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Jacob talks about making deliberate choices with his shoots: ‘Another trick that I learned years ago is that I don't shoot very much, so nobody can cut my show the way I don't want them to cut it. There's no excess. "Is there a close up?" and I'm like,... "No." And so, I do a lot of that, and it's very deliberate. I mean, the thing about the show when you talk about the money and the resources, the reason that it is stretched to a point, is that we shot, I think, 57 locations in 34 days? So to keep the scope of the show the way we wanted, we had to move fast, and we had to get things done. And so that means there's going to be some one-ers, there's going to be some things, and instead of you seeing that as a limitation, you have to view that as like, “This is a fun opportunity to do something interesting.” We shot that cottage in two days. We had two days to do it, and so it was like, “Okay, here we are doing it.” And we finished early. 🗣️ CSA Presents: Focal Point, May 31, 2026. ▶️ ✍🏼 transcription by Heated Rivalry Newsshow more

Heated Rivalry News

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Jacob Tierney discusses his process for writing Heated Rivalry and outlining season two: "The book [Heated Rivalry] is in five parts and very quickly I was like, part one, episode one. Part two, episode two. It was very clear to me. …So in this case, I actually did not outline. Because I was just using these parts of this book, and I knew these books so well at this point. Something that I did, and that I'm trying to do again now when I'm writing the new season, is I'm trying to use—Because there's a dreaminess to this show, I try to use my memory as a guide. I'm like, what do I remember? And then I try to give primacy to the stuff that I remember and that has stuck in my brain all these years with this story. So I’m like, oh I have to do that! And that's a nice way for me to kind of center things. Where if I have to do that, then it means maybe I don't have to do this, and it maybe means I want to combine or collapse different things. Because if this is going to take up—If one incident that I'm thinking of is going to take up the space in an episode that I think of as the heart, …then you don't need to do a first version of it in the same way, you know? Little things like that. That being said, for this season because I'm working with a co-writer as well, we have outlined everything. And every time, I do approach outlining like a teenager, where I'm like, [modulates voice] I don't want to. But then when I do it, I'm always like, why don't I always do this? It makes everything so much easier. So I kind of gaslight myself in that way." ✍🏼 transcription via Heated Rivalry News & Updates. Please credit if reposting. 🗣️ quote via q&a with Stage 32 on March 24, 2026. 🔗

Jacob Tierney discusses his process for writing Heated Rivalry and outlining season two: "The book [Heated Rivalry] is in five parts and very quickly I was like, part one, episode one. Part two, episode two. It was very clear to me. …So in this case, I actually did not outline. Because I was just using these parts of this book, and I knew these books so well at this point. Something that I did, and that I'm trying to do again now when I'm writing the new season, is I'm trying to use—Because there's a dreaminess to this show, I try to use my memory as a guide. I'm like, what do I remember? And then I try to give primacy to the stuff that I remember and that has stuck in my brain all these years with this story. So I’m like, oh I have to do that! And that's a nice way for me to kind of center things. Where if I have to do that, then it means maybe I don't have to do this, and it maybe means I want to combine or collapse different things. Because if this is going to take up—If one incident that I'm thinking of is going to take up the space in an episode that I think of as the heart, …then you don't need to do a first version of it in the same way, you know? Little things like that. That being said, for this season because I'm working with a co-writer as well, we have outlined everything. And every time, I do approach outlining like a teenager, where I'm like, [modulates voice] I don't want to. But then when I do it, I'm always like, why don't I always do this? It makes everything so much easier. So I kind of gaslight myself in that way." ✍🏼 transcription via Heated Rivalry News & Updates. Please credit if reposting. 🗣️ quote via q&a with Stage 32 on March 24, 2026. 🔗

Heated Rivalry News & Updates

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Arteta: “We know what is at stake and the fact that, as a club, we haven't done it for so long is a reason for that. It talks about the difficulty but I just want to focus on the things that we can control, dominate, and we have done. “It's not that we have to do a lot of new things that we haven't done. No, no, no, let's keep doing a lot of it or almost all the things that we've done for nine months, because that's what has taken us all the way there. “On Wednesday, I saw a lot of them. And today we've gone back so we need to learn, we need to be very critical of ourselves, and then pick ourselves up because on Wednesday we have a big one coming up.”

Arteta: “We know what is at stake and the fact that, as a club, we haven't done it for so long is a reason for that. It talks about the difficulty but I just want to focus on the things that we can control, dominate, and we have done. “It's not that we have to do a lot of new things that we haven't done. No, no, no, let's keep doing a lot of it or almost all the things that we've done for nine months, because that's what has taken us all the way there. “On Wednesday, I saw a lot of them. And today we've gone back so we need to learn, we need to be very critical of ourselves, and then pick ourselves up because on Wednesday we have a big one coming up.”

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Phillies President of Baseball Operations Dave Dombrowski talks about his team's negotiations with Bo Bichette in free agency before he signed with the Mets: "I can't say that we ever thought it was done. We thought we were very close to having a deal done. We thought it was going to happen, but it wasn't done. There's a difference between the two. As I've explained to some other people, it's a situation where in baseball, and agents run things differently between themselves, they do things in different ways. Until you sign a memo of understanding, you don't have a deal done. We did not sign one of those. It wasn't that we weren't moving towards that direction. It isn't to think that we were going to get there based upon our conversations, but we did not get to that point so I can't say that I ever thought we had it done. I did think we were going to get a deal done."

