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Hercules (1983). Lou Ferrigno throws a bear into space. Lou Ferrigno, Ingrid Anderson and Sybil Danning star in this retelling of the Hercules legend, as our hero battles King Minos and his new-fangled 'science' to save Princess Cassiopeia. Ferrigno is all action in this one: beating up bears, smashing...

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29,180 次观看 • 4 天前 •via X (Twitter)

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Hercules (1983). Lou Ferrigno and Sybil Danning star in this epic tale of legend, directed by Luigi Cozzi - who made the equally epic Starcrash five years earlier. Critics unkindly compared it to Conan the Barbarian and Clash of the Titans and found it wanting. But that's unfair: Hercules is in the bold tradition of Italian maximalist fantasy films and if you like that genre then this is a great watch.
0:41

Hercules (1983). Lou Ferrigno and Sybil Danning star in this epic tale of legend, directed by Luigi Cozzi - who made the equally epic Starcrash five years earlier. Critics unkindly compared it to Conan the Barbarian and Clash of the Titans and found it wanting. But that's unfair: Hercules is in the bold tradition of Italian maximalist fantasy films and if you like that genre then this is a great watch.

Pulp Librarian

136,429 次观看 • 10 个月前

Jack Perez on "Wild Things 2" (2004): "This film is about mercenary characters doing everything and anything they can to get what they want. This is a movie that knows what it is. It is a self-aware thriller and that means, it has all the requisite thrills, violence & s € x- but it is slightly over the top and it knows it's over the top and that's part of the fun of it. This movie is kind of like a big comic book it's not enormously deep. (...) It's got a lot of sh!t in it. It's got all the stuff that you that you want in a picture like this and it's coming at you at a hundred miles an hour. That's the point of the movie." ("Wild Things II: Making the Glades", 2004)
1:25

Jack Perez on "Wild Things 2" (2004): "This film is about mercenary characters doing everything and anything they can to get what they want. This is a movie that knows what it is. It is a self-aware thriller and that means, it has all the requisite thrills, violence & s € x- but it is slightly over the top and it knows it's over the top and that's part of the fun of it. This movie is kind of like a big comic book it's not enormously deep. (...) It's got a lot of sh!t in it. It's got all the stuff that you that you want in a picture like this and it's coming at you at a hundred miles an hour. That's the point of the movie." ("Wild Things II: Making the Glades", 2004)

DepressedBergman

11,829 次观看 • 1 个月前

On a phone line to orbit, the president congratulated the astronauts on their contributions to blowing up fishing boats in the Caribbean. “How could I let them stand here and you know they want to say hello and you want to say hello who needs Trump we want to say hello to them It's an honor. This was a big day and it's a big day actually for our country And you have some tremendous plans. We have some tremendous plans ahead and it's it's going to be something very special What's a very proud of space force because they did that it was during my term and a lot of people didn't believe in it A lot of people in the next administration wanted to end it and frankly the military put their foot down the military absolutely put their foot down They wouldn't let that happen. There was almost a revolt and now it's it's a part of the whole thing a lot of the victories when you look at Venezuela when you look at what we've done with the drug People coming in by boat and by land frankly people don't know about so much We get all that information from space and from what the people here and what some others Are doing so it's it's incredible incredible how important it is such a big deal and it will get with the High technology it will get more and more with years. It'll get more and more important So congratulations. You're really pioneers in a true sense. They're really pioneers in Jared. Certainly is a pioneer And when I came originally I went to Florida and looked at the Kennedy Space Center And it was it was just close and the runway was Grass through and it had grass throwing through the cracks a lot of cracks and a lot of grass growing through and Now when you look at it, it's like a different world. We're back But it was sad to watch that was very very sad to say at a time for our country actually and I just congratulate everybody and be careful be safe and we love you all. Thank you very much. Thank you.”
1:45

