readily giving of your stuff like that. And so I looked in his messages. There was nothing weird. And I was like, “Okay, maybe you’re being dumb.” And then I opened up his camera roll and then that’s when I saw what I saw. And I busted out of the stall.”
3:27

Ariana Madix recalls when she caught her boyfriend of nine years, Tom Sandoval, cheating on her with her best friend, Raquel. She says she was holding his phone while he was performing a song, and felt a divine intervention in that moment. She says she’s not someone who likes to snoop because she knows she’ll find something she doesn’t want to see, as that’s been the case in her past relationships. But she went through his phone anyway and found evidence of him cheating in his camera roll. “I was holding my phone and his phone just kinda as a stack. There’s nothing weird about that, we were together for 9 years. Me holding on to his phone, his laptop. So they had like one more song, then afterwards I got up to go tell him good job and give him his phone back, and he was talking to some other band members so he was a little preoccupied. And then literally in that moment, it felt like a divine intervention or something. l've always been very hesitant to become the snooper because I always feel like anytime you snoop in anyone's stuff even if they're not guilty of doing anything wrong you always end up finding something you don't want to find or seeing something you don't want to. I've been like that in past relationships. So in this one I was like I'm not going to do that and if I ask about something I will take Tom's word. I will be someone who trusts. I just had this thought, this is a time to do it. So I went into the bathroom at TomTom, he had not changed the passcode on his phone. We knew each other’s passcodes. So, it felt like if you were going to be the type of person who is going to have an affair or be cheating or hiding things, you wouldn’t also be so readily giving of your stuff like that. And so I looked in his messages. There was nothing weird. And I was like, “Okay, maybe you’re being dumb.” And then I opened up his camera roll and then that’s when I saw what I saw. And I busted out of the stall.”

Heron

1,009,007 次观看 • 1 个月前

Rare video footage of Marilyn Monroe and Jane Russell the day they placed their handprints, footprints and signatures in cement when they immortalised in the forecourt of the famous Grauman’s Chinese Theatre on Hollywood Boulevard on June 26, 1953. Marilyn also made an imprint of her earring in the cement. Jane Russell said, “I’ll never forget Marilyn saying, “It’s for all time, isn’t it?” “Yes,” I told her, “it’s for all time, or as long as the cement lasts.” She made me cry, she was so sweet. I believed in her. We made a hell of a team and I wish we had done another picture together.”
0:37

Rare video footage of Marilyn Monroe and Jane Russell the day they placed their handprints, footprints and signatures in cement when they immortalised in the forecourt of the famous Grauman’s Chinese Theatre on Hollywood Boulevard on June 26, 1953. Marilyn also made an imprint of her earring in the cement. Jane Russell said, “I’ll never forget Marilyn saying, “It’s for all time, isn’t it?” “Yes,” I told her, “it’s for all time, or as long as the cement lasts.” She made me cry, she was so sweet. I believed in her. We made a hell of a team and I wish we had done another picture together.”

