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James Whale on the difficulties he faced while making "The Invisible Man" (1933): "When I began work on 'The Invisible Man', I took on the biggest and yet the most fascinating job I have ever tackled. Directing a picture is not easy in the best of times, but when... the principal character spends a great deal of his time on the screen yet completely invisible, then one has a need for all one's ingenuity. It was all very well to film the scene without the actor but I knew that I had in some way to let the audience know clearly that the actor was there all the time although he was invisible. Therefore, in nearly every one of the 'invisible' scenes, I had to devise bits of 'business' so that the audience should know where the man was, what he was doing, and so on. In one scene I made him sitting in a rocking chair, so that by the movements of the chair the audience would realize that he was sitting there, although there was no sign of his presence. In another scene he is sitting in a chair talking to another person. I showed the seat of the chair sagging slightly as he sat down. Then, when his voice became more confidential, I had the chair moved a few inches toward the other person, as though the Invisible Man had drawn it closer for more intimate conversation." ("James Whale A New World of Gods and Monsters", James Curtis, 1998)show more

DepressedBergman

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15,255 görüntüleme • 4 ay önce •via X (Twitter)

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Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast

Gangster Cinema Central

655,353 görüntüleme • 1 ay önce

Former atheist says Jesus Christ appeared to him in a dream as he hung off the edge of a cliff, crying for help. He didn’t understand the dream when he woke up. He figured it out later. But once he did, he could no longer remain an atheist. DR. SY GARTE: “I was hanging from the edge of a cliff, terrified. I didn’t know what to do, and I couldn’t climb up.” “I was holding on with my hands, and I screamed out, ‘Help. Help.’ I didn’t know who I was calling to. I just said, ‘Help, help.’ And I heard a voice say, ‘Just let go.’ And I said, ‘What? What? I fall down?’” “And the voice said, ‘Just let go.’ So I finally said, ‘Well, okay.’ So I let go. And the moment I let go, the entire landscape turned 90 degrees. And instead of hanging from a cliff, I was lying on the ground.” “And there was a man whose voice I had heard standing there. That was the man who said, ‘Just let go.’ I woke up, and I was like, ‘Whoa, what was that?’ I didn’t know what he meant by ‘just let go.’ I didn’t know who it was.” “Eventually, I found out that the man was Jesus Christ. And what I had to let go of was all the baggage that was in my life that was absolutely blocking me from even considering the idea of a God.”

Former atheist says Jesus Christ appeared to him in a dream as he hung off the edge of a cliff, crying for help. He didn’t understand the dream when he woke up. He figured it out later. But once he did, he could no longer remain an atheist. DR. SY GARTE: “I was hanging from the edge of a cliff, terrified. I didn’t know what to do, and I couldn’t climb up.” “I was holding on with my hands, and I screamed out, ‘Help. Help.’ I didn’t know who I was calling to. I just said, ‘Help, help.’ And I heard a voice say, ‘Just let go.’ And I said, ‘What? What? I fall down?’” “And the voice said, ‘Just let go.’ So I finally said, ‘Well, okay.’ So I let go. And the moment I let go, the entire landscape turned 90 degrees. And instead of hanging from a cliff, I was lying on the ground.” “And there was a man whose voice I had heard standing there. That was the man who said, ‘Just let go.’ I woke up, and I was like, ‘Whoa, what was that?’ I didn’t know what he meant by ‘just let go.’ I didn’t know who it was.” “Eventually, I found out that the man was Jesus Christ. And what I had to let go of was all the baggage that was in my life that was absolutely blocking me from even considering the idea of a God.”