On a phone line to orbit, the president congratulated the astronauts on their contributions to blowing up fishing boats in the Caribbean. “How could I let them stand here and you know they want to say hello and you want to say hello who needs Trump we want to say hello to them It's an honor. This was a big day and it's a big day actually for our country And you have some tremendous plans. We have some tremendous plans ahead and it's it's going to be something very special What's a very proud of space force because they did that it was during my term and a lot of people didn't believe in it A lot of people in the next administration wanted to end it and frankly the military put their foot down the military absolutely put their foot down They wouldn't let that happen. There was almost a revolt and now it's it's a part of the whole thing a lot of the victories when you look at Venezuela when you look at what we've done with the drug People coming in by boat and by land frankly people don't know about so much We get all that information from space and from what the people here and what some others Are doing so it's it's incredible incredible how important it is such a big deal and it will get with the High technology it will get more and more with years. It'll get more and more important So congratulations. You're really pioneers in a true sense. They're really pioneers in Jared. Certainly is a pioneer And when I came originally I went to Florida and looked at the Kennedy Space Center And it was it was just close and the runway was Grass through and it had grass throwing through the cracks a lot of cracks and a lot of grass growing through and Now when you look at it, it's like a different world. We're back But it was sad to watch that was very very sad to say at a time for our country actually and I just congratulate everybody and be careful be safe and we love you all. Thank you very much. Thank you.”

Jim Stewartson, Decelerationist 🇨🇦🇺🇦🇺🇸

25,274 次观看 • 5 天前

Zack Snyder expected fans to edit 300 and 300: Rise of an Empire into a single chronological edit. "Well, this film takes place on the same three days as the Battle of Thermopylae. We just get to see a different perspective. We're not from the Spartan perspective. We're from the Free Greek perspective. And we're following this leader, Thermistocles, who is a naval commander." "Yeah, and the other thing we get to see, I think, that's different in this film is it sort of, it also, it jumps forward and backward a little bit because it also goes and sort of paints the origins of Xerxes. So you get to see Xerxes' birth, what caused him to sort of become the character that you saw in the original film. "And you get to see him, you know, transform before your eyes. So it's a, and that's a mystery too. And it's kind of fun to watch that. And I think it, and then you also get to see sort of some elements of the original film kind of woven through to sort of let you see where you are in context of the timeline of the original film. "So you kind of, every now and then you're just checking in with that sort of, the, you know, the Spartans and their, what they're up to. So it's kind of fun that way too." "I love that there's moments where you go, 'Oh, that's the messenger.' And it's not just the characters you expect to see coming back." "Or like when Daxos rides up and tells Thermistocles, like, 'The hot gates have fallen.' You're like, 'Oh, that's awesome.'" "'That's where he went. I remember him leaving.'" "'That's where he went off on the horse. Remember, he rides in the, it's cool.'" "It's a fun way to see the characters that, you know, that connect us to the original film." "I thought it'd be cool, like, if some fan, you know, once this movie comes out on DVD, they can, some fans could cut the two movies together into a single, like, you could cut them into a single film."
1:49

Zack Snyder expected fans to edit 300 and 300: Rise of an Empire into a single chronological edit. "Well, this film takes place on the same three days as the Battle of Thermopylae. We just get to see a different perspective. We're not from the Spartan perspective. We're from the Free Greek perspective. And we're following this leader, Thermistocles, who is a naval commander." "Yeah, and the other thing we get to see, I think, that's different in this film is it sort of, it also, it jumps forward and backward a little bit because it also goes and sort of paints the origins of Xerxes. So you get to see Xerxes' birth, what caused him to sort of become the character that you saw in the original film. "And you get to see him, you know, transform before your eyes. So it's a, and that's a mystery too. And it's kind of fun to watch that. And I think it, and then you also get to see sort of some elements of the original film kind of woven through to sort of let you see where you are in context of the timeline of the original film. "So you kind of, every now and then you're just checking in with that sort of, the, you know, the Spartans and their, what they're up to. So it's kind of fun that way too." "I love that there's moments where you go, 'Oh, that's the messenger.' And it's not just the characters you expect to see coming back." "Or like when Daxos rides up and tells Thermistocles, like, 'The hot gates have fallen.' You're like, 'Oh, that's awesome.'" "'That's where he went. I remember him leaving.'" "'That's where he went off on the horse. Remember, he rides in the, it's cool.'" "It's a fun way to see the characters that, you know, that connect us to the original film." "I thought it'd be cool, like, if some fan, you know, once this movie comes out on DVD, they can, some fans could cut the two movies together into a single, like, you could cut them into a single film."