Phillies President of Baseball Operations Dave Dombrowski talks about his team's negotiations with Bo Bichette in free agency before he signed with the Mets: "I can't say that we ever thought it was done. We thought we were very close to having a deal done. We thought it was going to happen, but it wasn't done. There's a difference between the two. As I've explained to some other people, it's a situation where in baseball, and agents run things differently between themselves, they do things in different ways. Until you sign a memo of understanding, you don't have a deal done. We did not sign one of those. It wasn't that we weren't moving towards that direction. It isn't to think that we were going to get there based upon our conversations, but we did not get to that point so I can't say that I ever thought we had it done. I did think we were going to get a deal done."

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"At school or university, the thing is to be brilliant and to get the answer right first time. And there are brilliant people who can do that, but for the rest of us, we're not brilliant. And to get there, we have to strive and we have to go through failure. And we realize that you don't get it right first time, you don't get it right second time. In my case, and I counted it, it's 5,127 times. One of the things I always want to say is that sounds like a struggle. It was a struggle, but actually it was a hugely enjoyable struggle. The debt was mounting and I had three children, a wife and a home, and then a mortgage to pay, like everybody else. But I had a real point in life, I had a real aim and I had to get there. And the failures were interesting because I'd learned from every single one of them."

"At school or university, the thing is to be brilliant and to get the answer right first time. And there are brilliant people who can do that, but for the rest of us, we're not brilliant. And to get there, we have to strive and we have to go through failure. And we realize that you don't get it right first time, you don't get it right second time. In my case, and I counted it, it's 5,127 times. One of the things I always want to say is that sounds like a struggle. It was a struggle, but actually it was a hugely enjoyable struggle. The debt was mounting and I had three children, a wife and a home, and then a mortgage to pay, like everybody else. But I had a real point in life, I had a real aim and I had to get there. And the failures were interesting because I'd learned from every single one of them."

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Whitney Webb "It sucks to find out that the mob runs the world... [so] do you want to say, screw you guys, we're going to... get off your... slave plantation?... [because] we can't really keep losing money and rights without being so deep in a hole that we can't... climb out" This clip of Webb (Whitney Webb), a contributing editor of Unlimited Hangout and author of One Nation Under Blackmail, is taken from an interview with Peter McCormack (The Peter McCormack Show) posted to YouTube on September 4, 2025. -----------------Partial transcription of clip-------------- "It's not just about burning it down, it's about putting something better in its place. Of course. And so I think the solutions there, you know, some people are like, oh, Whitney, your work is so demoralizing. Well, I'm like, yeah, it sucks to find out that the mob runs the world, you know, but the question is, or do you just want to let them keep running it because it bums you out, or do you want to say, screw you guys, we're going to build something else and get off your, you know, slave plantation? "And I am in the group of, I would like to build something else. I have three kids. I do not want them living in a world run by the mob. So what are you going to do about it? I mean, it starts locally, it starts with your community, because that's where we can actually affect change. Voting for left or right, blue or red. I mean, it's just this ping pong thing where nothing fundamental is changing. "And so to affect that change, we have to do it ourselves. And you think this would be a core American value? Individualism, individual responsibility. But a lot of people just don't care. And so, you know, that sucks. But I think those of us that do care need, to take steps to be as independent from the system as possible. Because every so often, this predator class, they do wealth transfers or they orchestrate and manufacture events and they make a big grab, not just for our money, but for our rights. And we're at the point where we can't really keep losing money and rights without being so deep in a hole that we can't climb ourself out. Can't climb out. "So what, what should we do before that happens? There is an important window of time to do something about it in our local community and for our families and our friends and our neighbors. And we have to do something because if we don't and that thing happens. Oh, well, I watched all these podcasts and learned about how corrupt everything is. But, you know, and I think they spend a lot of time trying to keep us distracted on all sorts of things and sucked into things that don't matter. So that we just don't give them the finger, basically. And that's what we really need to do."

Whitney Webb "It sucks to find out that the mob runs the world... [so] do you want to say, screw you guys, we're going to... get off your... slave plantation?... [because] we can't really keep losing money and rights without being so deep in a hole that we can't... climb out" This clip of Webb (Whitney Webb), a contributing editor of Unlimited Hangout and author of One Nation Under Blackmail, is taken from an interview with Peter McCormack (The Peter McCormack Show) posted to YouTube on September 4, 2025. -----------------Partial transcription of clip-------------- "It's not just about burning it down, it's about putting something better in its place. Of course. And so I think the solutions there, you know, some people are like, oh, Whitney, your work is so demoralizing. Well, I'm like, yeah, it sucks to find out that the mob runs the world, you know, but the question is, or do you just want to let them keep running it because it bums you out, or do you want to say, screw you guys, we're going to build something else and get off your, you know, slave plantation? "And I am in the group of, I would like to build something else. I have three kids. I do not want them living in a world run by the mob. So what are you going to do about it? I mean, it starts locally, it starts with your community, because that's where we can actually affect change. Voting for left or right, blue or red. I mean, it's just this ping pong thing where nothing fundamental is changing. "And so to affect that change, we have to do it ourselves. And you think this would be a core American value? Individualism, individual responsibility. But a lot of people just don't care. And so, you know, that sucks. But I think those of us that do care need, to take steps to be as independent from the system as possible. Because every so often, this predator class, they do wealth transfers or they orchestrate and manufacture events and they make a big grab, not just for our money, but for our rights. And we're at the point where we can't really keep losing money and rights without being so deep in a hole that we can't climb ourself out. Can't climb out. "So what, what should we do before that happens? There is an important window of time to do something about it in our local community and for our families and our friends and our neighbors. And we have to do something because if we don't and that thing happens. Oh, well, I watched all these podcasts and learned about how corrupt everything is. But, you know, and I think they spend a lot of time trying to keep us distracted on all sorts of things and sucked into things that don't matter. So that we just don't give them the finger, basically. And that's what we really need to do."