The Vigilant Fox 🦊

508,386 görüntüleme • 1 ay önce

ABC News photojournalist Chris Plater, a witness to the scene after two National Guardsmen were shot in D.C.: "One person said something like, you know, man, the guy went up there and started shooting at the National Guard. I didn't get to talk to him, but I didn't get to, you know, know who he was. But it seemed like he suggested that somebody went up and started shooting at the National Guard." "One National Guard was lying on his side. They were rendering aid to him. He wasn't moving, but he was on his side. And then I looked at the the other National Guard member that was down, and I saw compressions going on. I, you know, it was -- it was a lot of people around there. So I don't think it was the person that had done the shooting. And all I could tell you is that I identified two National Guard members that were being worked on. Eventually, the one National Guard that was on the side, he got to move a little bit while he was on his side. And they were still, you know, kind of, you know, working with him. But the other national Guard member, I just saw compression going on with him in the chest area, and that's that's all I can tell you."

ABC News photojournalist Chris Plater, a witness to the scene after two National Guardsmen were shot in D.C.: "One person said something like, you know, man, the guy went up there and started shooting at the National Guard. I didn't get to talk to him, but I didn't get to, you know, know who he was. But it seemed like he suggested that somebody went up and started shooting at the National Guard." "One National Guard was lying on his side. They were rendering aid to him. He wasn't moving, but he was on his side. And then I looked at the the other National Guard member that was down, and I saw compressions going on. I, you know, it was -- it was a lot of people around there. So I don't think it was the person that had done the shooting. And all I could tell you is that I identified two National Guard members that were being worked on. Eventually, the one National Guard that was on the side, he got to move a little bit while he was on his side. And they were still, you know, kind of, you know, working with him. But the other national Guard member, I just saw compression going on with him in the chest area, and that's that's all I can tell you."

Curtis Houck

697,899 görüntüleme • 7 ay önce

John Carpenter on how Howard Hawks's "Rio Bravo" (1959) inspired him to become a filmmaker: "As I got older I began to see that certain directors did certain things. One of the earliest examples of this was Roger Corman. I started going to see these exciting, fast, kind of cheesy but really fun monster movies, and there was one name that kept coming up on the screen: Roger Corman. 'It Conquered the World' (1956), 'Not of This Earth' (1957), 'Attack of the Crab Monsters' (1957), 'The Undead' (1957)... But | really understood for the first time what a director did when I saw 'Rio Bravo' in 1959. There was something about that movie that was like home and I can't really explain it. It was held over in Bowling Green for three or four weeks in a row because people kept coming to see it. I abandoned to see what was new in the other movie house in town to see this movie every weekend again and again because there was something in it that was different from the other westerns I had seen. I had certainly seen John Wayne before. He had become a part of my growing-up experience. He was the action guy, the cowboy. He was the guy in 'Flying Tigers' (1942) who was flying the airplanes. So what was so different about that movie? Then I became aware of this credit: “Howard Hawks’ Rio Bravo.” I looked at the poster and I said to myself, “Who is this guy? He didn't write the movie and he wasn't starring in it so why is his name up here? And why is he last in the credits?” All these things started to occur to me, but it was the emotional impact of the film that got me to start using my brain. Some way I figure out that this director made that movie." ("The Prince of Darkness: The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering the great American filmmaker Howard Hawks on his 130th birthday.

John Carpenter on how Howard Hawks's "Rio Bravo" (1959) inspired him to become a filmmaker: "As I got older I began to see that certain directors did certain things. One of the earliest examples of this was Roger Corman. I started going to see these exciting, fast, kind of cheesy but really fun monster movies, and there was one name that kept coming up on the screen: Roger Corman. 'It Conquered the World' (1956), 'Not of This Earth' (1957), 'Attack of the Crab Monsters' (1957), 'The Undead' (1957)... But | really understood for the first time what a director did when I saw 'Rio Bravo' in 1959. There was something about that movie that was like home and I can't really explain it. It was held over in Bowling Green for three or four weeks in a row because people kept coming to see it. I abandoned to see what was new in the other movie house in town to see this movie every weekend again and again because there was something in it that was different from the other westerns I had seen. I had certainly seen John Wayne before. He had become a part of my growing-up experience. He was the action guy, the cowboy. He was the guy in 'Flying Tigers' (1942) who was flying the airplanes. So what was so different about that movie? Then I became aware of this credit: “Howard Hawks’ Rio Bravo.” I looked at the poster and I said to myself, “Who is this guy? He didn't write the movie and he wasn't starring in it so why is his name up here? And why is he last in the credits?” All these things started to occur to me, but it was the emotional impact of the film that got me to start using my brain. Some way I figure out that this director made that movie." ("The Prince of Darkness: The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering the great American filmmaker Howard Hawks on his 130th birthday.