Zack Snyder Film

20,182 次观看 • 7 个月前

🚨 WOW! Stephen Miller just exposed it: "Some people might not like what I'm about to say, but it has to be said. You have the Left continue in its professional associations like nursing and doctors and education — people who casually CHEER ASSASSINATIONS." "Their conversation is: 'I'm glad that so and so was shot,' or 'I'm mad that so and so didn't finish the job.'" "This is common now in white-collar professions that are controlled by Democrat credentialing bodies, is it creates this kind of person." "And it's SICK, and when you see it online, you see it also in left-wing comedy where they cheer and they laugh and they joke and they all have a good time talking about our friends getting m*rdered!" "It's really fundamentally the normalization of assassination — and if we don't deal with this, we're in for a world of pain and a world of HURT." "It's just, it's sickening and it's heinous and it's just repugnant in every single way. But this gets back to the theme that I'm presenting today, which is that the third worldification of American politics is the normalization of assassination." "It's the normalization of the idea that assassinations are a common expression of disagreement. It is one of the most vile, horrible, evil society destroying things that can possibly happen to a country." Stephen Miller Will Cain
1:50

🚨 WOW! Stephen Miller just exposed it: "Some people might not like what I'm about to say, but it has to be said. You have the Left continue in its professional associations like nursing and doctors and education — people who casually CHEER ASSASSINATIONS." "Their conversation is: 'I'm glad that so and so was shot,' or 'I'm mad that so and so didn't finish the job.'" "This is common now in white-collar professions that are controlled by Democrat credentialing bodies, is it creates this kind of person." "And it's SICK, and when you see it online, you see it also in left-wing comedy where they cheer and they laugh and they joke and they all have a good time talking about our friends getting m*rdered!" "It's really fundamentally the normalization of assassination — and if we don't deal with this, we're in for a world of pain and a world of HURT." "It's just, it's sickening and it's heinous and it's just repugnant in every single way. But this gets back to the theme that I'm presenting today, which is that the third worldification of American politics is the normalization of assassination." "It's the normalization of the idea that assassinations are a common expression of disagreement. It is one of the most vile, horrible, evil society destroying things that can possibly happen to a country." Stephen Miller Will Cain

Eric Daugherty

100,938 次观看 • 3 个月前

"Obviously, there's lots of different views on this year's generation of car, but I mean, for me, it's just exciting that it's a new era for the sport. I think every time it has been a new era, it's always been exciting to see where people come out and I'm proud of the team. The work we've done over the last year to get us to this point and be closer to the front and in the battle, I think is really a showing of the amazing work the team's done." "Of course, there's bits that I don't love, like the deployment and the lift and coast, some things we happen to do, and SM, it's all not ideal, but racing-wise, it's been really, really fun." "That race I had with Charles, just in the second race, was one of the most fun races I've had, I think. Other than that was maybe me and Nico in Bahrain many years ago." "So I just hope we get more of that because that's what racing's about. It's like back and forth, back and forth, rather than one take and then it's over. So I personally enjoy that." "My point that I was making earlier is that in karting, it happens in karting all the time, back and forth, back and forth, no one ever calls it yo-yo racing. It's real racing. So whoever's coming out with that is... yeah." [via Sky Sports | F1 2026 | Japan]
1:36

"Obviously, there's lots of different views on this year's generation of car, but I mean, for me, it's just exciting that it's a new era for the sport. I think every time it has been a new era, it's always been exciting to see where people come out and I'm proud of the team. The work we've done over the last year to get us to this point and be closer to the front and in the battle, I think is really a showing of the amazing work the team's done." "Of course, there's bits that I don't love, like the deployment and the lift and coast, some things we happen to do, and SM, it's all not ideal, but racing-wise, it's been really, really fun." "That race I had with Charles, just in the second race, was one of the most fun races I've had, I think. Other than that was maybe me and Nico in Bahrain many years ago." "So I just hope we get more of that because that's what racing's about. It's like back and forth, back and forth, rather than one take and then it's over. So I personally enjoy that." "My point that I was making earlier is that in karting, it happens in karting all the time, back and forth, back and forth, no one ever calls it yo-yo racing. It's real racing. So whoever's coming out with that is... yeah." [via Sky Sports | F1 2026 | Japan]

sim 🇧🇷🇲🇽🇸🇳🇫🇷🇭🇹

110,771 次观看 • 5 个月前

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)
0:52

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

DepressedBergman

61,555 次观看 • 1 年前

Ben Horowitz on the oldest law in startups, and why the industry no longer has to obey it: "The one thing we all knew in startup world is that if I have a two-year lead on you and you try to catch me by hiring 1,000 engineers, you're gonna wreck your company." "That never works. It's a Mythical Man-Month. Nine women can't have a baby in a month. That's it. That never works." "Okay, now that works. But it's not hiring 1,000 engineers. It's taking $3 billion and lighting up a magnificent cluster, and then all of a sudden, whatever, Grok can come out of nowhere and, oh, all of a sudden it's real." "You can throw money at the problem, and you can throw money at almost any problem, and that works. That is just completely different than anything we've ever lived through. By the way, we're all psychologically adjusting to this." benahorowitz.eth Erik Torenberg
1:17