Hollywood Golden Age of Cinema

152,247 次观看 • 8 个月前

Remembering Cary Grant on his Birthday. Born | January 18, 1904 in Horfield, Bristol, England, UK. Died | November 29, 1986 aged 82 in Davenport, Iowa, USA. Video | Cary Grant and Grace Kelly in a scene from Alfred Hitchcock's “To Catch a Thief” (1955). Once told by an interviewer, “Everybody would like to be Cary Grant”, Grant is said to have replied, “So would I.” Cary Grant was born Archibald Alec Leach on January 18, 1904 in Horfield, Bristol, England, to Elsie Maria (Kingdon) and Elias James Leach, who worked in a factory. His early years in Bristol would have been an ordinary lower-middle-class childhood, except for one extraordinary event. At age nine, he came home from school one day and was told his mother had gone off to a seaside resort. However, the real truth was that she had been placed in a mental institution, where she would remain for years, and he was never told about it (he would not see his mother again until he was in his late 20s). He left school at age 14, lying about his age and forging his father's signature on a letter to join Bob Pender's troupe of knockabout comedians. He learned pantomime as well as acrobatics as he toured with the Pender troupe in the English provinces, picked up a Cockney accent in the music halls in London, and then in July 1920, was one of the eight Pender boys selected to go to the United States. Their show on Broadway, “Good Times”, ran for 456 performances, giving Grant time to acclimatise. He would stay in America. Mae West wanted Grant for She Done Him Wrong (1933) because she saw his combination of virility, sexuality and the aura and bearing of a gentleman. Grant was young enough to begin the new career of fatherhood when he stopped making movies at age 62. One biographer said Grant was alienated by the new realism in the film industry. In the 1950s and early 1960s, he had invented a man-of-the-world persona and a style ― “high comedy with polished words”. In To Catch a Thief (1955), he and Grace Kelly were allowed to improvise some of the dialogue. They knew what the director, Alfred Hitchcock, wanted to do with a scene, they rehearsed it, put in some clever double entendres that got past the censors, and then the scene was filmed. His biggest box-office success was another Hitchcock 1950s film, North by Northwest (1959) made with Eva Marie Saint since Kelly was by that time Princess of Monaco. Although Grant retired from the screen, he remained active. He accepted a position on the board of directors at Faberge. By all accounts this position was not honorary, as some had assumed. Grant regularly attended meetings and traveled internationally to support them. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother Dyan Cannon, was working. He later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle ― Hollywood, California), Western Airlines (acquired by Delta Airlines in 1987) and MGM. Grant expressed no interest in making a career comeback. He was in good health until almost the end of his life, when he suffered a mild stroke in October 1984. In his last years, he undertook tours of the United States in a one-man-show, “A Conversation with Cary Grant”, in which he would show clips from his films and answer audience questions. On November 29, 1986, Cary Grant died at age 82 of a cerebral hemorrhage in Davenport, Iowa. In 1999, the American Film Institute named Grant the second greatest male star of Golden Age of Hollywood cinema (after Humphrey Bogart). Grant was known for comedic and dramatic roles; his best-known films include Bringing Up Baby (1938), The Philadelphia Story (1940), His Girl Friday (1940), Arsenic and Old Lace (1944), Notorious (1946), An Affair to Remember (1957), North by Northwest (1959) and Charade (1963). - IMDb mini biography by: Dale O'Connor.
1:03

Remembering Cary Grant on his Birthday. Born | January 18, 1904 in Horfield, Bristol, England, UK. Died | November 29, 1986 aged 82 in Davenport, Iowa, USA. Video | Cary Grant and Grace Kelly in a scene from Alfred Hitchcock's “To Catch a Thief” (1955). Once told by an interviewer, “Everybody would like to be Cary Grant”, Grant is said to have replied, “So would I.” Cary Grant was born Archibald Alec Leach on January 18, 1904 in Horfield, Bristol, England, to Elsie Maria (Kingdon) and Elias James Leach, who worked in a factory. His early years in Bristol would have been an ordinary lower-middle-class childhood, except for one extraordinary event. At age nine, he came home from school one day and was told his mother had gone off to a seaside resort. However, the real truth was that she had been placed in a mental institution, where she would remain for years, and he was never told about it (he would not see his mother again until he was in his late 20s). He left school at age 14, lying about his age and forging his father's signature on a letter to join Bob Pender's troupe of knockabout comedians. He learned pantomime as well as acrobatics as he toured with the Pender troupe in the English provinces, picked up a Cockney accent in the music halls in London, and then in July 1920, was one of the eight Pender boys selected to go to the United States. Their show on Broadway, “Good Times”, ran for 456 performances, giving Grant time to acclimatise. He would stay in America. Mae West wanted Grant for She Done Him Wrong (1933) because she saw his combination of virility, sexuality and the aura and bearing of a gentleman. Grant was young enough to begin the new career of fatherhood when he stopped making movies at age 62. One biographer said Grant was alienated by the new realism in the film industry. In the 1950s and early 1960s, he had invented a man-of-the-world persona and a style ― “high comedy with polished words”. In To Catch a Thief (1955), he and Grace Kelly were allowed to improvise some of the dialogue. They knew what the director, Alfred Hitchcock, wanted to do with a scene, they rehearsed it, put in some clever double entendres that got past the censors, and then the scene was filmed. His biggest box-office success was another Hitchcock 1950s film, North by Northwest (1959) made with Eva Marie Saint since Kelly was by that time Princess of Monaco. Although Grant retired from the screen, he remained active. He accepted a position on the board of directors at Faberge. By all accounts this position was not honorary, as some had assumed. Grant regularly attended meetings and traveled internationally to support them. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother Dyan Cannon, was working. He later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle ― Hollywood, California), Western Airlines (acquired by Delta Airlines in 1987) and MGM. Grant expressed no interest in making a career comeback. He was in good health until almost the end of his life, when he suffered a mild stroke in October 1984. In his last years, he undertook tours of the United States in a one-man-show, “A Conversation with Cary Grant”, in which he would show clips from his films and answer audience questions. On November 29, 1986, Cary Grant died at age 82 of a cerebral hemorrhage in Davenport, Iowa. In 1999, the American Film Institute named Grant the second greatest male star of Golden Age of Hollywood cinema (after Humphrey Bogart). Grant was known for comedic and dramatic roles; his best-known films include Bringing Up Baby (1938), The Philadelphia Story (1940), His Girl Friday (1940), Arsenic and Old Lace (1944), Notorious (1946), An Affair to Remember (1957), North by Northwest (1959) and Charade (1963). - IMDb mini biography by: Dale O'Connor.