DepressedBergman

55,467 görüntüleme • 1 ay önce

Bill Clinton has always had bad behavior, Paula Jones sued him for his actions with her. Shouldn’t surprise us that he was close friends with Epstein. This is someone that worked with Bill and Hillary telling what he saw. “I was literally working, sitting in the middle of Bill Clinton's political machine. It was where he made payoffs, where he repaid favors to people for campaign support. I was in an interesting seat and I knew it. In that particular board meeting, I was sitting at the end of the table. James Brannion, who was chairman of the board at that time, was sitting at the head of the table. James Brannion stood up in a public restaurant and he hollered at Beverly Enterprises guy, Bobby Stevens, and said, did you get the $50,000 campaign contribution from the client that you're introducing the loan for? He said, not yet. He said, well then hold up the loan until we get it.

Bill Clinton has always had bad behavior, Paula Jones sued him for his actions with her. Shouldn’t surprise us that he was close friends with Epstein. This is someone that worked with Bill and Hillary telling what he saw. “I was literally working, sitting in the middle of Bill Clinton's political machine. It was where he made payoffs, where he repaid favors to people for campaign support. I was in an interesting seat and I knew it. In that particular board meeting, I was sitting at the end of the table. James Brannion, who was chairman of the board at that time, was sitting at the head of the table. James Brannion stood up in a public restaurant and he hollered at Beverly Enterprises guy, Bobby Stevens, and said, did you get the $50,000 campaign contribution from the client that you're introducing the loan for? He said, not yet. He said, well then hold up the loan until we get it.

Johnny Midnight ⚡️

52,388 görüntüleme • 5 ay önce

Sam Merrill on Donovan Mitchell: “Donovan is someone that…it’s hard to describe what Donovan means to me. I remember when I was in the G League with the Charge, there was one time where we would go after them…I was just sitting on the side, he was sitting there, came up & we talked. We knew each other from the Utah days but he didn’t have to do that…he’s been such a great dude….I went to a couple playoff games his rookie year so you’re not gonna find another guy more happier for him than I am. I know he wants more & we all want more.”

Sam Merrill on Donovan Mitchell: “Donovan is someone that…it’s hard to describe what Donovan means to me. I remember when I was in the G League with the Charge, there was one time where we would go after them…I was just sitting on the side, he was sitting there, came up & we talked. We knew each other from the Utah days but he didn’t have to do that…he’s been such a great dude….I went to a couple playoff games his rookie year so you’re not gonna find another guy more happier for him than I am. I know he wants more & we all want more.”

Dylan🔮🎆🪼

161,797 görüntüleme • 2 ay önce

Man, the more I watch old footage, the more I realize Michael Jackson was an absolute phenomenon a true once in a generation talent. There are moments in his performances where his movement, his control, his charisma it all feels so superhuman that you genuinely start to wonder if he was built different. Like he wasn’t playing by the same rules as the rest of us.🤦🏾‍♂️ And then you remember he was only 17 years old when he was doing all of that. Just a teenager. That level of greatness at such a young age is honestly insane. What a gift he was to the world 😮‍💨

Man, the more I watch old footage, the more I realize Michael Jackson was an absolute phenomenon a true once in a generation talent. There are moments in his performances where his movement, his control, his charisma it all feels so superhuman that you genuinely start to wonder if he was built different. Like he wasn’t playing by the same rules as the rest of us.🤦🏾‍♂️ And then you remember he was only 17 years old when he was doing all of that. Just a teenager. That level of greatness at such a young age is honestly insane. What a gift he was to the world 😮‍💨