Ben Horowitz on the oldest law in startups, and why the industry no longer has to obey it: "The one thing we all knew in startup world is that if I have a two-year lead on you and you try to catch me by hiring 1,000 engineers, you're gonna wreck your company." "That never works. It's a Mythical Man-Month. Nine women can't have a baby in a month. That's it. That never works." "Okay, now that works. But it's not hiring 1,000 engineers. It's taking $3 billion and lighting up a magnificent cluster, and then all of a sudden, whatever, Grok can come out of nowhere and, oh, all of a sudden it's real." "You can throw money at the problem, and you can throw money at almost any problem, and that works. That is just completely different than anything we've ever lived through. By the way, we're all psychologically adjusting to this." benahorowitz.eth Erik Torenberg

a16z

193,297 次观看 • 5 天前

Thank you! There's one more piece. It's hard to see but this video also shows the ice officer putting himself in front of the vehicle. This is a common tactic when they tried to drag people out of the vehicles they put someone in front of it to prevent people from moving forward. I blew it up so it's easier to see with commentary and a mouse pointer to show it. He then pulled his gun out of the holster took a shooting stance and shot through the windshield then when she moved he moved to the side shot her twice as you said through the window.
2:11

Thank you! There's one more piece. It's hard to see but this video also shows the ice officer putting himself in front of the vehicle. This is a common tactic when they tried to drag people out of the vehicles they put someone in front of it to prevent people from moving forward. I blew it up so it's easier to see with commentary and a mouse pointer to show it. He then pulled his gun out of the holster took a shooting stance and shot through the windshield then when she moved he moved to the side shot her twice as you said through the window.

Kristine (@schachin on Threads) 🇺🇦

35,788 次观看 • 7 个月前

Vicious Lips (1986). What if we put a New Wave band into space? Well director Albert Pyun did just that, taking the songs of Californian band Sue Saad and the Next and giving them to Judy Jetson (played by Dru-Anne Perry) and her space band Vicious Lips. The plot? Hmm, the band have to get to a gig on the far side of the galaxy and it's a bit tricky. That's about it. But this was shot guerrilla style in a week and the big hair / big guitar combo makes it feel like an MTV movie for a band that never broke through. It is very '80s and for that it's certainly worth a watch.
1:31

Vicious Lips (1986). What if we put a New Wave band into space? Well director Albert Pyun did just that, taking the songs of Californian band Sue Saad and the Next and giving them to Judy Jetson (played by Dru-Anne Perry) and her space band Vicious Lips. The plot? Hmm, the band have to get to a gig on the far side of the galaxy and it's a bit tricky. That's about it. But this was shot guerrilla style in a week and the big hair / big guitar combo makes it feel like an MTV movie for a band that never broke through. It is very '80s and for that it's certainly worth a watch.

Pulp Librarian

80,966 次观看 • 1 个月前

Edgar Wright on his favourite shot in 'Black Narcissus' (1947): "I think 'Black Narcissus' (1947) is one of the greatest colour movies of all time. There is one particular shot towards the end of the film with Kathleen Byron, which, in my head, that is probably minutes of film, when in reality the shot is only on screen for less than two seconds And it's a shot of Kathleen Byron coming through a doorway, and it's part of an incredible climax, which I won't spoil if you've never seen the film. But it's one of those shots in Cinema that is ingrained on my brain. Like a lot of Powell and Pressburger films, I think it's just [has] a picturesque quality to it which is just somehow difficult to pinpoint exactly what the magic of Powell and Pressburger together is. But I think the thing is sometime these are the films that you keep returning to, is you can't kind of define exactly what it is about the film that keeps you obsessed, you just keep coming back. And this is one of those movies." ('Edgar Wright’s Closet Picks', Criterion, 2025)
0:50