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Elon Musk about the meaning of life and the trap of wishful thinking : “When I was a kid, I was wondering what's the meaning of life? Like, why are we here? What's it all about? And I came to the conclusion that what really matters is trying to understand the right questions to ask. And the more that we can increase the scope and scale of human consciousness, the better we are able to ask these questions. And so I think that there are certain things that are necessary to ensure that the future is good. One of the biggest mistakes people generally make, and I'm guilty of it too, is wishful thinking. You know, like, you want something to be true even if it isn't true. And so you ignore the things that you ignore the real truth because of what you want to be true. This is a very difficult trap to avoid.”

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Christopher Nolan interviewing Michael Mann, Al Pacino and Robert De Niro on the iconic coffee shop meeting in Heat... Nolan: So for all three of you, I mean, one of the great and memorable scenes in the film - there are many - but the iconic coffee shop meeting that people were so struck by when the film came out, seeing two such great actors who had not acted in the same scene together before, together. There was such mythology around it at the time. I remember several friends of mine being convinced that you'd shot it on different days because there was no two-shot… (Michael Mann laughs) Nolan: Was it single camera? Was it two cameras? Did you have two cameras so you could shoot both close-ups at the same time? How did you approach that momentous event? Mann: It started with this consummate respect for the great artists that these two guys are. We talked about the scene and we analysed the scene… We didn't want to do the scene until we were at Cape Mandelini's. And then it was so ingrained that I knew that in all the little tiny organic details it would be different from take to take. So what I wanted to do was shoot with two cameras, two over the shoulders – I knew that there would be an organic unity to one take, and it would be a slightly different organic unity to another; because if you look at it very carefully, if Bob shifts his hand like this a little bit, right in the middle of dialogue, Al is doing something to counter it - because maybe he's shifting his positions so he can get closer to a weapon… Nolan: What do you remember about that shoot? Pacino: I do remember that Bob said – at first I wondered about it and then I thought how right he is – he said, “let’s not rehearse it.” Nolan: Because you love to rehearse. Pacino: Oh yeah. And Bob does too. De Niro: No, I do too at times, but this kind of scene we didn't have to. Pacino: But the thing is, what Bob said is so true about rehearsal – and that is that there is no sense in rehearsing if the people around you don't know how to rehearse. That is an important factor. Might as well not rehearse or rehearse very little. But it's true because it's a certain kind of thing and people either respond to it or they don't. And so, they could be great actors, of course, but they don't want to rehearse. I've had experiences like that… De Niro: Well, it was also that we were stationary. So, it wasn't we had to sort of rehearse blocking or anything and discover how our physical moves would be. We were kind of, there, though there were subtle moves in the scene itself, obviously. But anyway, and we started late and.... we didn't start till after lunch or dinner, which was really like one o'clock in the morning...I loved the scene and I wanted, you know, really wanted it to be as best as it could be. So I was a little unhappy that we started so late in the middle of the night... Mann: It was actually intentional... De Niro: I know, he wanted to tire us out. Nolan: But getting into a scene like that, that you know is going to be such a significant part of the film, huge expectation from both of you as you sit down to perform it. At the end of that night, did you know you had it? Did you feel it? Pacino: I never knew that. De Niro: You never know that. Mann: I knew we had it. Nolan: You knew. That's your job. Pacino: I'd like to do it again actually. Mann: (laughs) We’ll re-shoot it… We normally would rehearse scenes. That scene we talked about, we all as a group decided, you know, we wanted to just talk it through and save it for the event of shooting it, which was the only scene we probably did that with. But I tend to not want to rehearse things to the point where I feel like I wish I'd shot it. That's a disaster – I think things will be perfect once, and they'll never be perfect. They'll never be 100% twice. They'll only be 100% once. You want that happening in front of the camera. From a panel discussion following a special screening of Heat at the Samuel Goldwyn Theater on September 7, 2016.