Kash

127,093 görüntüleme • 2 ay önce

Breaking 🔴 Nothing against #SalmanKhan ⛔ Now, actor Sonu Mishra who was supposed to play Salman Khan ’s character in #KalaHiran exit the movie ⚠️ He left the movie after he came to know the intention of the makers. While talking to the media, Mishra said, "I was so much excited because I was supposed to play the role of superstar Salman Khan. I had also started the shooting of the film. But when the intent is negative, being an actor, I don't want to be a part of such a film. No doubt that they have a point of view. But you are showing superstar Salman Khan in a negative way and showing a one-sided narrative." He added, "I left because I had not signed the agreement. We shot for two days, and I asked them for the agreement and script because they were making a one-sided narrative story against a superstar. So, they understood I was not going to fall into their trap. I asked for the agreement to know what all clauses are there in it. After a long time, they showed me things, and it was revealed that I had to speak negatively against the star in the media. So, all these things were against my ethics."

Breaking 🔴 Nothing against #SalmanKhan ⛔ Now, actor Sonu Mishra who was supposed to play Salman Khan ’s character in #KalaHiran exit the movie ⚠️ He left the movie after he came to know the intention of the makers. While talking to the media, Mishra said, "I was so much excited because I was supposed to play the role of superstar Salman Khan. I had also started the shooting of the film. But when the intent is negative, being an actor, I don't want to be a part of such a film. No doubt that they have a point of view. But you are showing superstar Salman Khan in a negative way and showing a one-sided narrative." He added, "I left because I had not signed the agreement. We shot for two days, and I asked them for the agreement and script because they were making a one-sided narrative story against a superstar. So, they understood I was not going to fall into their trap. I asked for the agreement to know what all clauses are there in it. After a long time, they showed me things, and it was revealed that I had to speak negatively against the star in the media. So, all these things were against my ethics."

Always Bollywood

81,058 görüntüleme • 1 ay önce

I took my 12yo grandson to see Godzilla Minus One in the theater. He was of course excited, but I was a little concerned because would it be too scary. The WHOLE MOVIE he was sitting forward in his seat, his hands gripping the armrests, staring unblinking, jaw agape. He was picking up on stuff I didn't get. But you need to know my grandson has an eidetic (photographic) memory. So I'm watching it, and there's a report that Godzilla is seen near Giza. Big deal I think, but my grandson gasps and says "Oh no!" Because HE had remembered that the girl got a job in Giza. But I had not. When it ended, I asked my grandson if it was too scary. He said, breathlessly, "No!" Then I asked him what was the best part, and he said, "Every part was the best part." I reluctantly had to say that despite my great love for the original 1954 movie, Godzilla Minus One beats it. Two other facts: 1) The IJN Takao was a real ship which survived the war. It even survived Leyte Gulf! 2) Godzilla Minus One cost less than $15 million. We could have made 25 of them for the cost of Avatar: The Way of Water. Or 15 for the cost of Wakanda Forever. Godzilla Minus One punked the American movie system so hard.

Sandy Petersen 🪔

408,429 görüntüleme • 3 ay önce

For the swimming pool sequence in 'He Ran all the Way' (1951)- the final film of John Garfield, a stunt double was hired for him, because he had suffered a heart attack several months before, and swimming underwater was not recommended for the heart. But on the day of filming, Garfield eventually decided to do the underwater swim himself. It took 10 takes for the scene. Shelley Winters, later in her life felt that he was unconsciously hoping for another heart attack while doing the scene due to the intense stress he was under because of the HUAC Hearings. Shelley Winters explaining about the making of the Swimming pool scene: "James Wong Howe's camera was at the side of the pool above the water. The director had arranged for a stuntman double to do Garfield's swimming. Garfield had had a severe heart attack at the Beverly Hills Tennis Club a few months earlier. I knew that underwater swimming was especially taxing to the heart. I rehearsed with the double, but when we came to the actual shooting of the scene, Garfield refused to let the double do it. We had to do the scene about ten times to get the lighting in the water right. It was scary and unnecessary. When John came up out of the water, the camera was on the back of his head and on my face, and all you saw on film was a figure moving through twenty feet of water, then surfacing. Back then, I could not understand why John insisted on doing this dangerous shot himself. In retrospect, it seems almost as if he unconsciously wanted another heart attack. I didn't understand the political trouble he was in. I just knew that Warner Brothers, by breaking his contract and casting him adrift, were destroying one of their most valuable properties and breaking his heart." ('Shelley Winters - Shelley II', 1989)