Edgar Wright on his favourite shot in 'Black Narcissus' (1947): "I think 'Black Narcissus' (1947) is one of the greatest colour movies of all time. There is one particular shot towards the end of the film with Kathleen Byron, which, in my head, that is probably minutes of film, when in reality the shot is only on screen for less than two seconds And it's a shot of Kathleen Byron coming through a doorway, and it's part of an incredible climax, which I won't spoil if you've never seen the film. But it's one of those shots in Cinema that is ingrained on my brain. Like a lot of Powell and Pressburger films, I think it's just [has] a picturesque quality to it which is just somehow difficult to pinpoint exactly what the magic of Powell and Pressburger together is. But I think the thing is sometime these are the films that you keep returning to, is you can't kind of define exactly what it is about the film that keeps you obsessed, you just keep coming back. And this is one of those movies." ('Edgar Wright’s Closet Picks', Criterion, 2025)

DepressedBergman

271,292 次观看 • 9 个月前

Hell Comes To Frogtown (1988). "Eat lead Froggies!" Post-apocalyptic procreative pyrotechnics ensue as wrestler Rowdy Roddy Piper - one of the last fertile men on Earth - must rescue damsels in distress from mutant Frog people to ensure Human survival. Sandahl Bergman is the icy government nurse ensuring Piper stays on mission, courtesy of an explosive chastity belt strapped to his crotch. Max Max style mayhem, terrible one liners and erotic amphibians make this quite an entertaining but silly film. There is a sequel - Return to Frogtown - featuring Robert Z'Dar (Maniac Cop) and Lou Ferrigno (The Incredible Hulk), but it's probably best to start with the original.
1:08

Hell Comes To Frogtown (1988). "Eat lead Froggies!" Post-apocalyptic procreative pyrotechnics ensue as wrestler Rowdy Roddy Piper - one of the last fertile men on Earth - must rescue damsels in distress from mutant Frog people to ensure Human survival. Sandahl Bergman is the icy government nurse ensuring Piper stays on mission, courtesy of an explosive chastity belt strapped to his crotch. Max Max style mayhem, terrible one liners and erotic amphibians make this quite an entertaining but silly film. There is a sequel - Return to Frogtown - featuring Robert Z'Dar (Maniac Cop) and Lou Ferrigno (The Incredible Hulk), but it's probably best to start with the original.

Pulp Librarian

33,473 次观看 • 8 个月前

Céline Sciamma on why she made "Portrait of a Lady on Fire" (2019) & on Leonardo Di Caprio being a Lesbian icon: "Sciamma: What I had in mind above all was to make a film about love, with a totally invented story. And when I thought about it, I found that there were few films totally devoted to love, even though they are often the greatest in the history of cinema. It's rare, even though it's the beating heart of our cinephiles. Interviewer: What movies were you thinking of? Sciamma: 'Titanic' (1997), for example. It's a real influence, which I recently revisited. Both films are about the memories of a love affair, almost behind closed doors. I spent a long time looking for a framework and then one day I looked at the script and I thought: "F**k, it's Titanic! It's simply Titanic." There's the prologue, of course, before the flashback, but also the drawing scene, which is very explicit in my film. With this dialogue: "Don't laugh, be serious…" Interviewer Is it an important film for you? Sciamma: Collectively, it's important. There are different film regimes that count in our cinephilia: those we love and those that are part of a collective phenomenon. It's rare to experience those moments, especially when it's about 'Titanic' and not 'Qu’est-ce qu’on a fait au bon Dieu?' (2014). Titanic was a cultural moment, and in my life as a cinephile, it's probably the most important one, even more so because of the shared love. And with a real queer dynamic! Leo DiCaprio is a lesbian icon. A very new masculinity at the time, in cinema - with time it deepens enormously, it's exciting to watch. At the time, in that youth and in that body, there was really something hyper queer. And then the love scene is a total inversion of the conventions: she's on top of him, she reassures him, he’s the one who’s breathless... All that in the back seat of a car, like in any good teen movie. There were great subversive effects in 'Titanic', and that's something James Cameron always did anyway. What it also has in common with my film is the idea that the greatest loves are emancipatory and that the loss of them is the price of our future fulfillment. At the end of 'Titanic', there are three photos of a girl in pants riding a horse! It’s one of the few films that asserts that love can bring positive things, even when it's over. In my opinion, this is one of the hidden reasons for the incredible success of the film." ("CÉLINE SCIAMMA : DiCaprio est une icône lesbienne.", Axel Cadieux, Sofilm, 2020) P.S: On this day, 7 years ago, "Portrait of a Lady on Fire" (2019) premiered at the Cannes Film Festival, France.
1:01

