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High and Low (1963) is Kurosawa at his most precise. Kurosawa even built Gondo’s entire house on a studio set so he could choreograph every movement and line of sight with mathematical accuracy. That level of design is why the tension feels engineered.

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After "High and Low" (1963) was released, kidnappings were on the rise in Japan. Akira Kurosawa himself had received threats for the kidnapping of his own daughter, Kazuko Kurosawa. She quoted him as once saying to her "With 'High and Low', I wanted to inspire tougher sentences on kidnappers. Instead, I was criticized for their increase." Akira Kurosawa on why he made "High and Low" (1963) & the impact it had: "Every picture I've done has come out of something that has happened to me, has happened to me personally. A friend of mine had a son kidnapped and that kind of barbarism upset me so that I made 'High and Low' (1963). Since then I've gotten lots of letters, people accusing me of teaching people how to go about kidnapping children, but that's not what I meant. When it happened to him, it happened to me. Take gangsters, for example. They are stupid and they are dangerous, and I know it. So I make up 'Sanjuro' (1962) and he goes around and defends innocent people. Look at our government. I don't think in any other country there is so thick a wall separating people from government officials and agencies. I go and make a film about it and they say I'm a Communist. But that isn't the point. The point is that something happens to me and I don't like it and I make a film." (Source for the Akira Kurosawa quote: "The Films of Akira Kurosawa", Donald Richie, 1965) (Source for the quote by Kazuko Kurosawa - IMDb) P.S: On this day, 63 years ago, "High & Low" (1963) was released in Japan.

After "High and Low" (1963) was released, kidnappings were on the rise in Japan. Akira Kurosawa himself had received threats for the kidnapping of his own daughter, Kazuko Kurosawa. She quoted him as once saying to her "With 'High and Low', I wanted to inspire tougher sentences on kidnappers. Instead, I was criticized for their increase." Akira Kurosawa on why he made "High and Low" (1963) & the impact it had: "Every picture I've done has come out of something that has happened to me, has happened to me personally. A friend of mine had a son kidnapped and that kind of barbarism upset me so that I made 'High and Low' (1963). Since then I've gotten lots of letters, people accusing me of teaching people how to go about kidnapping children, but that's not what I meant. When it happened to him, it happened to me. Take gangsters, for example. They are stupid and they are dangerous, and I know it. So I make up 'Sanjuro' (1962) and he goes around and defends innocent people. Look at our government. I don't think in any other country there is so thick a wall separating people from government officials and agencies. I go and make a film about it and they say I'm a Communist. But that isn't the point. The point is that something happens to me and I don't like it and I make a film." (Source for the Akira Kurosawa quote: "The Films of Akira Kurosawa", Donald Richie, 1965) (Source for the quote by Kazuko Kurosawa - IMDb) P.S: On this day, 63 years ago, "High & Low" (1963) was released in Japan.

DepressedBergman

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Oldboy (2003) is built around a single buried act that detonates years later. One moment sets an entire life on a path of punishment so precise and cruel it feels engineered. Few films understand consequences with this level of brutality and inevitability.

Oldboy (2003) is built around a single buried act that detonates years later. One moment sets an entire life on a path of punishment so precise and cruel it feels engineered. Few films understand consequences with this level of brutality and inevitability.

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Ran (1985) is still one of the best-looking films ever made. Kurosawa paints war like a moving canvas, every frame a blaze of color and composition so precise it barely feels real. Cinematography at its absolute peak.

Ran (1985) is still one of the best-looking films ever made. Kurosawa paints war like a moving canvas, every frame a blaze of color and composition so precise it barely feels real. Cinematography at its absolute peak.

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What’s fascinating about Timothée Chalamet is how he uses stillness as performance unlike most young actors who lean on constant movement or expression. That level of control at his age is rare, and it’s exactly why he already feels Oscar-caliber.

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Akira Kurosawa met Richard Gere for the first time at a New York Party which was for "Ran" (1985). After that, they ran into each other on several other occasions. When Kurosawa met Gere during a party celebrating Kurosawa's Oscar & his birthday, Kurosawa asked Gere if he was interested in appearing in "Rhapsody in August" (1991). Gere was overjoyed by the proposal and agreed instantly. In their conversations, Kurosawa was impressed with Gere's knowledge of the Sutras & his interest in Asia and Lamaism. He thought his knowledge was better than some of the Japanese. At that time, Richard Gere was at the peak of his popularity, just coming out of the huge success of "Pretty Woman" (1990). He was earning several million dollars per movie. Mike Inoue, the Co-producer of "Rhapsody in August" (1991) told Gere that they couldn't afford to pay that kind of money. Right away, Gere said, "I will work free for Kurosawa". Inoue didn't want to take advantage of Gere's kindness. So, he offered him a minor sum of money & agreed to pay the expenses for the friends he wanted to bring with him to Japan. Cindy Crawford was one of the friends he brought to Japan. Gere later said of his experience in Japan with Kurosawa, "'Rhapsody in August' (1991) turned out to be a short, wonderful experience working with one of the greatest masters of our time" ("The Emperor and the Wolf", Stuart Galbraith IV, 2002)