For the swimming pool sequence in 'He Ran all the Way' (1951)- the final film of John Garfield, a stunt double was hired for him, because he had suffered a heart attack several months before, and swimming underwater was not recommended for the heart. But on the day of filming, Garfield eventually decided to do the underwater swim himself. It took 10 takes for the scene. Shelley Winters, later in her life felt that he was unconsciously hoping for another heart attack while doing the scene due to the intense stress he was under because of the HUAC Hearings. Shelley Winters explaining about the making of the Swimming pool scene: "James Wong Howe's camera was at the side of the pool above the water. The director had arranged for a stuntman double to do Garfield's swimming. Garfield had had a severe heart attack at the Beverly Hills Tennis Club a few months earlier. I knew that underwater swimming was especially taxing to the heart. I rehearsed with the double, but when we came to the actual shooting of the scene, Garfield refused to let the double do it. We had to do the scene about ten times to get the lighting in the water right. It was scary and unnecessary. When John came up out of the water, the camera was on the back of his head and on my face, and all you saw on film was a figure moving through twenty feet of water, then surfacing. Back then, I could not understand why John insisted on doing this dangerous shot himself. In retrospect, it seems almost as if he unconsciously wanted another heart attack. I didn't understand the political trouble he was in. I just knew that Warner Brothers, by breaking his contract and casting him adrift, were destroying one of their most valuable properties and breaking his heart." ('Shelley Winters - Shelley II', 1989)

DepressedBergman

179,316 görüntüleme • 5 ay önce

The last time I saw my grandfather before he died, we had a conversation that changed the course of my life. I was studying at Columbia in 2003 when my father called to tell me that I needed to travel back to Venezuela to see my grandfather for the last time. He was dying of cancer. Escaping the rising tide of Jew hatred that would soon consume all of Europe, my grandfather immigrated to Venezuela in the 1930s. Although he spoke no Spanish and knew no one in the country, he took a job as a bellhop at a hotel in Caracas, learned the language, and soon became the hotel's general manager. When I traveled back to Venezuela in 2003, the country was gripped by widespread protests against its dictator, Hugo Chávez, who—after packing the Supreme Court with loyalists—had convinced it to allow him to run for reelection as many times as he wanted, even though the constitution was clear that he could seek only one, five-year term. In response, over one million Venezuelans took the streets—in a massive show of democratic objection that happened to coincide with my final conversation with my grandfather. He was by then very weak, in a wheel chair, and weighed no more than 90 pounds. He asked me to wheel him out onto the balcony so that we could play chess together, as the crowds amassed in the streets below us. “What kind of lawyer do you want to be?” he asked me during our game. "Well, I don't know," I answered. "I'm still in college." He then raised his bony finger, pointed it at the crowd below, and said: "Always remember — this is what happens to a country when good people don't serve it." That was the last conversation I ever had with him. He died two or three weeks later. But it was because of that conversation, and my deep love for the United States—a country that welcomed my family and me with open arms and which has given us everything we have—that I decided to devote my life to the service of the greatest country the world has ever known.