Céline Sciamma on why she made "Portrait of a Lady on Fire" (2019) & on Leonardo Di Caprio being a Lesbian icon: "Sciamma: What I had in mind above all was to make a film about love, with a totally invented story. And when I thought about it, I found that there were few films totally devoted to love, even though they are often the greatest in the history of cinema. It's rare, even though it's the beating heart of our cinephiles. Interviewer: What movies were you thinking of? Sciamma: 'Titanic' (1997), for example. It's a real influence, which I recently revisited. Both films are about the memories of a love affair, almost behind closed doors. I spent a long time looking for a framework and then one day I looked at the script and I thought: "F**k, it's Titanic! It's simply Titanic." There's the prologue, of course, before the flashback, but also the drawing scene, which is very explicit in my film. With this dialogue: "Don't laugh, be serious…" Interviewer Is it an important film for you? Sciamma: Collectively, it's important. There are different film regimes that count in our cinephilia: those we love and those that are part of a collective phenomenon. It's rare to experience those moments, especially when it's about 'Titanic' and not 'Qu’est-ce qu’on a fait au bon Dieu?' (2014). Titanic was a cultural moment, and in my life as a cinephile, it's probably the most important one, even more so because of the shared love. And with a real queer dynamic! Leo DiCaprio is a lesbian icon. A very new masculinity at the time, in cinema - with time it deepens enormously, it's exciting to watch. At the time, in that youth and in that body, there was really something hyper queer. And then the love scene is a total inversion of the conventions: she's on top of him, she reassures him, he’s the one who’s breathless... All that in the back seat of a car, like in any good teen movie. There were great subversive effects in 'Titanic', and that's something James Cameron always did anyway. What it also has in common with my film is the idea that the greatest loves are emancipatory and that the loss of them is the price of our future fulfillment. At the end of 'Titanic', there are three photos of a girl in pants riding a horse! It’s one of the few films that asserts that love can bring positive things, even when it's over. In my opinion, this is one of the hidden reasons for the incredible success of the film." ("CÉLINE SCIAMMA : DiCaprio est une icône lesbienne.", Axel Cadieux, Sofilm, 2020) P.S: On this day, 7 years ago, "Portrait of a Lady on Fire" (2019) premiered at the Cannes Film Festival, France.

DepressedBergman

26,533 次观看 • 3 个月前

Steve Jobs on why consulting is like looking at a picture of a banana: "I don't think there's anything inherently evil in consulting. But without owning something over an extended period of time, like a few years where one has a chance to take responsibility for one's recommendations, where one has to see one's recommendations through all action stages and accumulate scar tissue for the mistakes and pick oneself up off the ground and dust oneself off… one learns a fraction of what one can." Steve continues: "When you're coming in and making recommendations and not owning the results, not owning the implementation, it's a fraction of the value and a fraction of the opportunity to learn and get better." He uses an analogy: "You do get a broad cut at companies, but it's very thin. It's like a picture of a banana. You might get a very accurate picture, but it's only two-dimensional. Without the experience of actually doing it, you never get three-dimensional. So you might have a lot of pictures on your walls. You can show it off to your friends, 'I've worked in bananas, I've worked in peaches, I've worked in grapes,' but you never really taste it."
2:13

Steve Jobs on why consulting is like looking at a picture of a banana: "I don't think there's anything inherently evil in consulting. But without owning something over an extended period of time, like a few years where one has a chance to take responsibility for one's recommendations, where one has to see one's recommendations through all action stages and accumulate scar tissue for the mistakes and pick oneself up off the ground and dust oneself off… one learns a fraction of what one can." Steve continues: "When you're coming in and making recommendations and not owning the results, not owning the implementation, it's a fraction of the value and a fraction of the opportunity to learn and get better." He uses an analogy: "You do get a broad cut at companies, but it's very thin. It's like a picture of a banana. You might get a very accurate picture, but it's only two-dimensional. Without the experience of actually doing it, you never get three-dimensional. So you might have a lot of pictures on your walls. You can show it off to your friends, 'I've worked in bananas, I've worked in peaches, I've worked in grapes,' but you never really taste it."