Christopher Nolan interviewing Michael Mann, Al Pacino and Robert De Niro on the iconic coffee shop meeting in Heat... Nolan: So for all three of you, I mean, one of the great and memorable scenes in the film - there are many - but the iconic coffee shop meeting that people were so struck by when the film came out, seeing two such great actors who had not acted in the same scene together before, together. There was such mythology around it at the time. I remember several friends of mine being convinced that you'd shot it on different days because there was no two-shot… (Michael Mann laughs) Nolan: Was it single camera? Was it two cameras? Did you have two cameras so you could shoot both close-ups at the same time? How did you approach that momentous event? Mann: It started with this consummate respect for the great artists that these two guys are. We talked about the scene and we analysed the scene… We didn't want to do the scene until we were at Cape Mandelini's. And then it was so ingrained that I knew that in all the little tiny organic details it would be different from take to take. So what I wanted to do was shoot with two cameras, two over the shoulders – I knew that there would be an organic unity to one take, and it would be a slightly different organic unity to another; because if you look at it very carefully, if Bob shifts his hand like this a little bit, right in the middle of dialogue, Al is doing something to counter it - because maybe he's shifting his positions so he can get closer to a weapon… Nolan: What do you remember about that shoot? Pacino: I do remember that Bob said – at first I wondered about it and then I thought how right he is – he said, “let’s not rehearse it.” Nolan: Because you love to rehearse. Pacino: Oh yeah. And Bob does too. De Niro: No, I do too at times, but this kind of scene we didn't have to. Pacino: But the thing is, what Bob said is so true about rehearsal – and that is that there is no sense in rehearsing if the people around you don't know how to rehearse. That is an important factor. Might as well not rehearse or rehearse very little. But it's true because it's a certain kind of thing and people either respond to it or they don't. And so, they could be great actors, of course, but they don't want to rehearse. I've had experiences like that… De Niro: Well, it was also that we were stationary. So, it wasn't we had to sort of rehearse blocking or anything and discover how our physical moves would be. We were kind of, there, though there were subtle moves in the scene itself, obviously. But anyway, and we started late and.... we didn't start till after lunch or dinner, which was really like one o'clock in the morning...I loved the scene and I wanted, you know, really wanted it to be as best as it could be. So I was a little unhappy that we started so late in the middle of the night... Mann: It was actually intentional... De Niro: I know, he wanted to tire us out. Nolan: But getting into a scene like that, that you know is going to be such a significant part of the film, huge expectation from both of you as you sit down to perform it. At the end of that night, did you know you had it? Did you feel it? Pacino: I never knew that. De Niro: You never know that. Mann: I knew we had it. Nolan: You knew. That's your job. Pacino: I'd like to do it again actually. Mann: (laughs) We’ll re-shoot it… We normally would rehearse scenes. That scene we talked about, we all as a group decided, you know, we wanted to just talk it through and save it for the event of shooting it, which was the only scene we probably did that with. But I tend to not want to rehearse things to the point where I feel like I wish I'd shot it. That's a disaster – I think things will be perfect once, and they'll never be perfect. They'll never be 100% twice. They'll only be 100% once. You want that happening in front of the camera. From a panel discussion following a special screening of Heat at the Samuel Goldwyn Theater on September 7, 2016.

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"Every team wants to win a championship, but not every team wants to do the things required for a championship. And here's the thing: it's easy to be an average team. It doesn't require a lot. It's less adversity to be average in the world. The consequences of being average aren't easy. We end up wearing them. There's strain and struggle that comes with that too. The standard is just lower to be an average team. To be a championship team, to be champion, to be a championship team member here . . . I'm not gonna lie to you . . . I'm going to tell you the truth. It is harder. It is. The question is: Is it worth it? Some people say, "Oh it's not harder work." Yes it is. It's harder work. You can pursue comfort or you can pursue excellence. If we pursue comfort, we gotta give up some excellence. But if we pursue excellence, then we're just going to face more adversity. Everyone who's ever accomplished something excellence has had to overcome it. We are here today for a reason. Two reasons actually. Reason #1 is let's make sure that we identify and realize the opportunities that are in front of us. Reason #2 is let's make sure that we are preparing for the adversity that those opportunities require. And just understand: every single time you lever up your opportunities and you identify, "Oh there's something more I can do, more I can achieve. I can get better. I can earn more. I can do this." It's going to be matched with the adversity that comes with it. I want to make sure we are prepared for both of those, so that we're not chasing big opportunities and then getting mad when things start getting harder along the way. Is that fair? Does that make sense?"

"Every team wants to win a championship, but not every team wants to do the things required for a championship. And here's the thing: it's easy to be an average team. It doesn't require a lot. It's less adversity to be average in the world. The consequences of being average aren't easy. We end up wearing them. There's strain and struggle that comes with that too. The standard is just lower to be an average team. To be a championship team, to be champion, to be a championship team member here . . . I'm not gonna lie to you . . . I'm going to tell you the truth. It is harder. It is. The question is: Is it worth it? Some people say, "Oh it's not harder work." Yes it is. It's harder work. You can pursue comfort or you can pursue excellence. If we pursue comfort, we gotta give up some excellence. But if we pursue excellence, then we're just going to face more adversity. Everyone who's ever accomplished something excellence has had to overcome it. We are here today for a reason. Two reasons actually. Reason #1 is let's make sure that we identify and realize the opportunities that are in front of us. Reason #2 is let's make sure that we are preparing for the adversity that those opportunities require. And just understand: every single time you lever up your opportunities and you identify, "Oh there's something more I can do, more I can achieve. I can get better. I can earn more. I can do this." It's going to be matched with the adversity that comes with it. I want to make sure we are prepared for both of those, so that we're not chasing big opportunities and then getting mad when things start getting harder along the way. Is that fair? Does that make sense?"

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125,742 просмотров • 2 лет назад

Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”

Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”