Akira Kurosawa met Richard Gere for the first time at a New York Party which was for "Ran" (1985). After that, they ran into each other on several other occasions. When Kurosawa met Gere during a party celebrating Kurosawa's Oscar & his birthday, Kurosawa asked Gere if he was interested in appearing in "Rhapsody in August" (1991). Gere was overjoyed by the proposal and agreed instantly. In their conversations, Kurosawa was impressed with Gere's knowledge of the Sutras & his interest in Asia and Lamaism. He thought his knowledge was better than some of the Japanese. At that time, Richard Gere was at the peak of his popularity, just coming out of the huge success of "Pretty Woman" (1990). He was earning several million dollars per movie. Mike Inoue, the Co-producer of "Rhapsody in August" (1991) told Gere that they couldn't afford to pay that kind of money. Right away, Gere said, "I will work free for Kurosawa". Inoue didn't want to take advantage of Gere's kindness. So, he offered him a minor sum of money & agreed to pay the expenses for the friends he wanted to bring with him to Japan. Cindy Crawford was one of the friends he brought to Japan. Gere later said of his experience in Japan with Kurosawa, "'Rhapsody in August' (1991) turned out to be a short, wonderful experience working with one of the greatest masters of our time" ("The Emperor and the Wolf", Stuart Galbraith IV, 2002)

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Elon Musk tells a young Sam Altman that he spends 80% of his time not on business but on engineering and design. He knows “every detail” of the SpaceX rockets, develops Mars colonial architecture, and with Tesla, he really focuses on “engineering of the factory” even more so than the car itself. Why? “Because the biggest epiphany I’ve had this year is that what really matters is the machine that builds the machine.” “That is at least two orders of magnitude harder than the vehicle itself.”

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Wade Garrett in Road House (1989) is the kind of role that reminds you why people loved Sam Elliott so much. The second he walks into the movie, it feels like everybody else is trying to keep up with his level of effortless cool.

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Tate Martell was 45-0 as a high school starting quarterback. Gatorade Player of the Year. MaxPreps Player of the Year. One of the most productive and accomplished high school quarterbacks of that era. His game is worth studying because the production matched the tape. He operated with confidence, played fast, created off schedule, and consistently put pressure on the defense with both his arm and legs. At the high school level, he was a clear example of high-level quarterback play. Command of the offense, competitive poise, playmaking ability, and the ability to win every week. A 45-0 record is not accidental. It reflects talent, preparation, team structure, and a quarterback who consistently gave his offense answers.

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I think it's now smart to buy low on Arch. Texas' OL is inoperable, and while the heat is affecting his accuracy in a major way, Arch is already managing difficult pockets at a high level and is still very inexperienced. He's not Texas' problem.

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Absolutely. The tension is nonstop, and every move feels like it could make or break the entire plan. That’s the kind of heist movie that keeps you hooked from start to finish. 🎬🔥

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Syracuse 6’9 Big William Kyle III has been one of the most impressive prospects in the 2026 NBA Draft so far this season. Through his first three games Kyle is averaging 11/9/2 along with 1 SPG and 3 BPG. Kyle is also shooting 70% from the field. With a 44 inch vertical at 6’9 Kyle is one of the best athletes in the class and uses that to his full advantage on both ends. He’s extremely skilled as a rim runner and lob threat on the offensive end, he’s one one of the best in the class on that end. Kyle is also one of the best rim protectors and defenders in the class who can defend multiple positions at a high level while also protecting the rim at a high level using his size, wingspan, and athleticism. He’s also a high level rebounder and a skilled passer for his archetype who can find his open teammates and create 2nd chance plays for his team. Syracuse is off to a strong 3-0 start and Kyle has been one of the biggest reasons why with his impact on both ends. With multiple athletic rim running bigs getting drafted every year Kyle has the potential to be next in line

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Attach on Scrap’s movement: “His movement is the most default basic thing ever, I feel like I’m watching Accuracy but with a sh*t ton of gunny” 🗣️

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Akira Kurosawa on Mikio Naruse: "Naruse’s method consists of building one very brief shot on top of another, but when you look at them all spliced together in the final film, they give the impression of a single long take. The flow is so magnificent that the splices are invisible. This flow of short shots that looks calm and ordinary at first glance then reveals itself to be like a deep river with a quiet surface disguising a fast-raging current underneath. The sureness of his hand in this was without comparison." ("Something like an Autobiography", Kurosawa, 1981) Clip from: Yearning (1964) Director: Mikio Naruse

Akira Kurosawa on Mikio Naruse: "Naruse’s method consists of building one very brief shot on top of another, but when you look at them all spliced together in the final film, they give the impression of a single long take. The flow is so magnificent that the splices are invisible. This flow of short shots that looks calm and ordinary at first glance then reveals itself to be like a deep river with a quiet surface disguising a fast-raging current underneath. The sureness of his hand in this was without comparison." ("Something like an Autobiography", Kurosawa, 1981) Clip from: Yearning (1964) Director: Mikio Naruse

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Akira Kurosawa on Henri Verneuil's "Any Number Can Win" (1963): "Henri Verneuil is a first-class suspense maker. "Any Number Can Win" (1963) is thrilling! The use of the music is also nice, modern. And he used Alain Delon and Jean Gabin very cleverly – they well and clearly portrayed their characters. Its monochromic pictures were also very sharply shot. Excellent." [Quote taken from 'A dream is a Genius' edited by Bungeishunju, 1999 translated by Noriyo Hoozawa-Arkenau]

Akira Kurosawa on Henri Verneuil's "Any Number Can Win" (1963): "Henri Verneuil is a first-class suspense maker. "Any Number Can Win" (1963) is thrilling! The use of the music is also nice, modern. And he used Alain Delon and Jean Gabin very cleverly – they well and clearly portrayed their characters. Its monochromic pictures were also very sharply shot. Excellent." [Quote taken from 'A dream is a Genius' edited by Bungeishunju, 1999 translated by Noriyo Hoozawa-Arkenau]

DepressedBergman

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