The last time I saw my grandfather before he died, we had a conversation that changed the course of my life. I was studying at Columbia in 2003 when my father called to tell me that I needed to travel back to Venezuela to see my grandfather for the last time. He was dying of cancer. Escaping the rising tide of Jew hatred that would soon consume all of Europe, my grandfather immigrated to Venezuela in the 1930s. Although he spoke no Spanish and knew no one in the country, he took a job as a bellhop at a hotel in Caracas, learned the language, and soon became the hotel's general manager. When I traveled back to Venezuela in 2003, the country was gripped by widespread protests against its dictator, Hugo Chávez, who—after packing the Supreme Court with loyalists—had convinced it to allow him to run for reelection as many times as he wanted, even though the constitution was clear that he could seek only one, five-year term. In response, over one million Venezuelans took the streets—in a massive show of democratic objection that happened to coincide with my final conversation with my grandfather. He was by then very weak, in a wheel chair, and weighed no more than 90 pounds. He asked me to wheel him out onto the balcony so that we could play chess together, as the crowds amassed in the streets below us. “What kind of lawyer do you want to be?” he asked me during our game. "Well, I don't know," I answered. "I'm still in college." He then raised his bony finger, pointed it at the crowd below, and said: "Always remember — this is what happens to a country when good people don't serve it." That was the last conversation I ever had with him. He died two or three weeks later. But it was because of that conversation, and my deep love for the United States—a country that welcomed my family and me with open arms and which has given us everything we have—that I decided to devote my life to the service of the greatest country the world has ever known.

Roy K. Altman

26,208 görüntüleme • 3 ay önce

👤: There are a lot of trainees who practice hard. I think Jimin of BTS is far the best. In the case of Jimin he was really hard on himself to the point where we thought it was harsh. The T&D used to be called the 'Artist Development Team' back then. We took care of him a lot. 👤: The impressive thing about him was that Jimin was a dancer before he joined so he already had the habit of dancing in a smooth way. As a pop artist he had to fix it. Since there are many dance moves that require a lot of power he had to break that habit. We gave him that mission and in the following months evaluation, I got a feedback that he had improved a lot. I was surprised to hear that. I was amazed by how much he practiced, I still remember it clearly.

👤: There are a lot of trainees who practice hard. I think Jimin of BTS is far the best. In the case of Jimin he was really hard on himself to the point where we thought it was harsh. The T&D used to be called the 'Artist Development Team' back then. We took care of him a lot. 👤: The impressive thing about him was that Jimin was a dancer before he joined so he already had the habit of dancing in a smooth way. As a pop artist he had to fix it. Since there are many dance moves that require a lot of power he had to break that habit. We gave him that mission and in the following months evaluation, I got a feedback that he had improved a lot. I was surprised to hear that. I was amazed by how much he practiced, I still remember it clearly.

hope⁷

356,071 görüntüleme • 2 yıl önce

Charlton Heston on why 'Soylent Green' (1973) was one of the best movies he acted in: "'Soylent Green' (1973) was one of the best movies I ever did, primarily because of Eddie [Robinson]. He was a wonderful actor and lovely man to work with. He was so good in it. He was dying at the time … and he was undertaking to die in the scene. And talking to him, I was weeping. Because of what it was like for him as an actor to lie there, knowing you were never again going to put on makeup and wardrobe and say words for a film. That must have been what he was thinking" ("Hollywood Flashback: ‘Soylent Green’ Depicted an Overpopulated Planet With a Dark Secret", Seth Abramovitch, The Hollywood Reporter, 2023)

Charlton Heston on why 'Soylent Green' (1973) was one of the best movies he acted in: "'Soylent Green' (1973) was one of the best movies I ever did, primarily because of Eddie [Robinson]. He was a wonderful actor and lovely man to work with. He was so good in it. He was dying at the time … and he was undertaking to die in the scene. And talking to him, I was weeping. Because of what it was like for him as an actor to lie there, knowing you were never again going to put on makeup and wardrobe and say words for a film. That must have been what he was thinking" ("Hollywood Flashback: ‘Soylent Green’ Depicted an Overpopulated Planet With a Dark Secret", Seth Abramovitch, The Hollywood Reporter, 2023)

DepressedBergman

111,953 görüntüleme • 7 ay önce

Raila Odinga. Of all the senior officials of ODM, no one stayed longer with Raila than I. From the time I was a student in 1992 to the time he departed, I was very close to him. In terms of party leadership and party management, allowing me to chair his party for 11 years is not a mean feat. During that time, there was a lot we shared #JKLive