MSI | Movie Star Icons

31,124 次观看 • 7 个月前

Howard Hawks on his meeting with Al Capone & what Capone and another famous Chicago gangster thought about 'Scarface' (1932) when they saw the film: "Interviewer: Did you have any contact with Al Capone while making the picture? Hawks: While we were making 'Scarface' (1932), five or six of them came out and said, “The boss wants us to see the picture.” And I said, “You go and tell him when it comes out, he can pay a dollar and buy a ticket. You don’t scare me. Why the hell don’t you come out and just ask to see it?” They reported to Capone that it was just great, and they invited me to Chicago to see him. They met me at the train, and they were late. One of the fellows said, “There was a killing last night and we had to go to the funeral.” I said, “Do I have to ride with you if there was a killing last night?” They said I could ride in a different car. But when we went into a café, they would sit with their backs to the wall, and I had my back to the door. We had some damn good-looking girls with us, a bit brassy but very pretty. When I saw Capone, we had tea, and he was dressed in a morning coat, striped trousers, a carnation, being a very nice man, saying how much he liked the picture. I was with him two, three hours. Then he asked me to come again, and I stopped by there. But there was a shooting in Chicago, so they said that he couldn’t come because he was hiding out in Atlantic City or something. Then he came to see me when I was working in Hollywood, and the cops came and arrested him right on the set. Interviewer: So he did see 'Scarface'? Hawks: Five or six times. He had his own print of it. He thought it was great. He’d say, “Jesus Christ, you guys got a lot of stuff in that picture! How’d you know about that?” I said, “Look—you know how somebody can’t testify if he’s a lawyer? Well, I’m a lawyer.” And he laughed. He didn’t give a damn. Another famous gangster brought two very lovely daughters out to watch the movie and introduced himself to me. He said, “Where’d you get that stuff in that killing?” I asked him, “Why? Are you mad?” He said, “No, I’m just curious.” I told him, and he laughed, and he said, “That’s the way we did the shooting. Why hasn’t the picture played in Chicago?” I said, “They won’t let me.” He said, “Do you want it to play?” I said yeah. And he said, “Can I use your phone a minute?” When he finished he said, “You can play it any time you want.” ('Hawks on Hawks', Joseph McBride, 1982) P.S: On this day, 94 years ago, 'Scarface' (1932) premiered in New Orleans, Luisiana.
1:22

Howard Hawks on his meeting with Al Capone & what Capone and another famous Chicago gangster thought about 'Scarface' (1932) when they saw the film: "Interviewer: Did you have any contact with Al Capone while making the picture? Hawks: While we were making 'Scarface' (1932), five or six of them came out and said, “The boss wants us to see the picture.” And I said, “You go and tell him when it comes out, he can pay a dollar and buy a ticket. You don’t scare me. Why the hell don’t you come out and just ask to see it?” They reported to Capone that it was just great, and they invited me to Chicago to see him. They met me at the train, and they were late. One of the fellows said, “There was a killing last night and we had to go to the funeral.” I said, “Do I have to ride with you if there was a killing last night?” They said I could ride in a different car. But when we went into a café, they would sit with their backs to the wall, and I had my back to the door. We had some damn good-looking girls with us, a bit brassy but very pretty. When I saw Capone, we had tea, and he was dressed in a morning coat, striped trousers, a carnation, being a very nice man, saying how much he liked the picture. I was with him two, three hours. Then he asked me to come again, and I stopped by there. But there was a shooting in Chicago, so they said that he couldn’t come because he was hiding out in Atlantic City or something. Then he came to see me when I was working in Hollywood, and the cops came and arrested him right on the set. Interviewer: So he did see 'Scarface'? Hawks: Five or six times. He had his own print of it. He thought it was great. He’d say, “Jesus Christ, you guys got a lot of stuff in that picture! How’d you know about that?” I said, “Look—you know how somebody can’t testify if he’s a lawyer? Well, I’m a lawyer.” And he laughed. He didn’t give a damn. Another famous gangster brought two very lovely daughters out to watch the movie and introduced himself to me. He said, “Where’d you get that stuff in that killing?” I asked him, “Why? Are you mad?” He said, “No, I’m just curious.” I told him, and he laughed, and he said, “That’s the way we did the shooting. Why hasn’t the picture played in Chicago?” I said, “They won’t let me.” He said, “Do you want it to play?” I said yeah. And he said, “Can I use your phone a minute?” When he finished he said, “You can play it any time you want.” ('Hawks on Hawks', Joseph McBride, 1982) P.S: On this day, 94 years ago, 'Scarface' (1932) premiered in New Orleans, Luisiana.