neandrewthal

41,422 просмотров • 1 год назад

Alfonso Cuarón on how this continuous shot in "Children of Men" (2006) was clinched in the final attempt & the "Miracle" that occurred while filming: "Interviewer: When Theo runs into a hollowed-out bus in that shot, blood splatters on the camera lens. Can you tell me how that happened? Cuarón: Initially, there was going to be blood splatter on the lens when they ki!!ed Julianne Moore. We were going to add that digitally. But long story short — or long story long — is that for [the refugee camp] shot, we had like 14 days to shoot the whole set piece, except by day 12 we hadn’t rolled cameras yet. As you can guess, by day three that you don’t shoot camera, they send a production guy from the studio to visit you. By the sixth day that you haven’t done it, the creative executive comes to visit you. Well, by the time that you reach the 11th day, the head of the studio is there. That kind of stuff. And the problem is that we had only two shots a day to do the thing. The morning, then you have to reset the explosions, the screams, the whole thing. Five hours to reset. So you only have another shot right before the light goes away. And the problem is that, we could not extend it to the 15th day, because there was already a commitment with the army or something, one of those things. So we are in the 13th day, and in the afternoon, we do our first shot. Then after a minute and a half, it just was wrong. So we had to reset for the next day. The next morning we do the first take, and everything is perfect, and we’re about to reach the end. We were running towards getting inside the building, when [camera operator] George [Richardson] tripped, and so the camera fell. So we only had one more shot for one more before we have to move out. It was the end of my career. Interviewer: Were you panicking at that point? Cuarón: You know, at that point, you’re just focusing. Interviewer: Okay, so you get to the final attempt at the shot. Cuarón: And when we arrived at the bus, the camera goes in, and blood splatters the lens. With my little monitor, I see that I cannot see anything. I yell, “Cut!” But an explosion happens at the same time, so nobody hears me. And that gives me time to think, “Look, I have to roll to the end.” So we kept on going. When we said, “Cut,” Chivo [Emmanuel Lubezki] starts dancing like crazy. And I was like, “No, it didn’t work! There’s blood!” And Chivo turns to me and says, “You stupid! That was a miracle! The blood goes here, not with Julianne Moore!” Yeah, that was supposed to go in the other scene, but it happened here." ("The Vulture Transcript: Alfonso Cuarón on Children of Men", Abraham Josephine Riesman, Vulture, 2017)

Alfonso Cuarón on how this continuous shot in "Children of Men" (2006) was clinched in the final attempt & the "Miracle" that occurred while filming: "Interviewer: When Theo runs into a hollowed-out bus in that shot, blood splatters on the camera lens. Can you tell me how that happened? Cuarón: Initially, there was going to be blood splatter on the lens when they ki!!ed Julianne Moore. We were going to add that digitally. But long story short — or long story long — is that for [the refugee camp] shot, we had like 14 days to shoot the whole set piece, except by day 12 we hadn’t rolled cameras yet. As you can guess, by day three that you don’t shoot camera, they send a production guy from the studio to visit you. By the sixth day that you haven’t done it, the creative executive comes to visit you. Well, by the time that you reach the 11th day, the head of the studio is there. That kind of stuff. And the problem is that we had only two shots a day to do the thing. The morning, then you have to reset the explosions, the screams, the whole thing. Five hours to reset. So you only have another shot right before the light goes away. And the problem is that, we could not extend it to the 15th day, because there was already a commitment with the army or something, one of those things. So we are in the 13th day, and in the afternoon, we do our first shot. Then after a minute and a half, it just was wrong. So we had to reset for the next day. The next morning we do the first take, and everything is perfect, and we’re about to reach the end. We were running towards getting inside the building, when [camera operator] George [Richardson] tripped, and so the camera fell. So we only had one more shot for one more before we have to move out. It was the end of my career. Interviewer: Were you panicking at that point? Cuarón: You know, at that point, you’re just focusing. Interviewer: Okay, so you get to the final attempt at the shot. Cuarón: And when we arrived at the bus, the camera goes in, and blood splatters the lens. With my little monitor, I see that I cannot see anything. I yell, “Cut!” But an explosion happens at the same time, so nobody hears me. And that gives me time to think, “Look, I have to roll to the end.” So we kept on going. When we said, “Cut,” Chivo [Emmanuel Lubezki] starts dancing like crazy. And I was like, “No, it didn’t work! There’s blood!” And Chivo turns to me and says, “You stupid! That was a miracle! The blood goes here, not with Julianne Moore!” Yeah, that was supposed to go in the other scene, but it happened here." ("The Vulture Transcript: Alfonso Cuarón on Children of Men", Abraham Josephine Riesman, Vulture, 2017)

DepressedBergman

107,518 просмотров • 4 месяцев назад

🚨 NOW: Sen. Rick Scott demands the Senate STOP TAKING BREAKS and get reconciliation done for ICE and CBP "It depends on how HARD we want to work! I mean, if we stay here and do our JOBS, we'll get these things done!" "We've got to get the ICE and the Border Patrol done this week, so we can get that to the President's desk, make sure that's all funded, and we've got a lot of the things we've got to get done." "And we clearly are going to have to do a supplemental for the military with regard to the war in Iran, and there's other things we ought to do." "We've got to figure out how do we cut the cost of government. This reconciliation is a way to do that, and also fund the things we need to fund." "So I think we need to stay, as long as we have to do, stay here to get these things done."

🚨 NOW: Sen. Rick Scott demands the Senate STOP TAKING BREAKS and get reconciliation done for ICE and CBP "It depends on how HARD we want to work! I mean, if we stay here and do our JOBS, we'll get these things done!" "We've got to get the ICE and the Border Patrol done this week, so we can get that to the President's desk, make sure that's all funded, and we've got a lot of the things we've got to get done." "And we clearly are going to have to do a supplemental for the military with regard to the war in Iran, and there's other things we ought to do." "We've got to figure out how do we cut the cost of government. This reconciliation is a way to do that, and also fund the things we need to fund." "So I think we need to stay, as long as we have to do, stay here to get these things done."