Raila Odinga. Of all the senior officials of ODM, no one stayed longer with Raila than I. From the time I was a student in 1992 to the time he departed, I was very close to him. In terms of party leadership and party management, allowing me to chair his party for 11 years is not a mean feat. During that time, there was a lot we shared #JKLive

Citizen TV Kenya

16,158 görüntüleme • 5 ay önce

Mitch Johnson was asked why it was so difficult for Victor Wembanyama to get involved offensively in the first half, and what changed in the second half: "We've had that conversation before, and I understand the discourse around it. I think it's a little bit of all of it. I have to make sure that there's environments that the ball finds him. I think he's got to make sure that he can't rely on that to get shots, as well. There were times, I think, when he was open on rolls or around the paint and his teammates got to get him the ball. I think it's a combination of all that. Four shots in a half on this stage is not acceptable."

Mitch Johnson was asked why it was so difficult for Victor Wembanyama to get involved offensively in the first half, and what changed in the second half: "We've had that conversation before, and I understand the discourse around it. I think it's a little bit of all of it. I have to make sure that there's environments that the ball finds him. I think he's got to make sure that he can't rely on that to get shots, as well. There were times, I think, when he was open on rolls or around the paint and his teammates got to get him the ball. I think it's a combination of all that. Four shots in a half on this stage is not acceptable."

SNY Knicks

31,266 görüntüleme • 1 ay önce

.Stephen Miller remembers Senator Lindsey Graham: "To know Lindsey was to know sincerity. We all know Lindsey over the years had fights with the base, had fights with conservatives. The fact that he came to be one of the most important allies of Trump and Trumpism and MAGA made it an even greater testament to his character — because it showed that unlike so many people, as I said in my post, Lindsey believed to his core in the wisdom and virtue and judgment of the people, and he was open to learning and embracing new thoughts and new ideas as an elder statesman in the party... We're heartbroken that Lindsey is gone. I wish more people had had a chance to get to know him behind the scenes and know who he really was — but the man was a force of nature, a force of life."

.Stephen Miller remembers Senator Lindsey Graham: "To know Lindsey was to know sincerity. We all know Lindsey over the years had fights with the base, had fights with conservatives. The fact that he came to be one of the most important allies of Trump and Trumpism and MAGA made it an even greater testament to his character — because it showed that unlike so many people, as I said in my post, Lindsey believed to his core in the wisdom and virtue and judgment of the people, and he was open to learning and embracing new thoughts and new ideas as an elder statesman in the party... We're heartbroken that Lindsey is gone. I wish more people had had a chance to get to know him behind the scenes and know who he really was — but the man was a force of nature, a force of life."

Rapid Response 47

94,909 görüntüleme • 6 gün önce

The Story Of A Man Who Got The Miracle He Asked For After Sitting On The Chair That I Sat On. - Pastor E.A. Adeboye

The Story Of A Man Who Got The Miracle He Asked For After Sitting On The Chair That I Sat On. - Pastor E.A. Adeboye