DepressedBergman

67,676 次观看 • 4 个月前

Russell Crowe says he turned down The Lord of the Rings, including 10% of the business, costing him an estimated $100,000,000 Howard: “They offered you 10%, this is the business, of the gross of the movie. Why did you turn down The Lord of the Rings?” Russell: “I didn't think Peter Jackson actually wanted me on the film. I think he was forced into talking to me. There was a moment in time when everybody wanted me for everything. He's a fellow New Zealander, I can hear his voice when I was talking to him on the phone, and my instinct was that he had somebody else in mind, which turned out to be Viggo Mortensen. And he should be allowed to hire the actor that he wants” Howard: “I did the math, but I think you would've gotten $100 million. Do you ever say, ‘Jesus Christ, I could've had $100 million.’ It would be nice to have an extra $100 million, would it not?” Russell: “It would not go astray”
1:22

Russell Crowe says he turned down The Lord of the Rings, including 10% of the business, costing him an estimated $100,000,000 Howard: “They offered you 10%, this is the business, of the gross of the movie. Why did you turn down The Lord of the Rings?” Russell: “I didn't think Peter Jackson actually wanted me on the film. I think he was forced into talking to me. There was a moment in time when everybody wanted me for everything. He's a fellow New Zealander, I can hear his voice when I was talking to him on the phone, and my instinct was that he had somebody else in mind, which turned out to be Viggo Mortensen. And he should be allowed to hire the actor that he wants” Howard: “I did the math, but I think you would've gotten $100 million. Do you ever say, ‘Jesus Christ, I could've had $100 million.’ It would be nice to have an extra $100 million, would it not?” Russell: “It would not go astray”

dank

3,331,977 次观看 • 1 个月前

Can any of my friends from the Boomer Generation answer this for me? Why are the Boomers so offended when ask to see their ID? This bank teller was explaining how she goes through this all the time. They always tell her that they’ve been banking there longer than she’s been alive. Showing an ID is just a simple measure to prevent fraud and theft, yet they yell at her for it. I ask because this happens to me all the time, even on the phone. Back at the pizza shop I would have an elderly man call in an order for food and most of the time he picks it up himself, no problem at all. However he started sending other people to pick it up as well as have other people calling the order. When the person picking up shows me his card which I recognize his name which had his photo on it, I won’t accept it without and ID as well, just a precaution. He then had to come all the way down there just to yell at me because obviously it’s for him and I shouldn’t have hassled him. I tried to explain to him when he calls it in and picks it up I know it’s him. However when others call it in and pick it up, I can’t verify if it’s actually legit or not, what if somebody stole his card and tried to use it. He still had an issue with it and explains that his grandkids should be able to use his card, I tell him that’s not how it works and if he kept giving my staff a hard time I would ban him from the store. I don’t need anybody threatening the workers over something meant to protect him. Should I just have let anybody use his card without verification at the shop? What if somebody did steal his card and spent his money, then he would have been mad at me for letting them do it.
1:00