Eric Daugherty

19,637 просмотров • 2 месяцев назад

Yunjin talked about the deeps talks she had with Sakura recently: “A couple of days ago, I met up with Kkura unnie. I went to her and we talked about stuff. About life. About the team. About our future. About, you know, whatever. Just our anxieties and stuff. I told her that sometimes I truly do feel like things are forever, and nothing will change. And that scares me sometimes because sometimes I feel like the anxiety that I feel or the worries that I have, they’re just never going to leave me. And it’s going to be like this forever. But she said something that really calmed me down. She was like just look at the lyrics of BOOMPALA. We are the sky, and the emotions that we feel, that pass through us, are simply passing through us like the weather. Some days you’re gonna be super anxious. Some days, you’re gonna be cloud free. Your sky is gonna be sunny and even that’s not forever. When it’s good, something bad is going to come. And when something’s bad, something good is going to come, and that really did bring a lot of peace of mind. And we talked about how we want our team to have longevity, and everything that we do, we do it with integrity and intent. And authenticity and personality.

Yunjin talked about the deeps talks she had with Sakura recently: “A couple of days ago, I met up with Kkura unnie. I went to her and we talked about stuff. About life. About the team. About our future. About, you know, whatever. Just our anxieties and stuff. I told her that sometimes I truly do feel like things are forever, and nothing will change. And that scares me sometimes because sometimes I feel like the anxiety that I feel or the worries that I have, they’re just never going to leave me. And it’s going to be like this forever. But she said something that really calmed me down. She was like just look at the lyrics of BOOMPALA. We are the sky, and the emotions that we feel, that pass through us, are simply passing through us like the weather. Some days you’re gonna be super anxious. Some days, you’re gonna be cloud free. Your sky is gonna be sunny and even that’s not forever. When it’s good, something bad is going to come. And when something’s bad, something good is going to come, and that really did bring a lot of peace of mind. And we talked about how we want our team to have longevity, and everything that we do, we do it with integrity and intent. And authenticity and personality.

em🪼

656,934 просмотров • 2 месяцев назад

Arteta on making so many changes: “There are two actions defensively that we suffered a little bit. I don't think it's because of his position, but we altered things. We had to. But as well with the game that I expected, bringing Mosquera was going to lock something that we really believed that it can give us the fluidity and the chance to hurt them. “But sometimes you have to make another change and the one on Zubimendi was tough, but I really felt it that we had to put two attacking midfielders in that moment to generate all the kind of issues and threats, and thank God it worked out.”

Arteta on making so many changes: “There are two actions defensively that we suffered a little bit. I don't think it's because of his position, but we altered things. We had to. But as well with the game that I expected, bringing Mosquera was going to lock something that we really believed that it can give us the fluidity and the chance to hurt them. “But sometimes you have to make another change and the one on Zubimendi was tough, but I really felt it that we had to put two attacking midfielders in that moment to generate all the kind of issues and threats, and thank God it worked out.”

Connor Humm

163,846 просмотров • 3 месяцев назад

lando about the DSQ: “from what i had to do in the race, there was already some expectation that it might happen. so it wasn't a shock, it wasn't a surprise. we knew we were having a lot more issues than we ever expected during the race and that led to already the expectation that some things might not be as we expect. maybe it would have hurt more if we won the race, but we didn't so it didn't change. it doesn't change anything. there's no point being too sad about it. of course everyone in the team was a bit gutted about the result because there's a lot of effort that goes into it. so yeah it's the same for everyone but like 0.1 millimeters or whatever, it's like a piece of paper. so it was frustrating but actually i was quite okay, just excited to go again this weekend. it doesn't change anything i want to try and win in qatar and try and win in abu dhabi. so yeah it sucks, but that's life sometimes”

lando about the DSQ: “from what i had to do in the race, there was already some expectation that it might happen. so it wasn't a shock, it wasn't a surprise. we knew we were having a lot more issues than we ever expected during the race and that led to already the expectation that some things might not be as we expect. maybe it would have hurt more if we won the race, but we didn't so it didn't change. it doesn't change anything. there's no point being too sad about it. of course everyone in the team was a bit gutted about the result because there's a lot of effort that goes into it. so yeah it's the same for everyone but like 0.1 millimeters or whatever, it's like a piece of paper. so it was frustrating but actually i was quite okay, just excited to go again this weekend. it doesn't change anything i want to try and win in qatar and try and win in abu dhabi. so yeah it sucks, but that's life sometimes”

ray

214,829 просмотров • 8 месяцев назад

Ariel Helwani: I never said you can't apologize. I never said I wanted the hate to keep going. In fact, we were the ones saying we didn't want the hate to begin with...My single issue and no one is addressing this is the fact that in the immediate aftermath...we did it to sell the fight. That's not an apology. There's no honor in that. There's no honor in taking a fight to the gutter just to sell the fight...I was the one saying the trash talk had no place in the buildup. These are two great fighters and conveniently no one's bringing up the fact that I praised Sean Strickland so very much about his fighting ability. Which just goes to show everyone only cares about the drama. They don't care about the actual sport analysis. But, my issue has always been, you told us that you did this to sell the fight. Not that you had some sort of epiphany. Not that you had some sort of conversation and you realized the things that you said about these people were heinous. No, it was all to sell the fight. I don't think that there is honor in that. #HelwaniShow

Ariel Helwani: I never said you can't apologize. I never said I wanted the hate to keep going. In fact, we were the ones saying we didn't want the hate to begin with...My single issue and no one is addressing this is the fact that in the immediate aftermath...we did it to sell the fight. That's not an apology. There's no honor in that. There's no honor in taking a fight to the gutter just to sell the fight...I was the one saying the trash talk had no place in the buildup. These are two great fighters and conveniently no one's bringing up the fact that I praised Sean Strickland so very much about his fighting ability. Which just goes to show everyone only cares about the drama. They don't care about the actual sport analysis. But, my issue has always been, you told us that you did this to sell the fight. Not that you had some sort of epiphany. Not that you had some sort of conversation and you realized the things that you said about these people were heinous. No, it was all to sell the fight. I don't think that there is honor in that. #HelwaniShow

