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I'm back guys! This time I decided to animate a subtle acting shot using Dillon Goo's rigs. Rigs: Amethyst and Yang by Dillon Goo Hair done with Goo Physics addon Scene: Minimal Room interior by peeraphon viriyahirunpaiboon Audio: Silent Hill 2 Remake #animation #3danimation #b3d #blender #3dcg
18,968 次观看 • 1 个月前 •via X (Twitter)
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![Marlon Brando on why he was so depressed after seeing his performance for the first time in "On the Waterfront" (1954): "When "On the Waterfront" (1954) came out, a lot of people credited me with a marvelous job of acting and called the [Taxicab] scene moving. But it was actor-proof, a scene that demonstrated how audiences often do much of the acting themselves in an effectively told story. It couldn't miss because almost everyone believes he could have been a contender, that he could have been somebody if he'd been dealt different cards by fate, so when people saw this in the film, they identified with it. That's the magic of theater; everybody in the audience became Terry Malloy, a man who'd had the guts not only to stand up to the Mob, but to say, "I'm a bum. Let's face it; that's what I am. . . ." On the day Gadg [Kazan] showed me the completed picture, I was so depressed by my performance I got up and left the screening room. I thought I was a huge failure, and walked out without a word to him. I was simply embarrassed for myself. None of us are perfect, and I think Gadg has done great injury to others, but mostly to himself. I am indebted to him for all that I learned. He was a wonderful teacher." ("Songs My Mother Taught Me", Marlon Brando with Robert Lindsey, 1994) P.S: On this day, 72 years ago, "On the Waterfront" (1954) was released in Japan.](https://image.24vids.com/tw-2069116960147743073/amplify_video_thumb/2069104778932781056/img/oNBMG3CCB-nz8dV3.jpg)
![Franco Nero on how he was cast for 'Django' (1966) & his experience while working with Sergio Corbucci: "Interviewer: You once said that the time in which the original DJANGO was made was almost like a fairy tale. Nero: Yes, because it was a great time for Italian cinema. We invented Italian westerns. Our photography was the best in the world. We had great directors. I managed to work with the top of the Italian directors at that time. The sixties were the best period for Italian cinema, I think. Still, today, all over the world they know DJANGO. When Quentin went to Cancun to present the movie for Sony he said there were hundreds of journalists asking about me: Where is Franco Nero? [Laughs] Interviewer: But you were hesitant to do DJANGO in 1966. Nero: Yes. I was in a car with a great Italian director named Elio Petri, and I said to him: Elio, they are asking me to do a western. I come from the Piccolo Teatro di Milano! And he said: Do people know you? I said: No. Nobody knows me. And he said: So you have nothing to lose. Just do the movie. You know why they chose me? One producer wanted a Spanish actor called Peter Martell. The other wanted Mark Damon, who went on to become a big producer. Corbucci wanted me. So the distributor asked for three close up photo’s of the three actors and when he got them he pointed to my face. And that was it. Interviewer: Sergio Leone had already made an unofficial remake of YOJIMBO with A FISTFUL OF DOLLARS. In what way was Corbucci influenced by Kurosawa’s film? Nero: He wanted this atmosphere with the mud and the rain, you understand? Corbucci was a very funny man. He had a lot of humor. In the morning he would say something like: How many did we ki!! yesterday? Thirty? And he would say to the cameraman, very seriously: I need you to put a special lens in the camera for those blue lakes - by which he meant my eyes. He made many jokes on the set. One time I had to drag that coffin up a hill for a scene. It was very heavy. I became really tired. Corbucci said: For the next take, you drag it over the hill, until you reach the river and you are out of the shot. I will call you back when I cut the scene. So I did it. I dragged the coffin over the hill and when I reached the river I was so tired. I waited and waited for him to call. But nobody called. Finally I just went back and they were all gone! He was very funny." (Franco Nero's interview originally published in Dutch fanzine Schokkend Nieuws, 2012 - From 'AGAIN, NO SCRIPT!', Flashback Files)](https://image.24vids.com/tw-1989421073960739051/amplify_video_thumb/1989356878108008448/img/xZVkwgR8_tzCamX8.jpg)