Can any of my friends from the Boomer Generation answer this for me? Why are the Boomers so offended when ask to see their ID? This bank teller was explaining how she goes through this all the time. They always tell her that they’ve been banking there longer than she’s been alive. Showing an ID is just a simple measure to prevent fraud and theft, yet they yell at her for it. I ask because this happens to me all the time, even on the phone. Back at the pizza shop I would have an elderly man call in an order for food and most of the time he picks it up himself, no problem at all. However he started sending other people to pick it up as well as have other people calling the order. When the person picking up shows me his card which I recognize his name which had his photo on it, I won’t accept it without and ID as well, just a precaution. He then had to come all the way down there just to yell at me because obviously it’s for him and I shouldn’t have hassled him. I tried to explain to him when he calls it in and picks it up I know it’s him. However when others call it in and pick it up, I can’t verify if it’s actually legit or not, what if somebody stole his card and tried to use it. He still had an issue with it and explains that his grandkids should be able to use his card, I tell him that’s not how it works and if he kept giving my staff a hard time I would ban him from the store. I don’t need anybody threatening the workers over something meant to protect him. Should I just have let anybody use his card without verification at the shop? What if somebody did steal his card and spent his money, then he would have been mad at me for letting them do it.

SonnyBoy🇺🇸

20,521 次观看 • 1 个月前

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)
1:25

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

DepressedBergman

36,391 次观看 • 6 个月前

Gary Oldman's "EVERYONE!!" scream in Léon: The Professional is so iconic people yell it at him in the street. Turns out it started as a joke between him and Luc Besson. He explains: “What's strange is that it's become this sort of iconic line, and it was all done as a joke. And that was the thing, I played the scene…. And I had a relationship with Luc. Luc Besson was kind of mad in a way — I mean, we were shooting on film. He would say to me, "OK, do the scene again, but now do it as Robert De Niro." Or do it as... And he would shoot it for kicks, and his archive. So we had a fun kind of relationship… I said to Luke, "I just want to do one more, let me do one more." And I went to the sound guy and I said, "I'm going to be really loud, so be careful." And said “bring me everyone" — you know, EVERYONE like that. I just did it as a joke to make Luc laugh. I was a little shocked when I saw it in the film, yeah. It was just me fooling around — with intensity, with feeling — and yet it's become this line now.”
0:56

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

Gangster Cinema Central

35,141 次观看 • 1 个月前

I’ve had the opportunity to do a lot of cool things in my legal career. By far the coolest was representing a 6-year-old boy pro bono as he was adopted by his foster parents. Both of his parents had succumbed to drugs. By the grace of God, he was fostered by a beautiful family from rural Texas, on the outskirts of Dallas. When I agreed to take the case, I had no idea what I was getting myself into. As a corporate transaction lawyer, I had never once been to court. The only other time I’d been in a courtroom was in the mock trial classroom back in law school. I drove 45 minutes to a northern Dallas suburb, found the courthouse, and met my clients. I was nervous. I had a piece of paper to read, and my hand was shaking. The little boy’s entire kindergarten class came to support him. His new extended family was there too. They asked me questions about court like I was an expert… I had no clue what I was doing. I didn’t tell them that. When the adoption became official, he cried as his new mom hugged him. It was truly beautiful. Now, I have a six-year-old of my own, and it absolutely destroys me to think of him trying to navigate the world without loving parents. If you have the chance to foster or adopt, do it. Happy (belated) National Adoption Day.
1:18

I’ve had the opportunity to do a lot of cool things in my legal career. By far the coolest was representing a 6-year-old boy pro bono as he was adopted by his foster parents. Both of his parents had succumbed to drugs. By the grace of God, he was fostered by a beautiful family from rural Texas, on the outskirts of Dallas. When I agreed to take the case, I had no idea what I was getting myself into. As a corporate transaction lawyer, I had never once been to court. The only other time I’d been in a courtroom was in the mock trial classroom back in law school. I drove 45 minutes to a northern Dallas suburb, found the courthouse, and met my clients. I was nervous. I had a piece of paper to read, and my hand was shaking. The little boy’s entire kindergarten class came to support him. His new extended family was there too. They asked me questions about court like I was an expert… I had no clue what I was doing. I didn’t tell them that. When the adoption became official, he cried as his new mom hugged him. It was truly beautiful. Now, I have a six-year-old of my own, and it absolutely destroys me to think of him trying to navigate the world without loving parents. If you have the chance to foster or adopt, do it. Happy (belated) National Adoption Day.