Jed I. Goodman ©

76,744 просмотров • 3 месяцев назад

Justin Thomas was asked about his group getting put on the clock: "We just didn't really agree with it. ... The hard part to me with the whole pace of play thing is that you, there's so much that goes into golf and there's so much that goes into hole to hole in terms of, are you hitting it close, are you able to tap it in, or you have to mark it, stuff like that, to where, are you holding the group up or are you not, to where it's very hard to make that call. And we just didn't agree with it, to be honest. "But we got taken off, and a hole later we were caught up. So it kind of goes to our point of why we didn't think we should of, but it is what it is. It's a part of it."

Justin Thomas was asked about his group getting put on the clock: "We just didn't really agree with it. ... The hard part to me with the whole pace of play thing is that you, there's so much that goes into golf and there's so much that goes into hole to hole in terms of, are you hitting it close, are you able to tap it in, or you have to mark it, stuff like that, to where, are you holding the group up or are you not, to where it's very hard to make that call. And we just didn't agree with it, to be honest. "But we got taken off, and a hole later we were caught up. So it kind of goes to our point of why we didn't think we should of, but it is what it is. It's a part of it."

Cameron Jourdan

619,266 просмотров • 2 месяцев назад

YOKO ONO: ONOCHORD, VENICE, 2004 Yoko: The world is divided in two industries. One is the War Industry and the other is the Peace Industry. The people in the War Industry are totally together. They don't have to talk to each other, even. They know exactly what they want to do. They want to go out there, kill and make money. But the people in the Peace Industry, which are us - we are so idealistic that each one of us criticises the other Peace Person in the Peace Industry. And we are always just arguing and we are wasting our energies doing that. So let's just forgive each other and see that we are in the Peace Industry and that's all that counts. Even if you are not marching for peace, just be yourself, being a florist, being a merchant, being a talior, anything. That way you're contributing to the Peace Industry. People are just concentrating on fear, confusion and anger. And therefore just for a moment, I'd like us to think about Love. In a very magical, straight way, John and I met in London and from then on we stood for Peace and Love. And when I do this kind of event. Well it is... I was inspired to do it, but I still think that I'm still with John in spirit. John and I created the country called Nutopia. Not Utopia, because there was Utopia as a concept already. And we wanted to create a new concept, so we just added N on it - Nutopia - and as a country. Well, that is the concept of a country. And we all are citizens of that country. And in my apartment in the Dakota Building, we put a little plaque on the back door, the kitchen door. It says 'Nutopian Embassy' and even now we have that. (laughs). Nutopia exists in our minds. And because of that, some people want to rebel against it. The reason some want to rebel against it is a good proof that it exists. I think that it was a terrible thing that happened in Chechnya. But we have to still keep our hopes up. And instead of giving up, we have to keep on sending the message of Love to each other. You say that I am the Ambassador of Peace. We are all Ambassadors of Peace. You are too. Everybody in this room are Ambassadors of Peace. Just the fact that we are not participating in War. The fact that we are here, and we are what we are, means that we are in the Peace Industry. All of us. John and I used to say that our apartment in the Dakota is a conceptual monastry, just for the two of us. And when we go out of the Dakota, we get so many people communicating with us, so it's very important that we had silence and quietness. And my apartment is a very small space compared to the world. And I need that for my peace of mind. You should be kind to each other. You should come together, hug each other, love each other, express our love to each other and we should make it work. We should finally create a world that is a totally an Earth for Us. So let's do it. Yoko Ono, OpenAsia Press Conference, whilst exhibiting Onochord, 2004 by Yoko Ono (Nutopia) at the Venice Biennale: OpenAsia 2004, Lido Di Venezia, Venice, Italy, 9 September 2004.

YOKO ONO: ONOCHORD, VENICE, 2004 Yoko: The world is divided in two industries. One is the War Industry and the other is the Peace Industry. The people in the War Industry are totally together. They don't have to talk to each other, even. They know exactly what they want to do. They want to go out there, kill and make money. But the people in the Peace Industry, which are us - we are so idealistic that each one of us criticises the other Peace Person in the Peace Industry. And we are always just arguing and we are wasting our energies doing that. So let's just forgive each other and see that we are in the Peace Industry and that's all that counts. Even if you are not marching for peace, just be yourself, being a florist, being a merchant, being a talior, anything. That way you're contributing to the Peace Industry. People are just concentrating on fear, confusion and anger. And therefore just for a moment, I'd like us to think about Love. In a very magical, straight way, John and I met in London and from then on we stood for Peace and Love. And when I do this kind of event. Well it is... I was inspired to do it, but I still think that I'm still with John in spirit. John and I created the country called Nutopia. Not Utopia, because there was Utopia as a concept already. And we wanted to create a new concept, so we just added N on it - Nutopia - and as a country. Well, that is the concept of a country. And we all are citizens of that country. And in my apartment in the Dakota Building, we put a little plaque on the back door, the kitchen door. It says 'Nutopian Embassy' and even now we have that. (laughs). Nutopia exists in our minds. And because of that, some people want to rebel against it. The reason some want to rebel against it is a good proof that it exists. I think that it was a terrible thing that happened in Chechnya. But we have to still keep our hopes up. And instead of giving up, we have to keep on sending the message of Love to each other. You say that I am the Ambassador of Peace. We are all Ambassadors of Peace. You are too. Everybody in this room are Ambassadors of Peace. Just the fact that we are not participating in War. The fact that we are here, and we are what we are, means that we are in the Peace Industry. All of us. John and I used to say that our apartment in the Dakota is a conceptual monastry, just for the two of us. And when we go out of the Dakota, we get so many people communicating with us, so it's very important that we had silence and quietness. And my apartment is a very small space compared to the world. And I need that for my peace of mind. You should be kind to each other. You should come together, hug each other, love each other, express our love to each other and we should make it work. We should finally create a world that is a totally an Earth for Us. So let's do it. Yoko Ono, OpenAsia Press Conference, whilst exhibiting Onochord, 2004 by Yoko Ono (Nutopia) at the Venice Biennale: OpenAsia 2004, Lido Di Venezia, Venice, Italy, 9 September 2004.