Jaynit

51,172 次观看 • 7 个月前

Steven Pressfield has spent decades studying the art of storytelling. "The female carries the mystery" has become one of his core principles, and once you see it, you'll see it everywhere. Here's how he explains it: "In Moby Dick, the sea is the female, and the sea carries the mystery. The whale dives down into the sea. In Lawrence of Arabia, the desert is the female and the movie is shot to make the desert absolutely gorgeous. Then there's The Magnificent Seven in Japan by Akira Kurosawa. It's the same story of a village that hires gun-slinger samurai to defend it, and the female in that story are the rice fields that produce the rice that the bandits want. At the very end of Seven Samurai, The final thing, when the samurai have won and the bandits have been killed, is the villagers planting rice. So that's a principle that I will have: The female carries the mystery. I'll ask myself, for any idea that I have, what's the female in this story? Is there a mystery? And why, what is it? What is, what is the mystery? And the mystery is almost always something that cannot be solved. It's like... What is life? What is the sea? What is the ocean? It gets back to God. It gets back to creation. It gets back to life."
2:23

Steven Pressfield has spent decades studying the art of storytelling. "The female carries the mystery" has become one of his core principles, and once you see it, you'll see it everywhere. Here's how he explains it: "In Moby Dick, the sea is the female, and the sea carries the mystery. The whale dives down into the sea. In Lawrence of Arabia, the desert is the female and the movie is shot to make the desert absolutely gorgeous. Then there's The Magnificent Seven in Japan by Akira Kurosawa. It's the same story of a village that hires gun-slinger samurai to defend it, and the female in that story are the rice fields that produce the rice that the bandits want. At the very end of Seven Samurai, The final thing, when the samurai have won and the bandits have been killed, is the villagers planting rice. So that's a principle that I will have: The female carries the mystery. I'll ask myself, for any idea that I have, what's the female in this story? Is there a mystery? And why, what is it? What is, what is the mystery? And the mystery is almost always something that cannot be solved. It's like... What is life? What is the sea? What is the ocean? It gets back to God. It gets back to creation. It gets back to life."

David Perell

321,567 次观看 • 2 年前

🚨 JUST IN — SEC. OF STATE MARCO RUBIO: "Few things in America unify us anymore, and one of the things that does is college athletics." "In particular, I can just, the experience of a Saturday...people don't agree on anything else except that they want that home team on the field to win." "And it's one of the few unifying experiences we have as a country, and it's so critical." "This is the feeder program for our Olympic teams. Without it, there is no feeder program. Other countries have structured it differently, but the way we have it in our country is so unique in that way."
0:35

🚨 JUST IN — SEC. OF STATE MARCO RUBIO: "Few things in America unify us anymore, and one of the things that does is college athletics." "In particular, I can just, the experience of a Saturday...people don't agree on anything else except that they want that home team on the field to win." "And it's one of the few unifying experiences we have as a country, and it's so critical." "This is the feeder program for our Olympic teams. Without it, there is no feeder program. Other countries have structured it differently, but the way we have it in our country is so unique in that way."

Eric Daugherty

50,205 次观看 • 6 个月前

There's a powerful new film coming to theaters this Friday, July 3rd — it's called Young Washington. Directed by Jon Erwin (the director behind Jesus Revolution and House Of David), this film takes us back before George Washington became a general, before he became our first president — to the young man wrestling with failure, loss, and his own character on the frontier of colonial America. What is the story before the story? Young Washington explores that. This film is dynamic, engaging, and exciting — and it's the perfect way to head into our nation's 250th birthday with a deeper appreciation for the man who would go on to lead it. It's showing in a theater near you.
2:21

There's a powerful new film coming to theaters this Friday, July 3rd — it's called Young Washington. Directed by Jon Erwin (the director behind Jesus Revolution and House Of David), this film takes us back before George Washington became a general, before he became our first president — to the young man wrestling with failure, loss, and his own character on the frontier of colonial America. What is the story before the story? Young Washington explores that. This film is dynamic, engaging, and exciting — and it's the perfect way to head into our nation's 250th birthday with a deeper appreciation for the man who would go on to lead it. It's showing in a theater near you.

Greg Laurie

18,165 次观看 • 2 个月前