SMB Attorney

102,589 次观看 • 1 年前

Arteta on Lewis-Skelly: “I've been tough on him. He had a spectacular season last year when he jumped into the first team. He had some difficult moments after that, but he stayed very humble, very focused, aligned when we wanted to do and I knew he was ready. “He's been showing in training every day the opportunities that he had to play, he's done it and today he really stepped up and I thought he had an incredible performance. Reporter: What was the sort of thinking behind that and why do you think it's taken this long to play him there? Arteta: “Because probably I don't have a clue. Maybe I should have done it earlier, I don't know. But I have to do things when I believe that the player is ready, the team is ready and the opponent is the right one to play with him in that position. “We've done it today, it's the first time, it was a big risk because I knew what was going to happen. If it works, it's great. would have lost the game, what would have happened, how do you play a kid at this age in this scenario in a position he hasn't played all season. I knew that but I had the feeling it was the right game for him.”
1:09

Arteta on Lewis-Skelly: “I've been tough on him. He had a spectacular season last year when he jumped into the first team. He had some difficult moments after that, but he stayed very humble, very focused, aligned when we wanted to do and I knew he was ready. “He's been showing in training every day the opportunities that he had to play, he's done it and today he really stepped up and I thought he had an incredible performance. Reporter: What was the sort of thinking behind that and why do you think it's taken this long to play him there? Arteta: “Because probably I don't have a clue. Maybe I should have done it earlier, I don't know. But I have to do things when I believe that the player is ready, the team is ready and the opponent is the right one to play with him in that position. “We've done it today, it's the first time, it was a big risk because I knew what was going to happen. If it works, it's great. would have lost the game, what would have happened, how do you play a kid at this age in this scenario in a position he hasn't played all season. I knew that but I had the feeling it was the right game for him.”

Connor Humm

384,431 次观看 • 3 个月前

Julius Erving talking about playing with Charles Barkley: “I kept seeing his upside. He was hard-headed. He had something to say about everything. If he didn’t play as good as he can and well as he was capable of playing or whatever, then some of the things he did wouldn’t be tolerated. But they were tolerated because, you know, he was exceptional, man. He could rebound it, take it coast to coast, make play. And for his height to rebound the way that he did, it was incredible. It was kind of disruptive because we had won the championship the year before he got there. Then the year that he got there. We had to make room for him and he almost killed Marc Iavaroni cuz he was playing the four, Charles was like that’s my spot right there. This going back to violence in the game because the next man up. Me and you man. He get Iavaroni at his back. He back him all the way out to the top of the key” (Via All the Smoke)
1:24

Julius Erving talking about playing with Charles Barkley: “I kept seeing his upside. He was hard-headed. He had something to say about everything. If he didn’t play as good as he can and well as he was capable of playing or whatever, then some of the things he did wouldn’t be tolerated. But they were tolerated because, you know, he was exceptional, man. He could rebound it, take it coast to coast, make play. And for his height to rebound the way that he did, it was incredible. It was kind of disruptive because we had won the championship the year before he got there. Then the year that he got there. We had to make room for him and he almost killed Marc Iavaroni cuz he was playing the four, Charles was like that’s my spot right there. This going back to violence in the game because the next man up. Me and you man. He get Iavaroni at his back. He back him all the way out to the top of the key” (Via All the Smoke)

NBA Courtside

38,407 次观看 • 5 个月前

How did we sign 46 of the top 50 grossing filmmakers in the world? I was in a competitive environment, in a competitive business, in a competitive arena. The entertainment business is dog-eat-dog and it’s been like that since it started. It has never changed. I read everything I could get my hands on about the golden years of the movie business and I used it to start CAA. I made up a reading list and gave it to everyone we were working with. Our group knew history. The reason that was important is because when you started talking to filmmakers and they start talking about Frank Capra, or David Lean, or Howard Hawks, or Willy Wyler, or Michael Curtiz — who all made some of the great movies. If you don’t know what they did how can you talk to a filmmaker? How? You can’t. How did we sign every director in the business? We spoke their language.
1:16

How did we sign 46 of the top 50 grossing filmmakers in the world? I was in a competitive environment, in a competitive business, in a competitive arena. The entertainment business is dog-eat-dog and it’s been like that since it started. It has never changed. I read everything I could get my hands on about the golden years of the movie business and I used it to start CAA. I made up a reading list and gave it to everyone we were working with. Our group knew history. The reason that was important is because when you started talking to filmmakers and they start talking about Frank Capra, or David Lean, or Howard Hawks, or Willy Wyler, or Michael Curtiz — who all made some of the great movies. If you don’t know what they did how can you talk to a filmmaker? How? You can’t. How did we sign every director in the business? We spoke their language.

David Senra

47,220 次观看 • 8 个月前