Yoko Ono

35,208 просмотров • 2 лет назад

If a British person were to move to China and act like foreigners do when they move to the White countries... "I think we can all agree everything here is a little bit too Chinese. All the restaurants and cafes and that for a start, way too many noodles. I don't eat noodles. We're gonna need pie and mash, and chips. You need the cater to me, yeah?" "No? I don't think you understand. I'm not from here. Okay, I left the UK because I didn't like it. All right? So I need you to change everything to make it feel like it's the UK. Yeah? Still no, is it? Right, okay. Well, also I can't really work at the minute. Anxiety. Yeah. So when do I get my money? Obviously got a few kids at home and also they're gonna need to come here." "Why do you keep saying no? I've noticed as well, there's a lot of Chinese people here as well? So I was thinking we could get loads of me over here and we have our own little area and then you lot can just f**k off. Does that sound good?" "It doesn't. Well, no, hear me out, because I was thinking if we get loads of me over here, then we can vote in, you know, one of me to be in charge and then we can all start telling you lot how to live. And after that, I was going to organise some marches where we go through the streets chanting anti-Chinese sentiments. Obviously, you'll need to protect us while we do that." "That's a no as well, is it? eh And finally, I am here illegally. Yeah, didn't respect the rules on that one. So do I just choose any hotel?"

If a British person were to move to China and act like foreigners do when they move to the White countries... "I think we can all agree everything here is a little bit too Chinese. All the restaurants and cafes and that for a start, way too many noodles. I don't eat noodles. We're gonna need pie and mash, and chips. You need the cater to me, yeah?" "No? I don't think you understand. I'm not from here. Okay, I left the UK because I didn't like it. All right? So I need you to change everything to make it feel like it's the UK. Yeah? Still no, is it? Right, okay. Well, also I can't really work at the minute. Anxiety. Yeah. So when do I get my money? Obviously got a few kids at home and also they're gonna need to come here." "Why do you keep saying no? I've noticed as well, there's a lot of Chinese people here as well? So I was thinking we could get loads of me over here and we have our own little area and then you lot can just f**k off. Does that sound good?" "It doesn't. Well, no, hear me out, because I was thinking if we get loads of me over here, then we can vote in, you know, one of me to be in charge and then we can all start telling you lot how to live. And after that, I was going to organise some marches where we go through the streets chanting anti-Chinese sentiments. Obviously, you'll need to protect us while we do that." "That's a no as well, is it? eh And finally, I am here illegally. Yeah, didn't respect the rules on that one. So do I just choose any hotel?"

Wall Street Mav

51,326 просмотров • 5 месяцев назад

Collins: And you had called many times ceasefire. Now, repeatedly since October 7th, and there is a ceasefire in place now. Mamdani: Yes. And what I'm saying is that I want it to last. And I think that the praise comes when it is delivered. And there's a lot of news about it. The images are incredible of seeing these children celebrating, and I want to make sure that it is something lasting. But I do think this is what people have been hoping for. It's just that there have been so many false starts along the way, and we have to deliver this

Collins: And you had called many times ceasefire. Now, repeatedly since October 7th, and there is a ceasefire in place now. Mamdani: Yes. And what I'm saying is that I want it to last. And I think that the praise comes when it is delivered. And there's a lot of news about it. The images are incredible of seeing these children celebrating, and I want to make sure that it is something lasting. But I do think this is what people have been hoping for. It's just that there have been so many false starts along the way, and we have to deliver this

Acyn

311,976 просмотров • 10 месяцев назад

“I really wanted to do the UFC, to make that walk, but I think that Ronda, she led the way... she led the way 100%. I just said yes. When their negotiations weren’t going anywhere, she called me personally and we had dinner, and we actually talked about it because the suits can get in the way. This is a fight that she’s always wanted... it wasn’t like something I had to do, but now that I’m doing it, I’m so glad. Now I feel like there’s no stopping me.” Gina Carano discusses the negotiations that led to the Ronda Rousey fight.

“I really wanted to do the UFC, to make that walk, but I think that Ronda, she led the way... she led the way 100%. I just said yes. When their negotiations weren’t going anywhere, she called me personally and we had dinner, and we actually talked about it because the suits can get in the way. This is a fight that she’s always wanted... it wasn’t like something I had to do, but now that I’m doing it, I’m so glad. Now I feel like there’s no stopping me.” Gina Carano discusses the negotiations that led to the Ronda Rousey fight.

Ariel Helwani

204,997 просмотров • 3 месяцев назад