therealchurchgist

10,775 görüntüleme • 1 yıl önce

In 1977, Sylvester Stallone explained why he wrote Rocky and how he convinced Hollywood to let an unknown actor play the lead. When asked why he wrote the script, Stallone described what he saw as a problem with the films of that era: "I felt at the time that cinema, at least the movies I had been seeing were at an all-time low. It was everything was anti-society, anti-Christ, anti-government, anti-everything. And there was no one to root for." He believed films move in cycles, and he wanted to bring back something that had been lost: "I wanted to get back into the cycle of the films of the 40s and the 50s where people say, 'Hey, gee, I missed the good old films.' Yet Hollywood hasn't taken heed and hasn't made any good old-fashioned type films where morality was at the forefront." Up to that point, Stallone's career had been built on tiny roles, what he called "atmosphere": "I was mostly what is known as atmosphere, always in the background or the guy that was being the drunk that was being stepped over in the gutter and other lame roles." Writing Rocky was his way of giving himself one real shot before disappearing: "I felt that gee, if I was going to go down at least into professional obscurity, I wanted to at least have the opportunity to say to myself, well, you tried. You put your best foot forward and you didn't make it." He knew the character had to match what he could authentically play: "I surely couldn't pass myself off at least as a lawyer in a three-piece suit. I just don't think I have that kind of appeal or whatever it is. So I wanted to take it much more basic. A man from the street. All right. What kind of a man? An underdog. And that being a professional fighter I think has that connotation to it." When the script reached studio executives, they wanted a star. They floated James Caan, Burt Reynolds, Ryan O'Neal, Gene Hackman, and Robert Redford. Stallone's pitch for himself came down to persistence and economics: "Usually it's the old syndrome of knocking on the windows, pestering them, pressing my face in the door, honking their horn in the driveway. In other words, making a real pain in the neck out of myself." "I kept saying I work a lot cheaper and a lot harder and for a lot longer." The film was eventually made for $960,000, which Stallone described as roughly the cost of "a good toothpaste commercial."

In 1977, Sylvester Stallone explained why he wrote Rocky and how he convinced Hollywood to let an unknown actor play the lead. When asked why he wrote the script, Stallone described what he saw as a problem with the films of that era: "I felt at the time that cinema, at least the movies I had been seeing were at an all-time low. It was everything was anti-society, anti-Christ, anti-government, anti-everything. And there was no one to root for." He believed films move in cycles, and he wanted to bring back something that had been lost: "I wanted to get back into the cycle of the films of the 40s and the 50s where people say, 'Hey, gee, I missed the good old films.' Yet Hollywood hasn't taken heed and hasn't made any good old-fashioned type films where morality was at the forefront." Up to that point, Stallone's career had been built on tiny roles, what he called "atmosphere": "I was mostly what is known as atmosphere, always in the background or the guy that was being the drunk that was being stepped over in the gutter and other lame roles." Writing Rocky was his way of giving himself one real shot before disappearing: "I felt that gee, if I was going to go down at least into professional obscurity, I wanted to at least have the opportunity to say to myself, well, you tried. You put your best foot forward and you didn't make it." He knew the character had to match what he could authentically play: "I surely couldn't pass myself off at least as a lawyer in a three-piece suit. I just don't think I have that kind of appeal or whatever it is. So I wanted to take it much more basic. A man from the street. All right. What kind of a man? An underdog. And that being a professional fighter I think has that connotation to it." When the script reached studio executives, they wanted a star. They floated James Caan, Burt Reynolds, Ryan O'Neal, Gene Hackman, and Robert Redford. Stallone's pitch for himself came down to persistence and economics: "Usually it's the old syndrome of knocking on the windows, pestering them, pressing my face in the door, honking their horn in the driveway. In other words, making a real pain in the neck out of myself." "I kept saying I work a lot cheaper and a lot harder and for a lot longer." The film was eventually made for $960,000, which Stallone described as roughly the cost of "a good toothpaste commercial."

History Nerd

377,073 görüntüleme • 2 ay önce

Quentin Tarantino recounts a dinner with Robert De Niro during the making of Jackie Brown, where he asked him whether he understood when he landed the role of Vito in The Godfather Part II, that it would change his life. De Niro’s answer revealed a great deal about his mindset at the time. “I was working with Robert De Niro on Jackie brown, and we went out to dinner once. - When he got Vito in the Godfather Part II, that was going to be a big thing for him. He won the Oscar for it - it set him up to be a movie star. So I asked him - and I've asked this to quite a few actors when it comes to when they got the role that would end up changing their career - did he realize that the moment when he got the role, that it would have this sort of effect? And he goes oh, “I tried not to let it do that. I tried not to think about that” I go, "really? and why did you try not to think about that?" “Well because I’ve seen it happen and then go the other way” And then he used an example. “There was this guy, he was a young actor, and he was part of our crowd in New York. He'd been doing okay, but we were all in the same boat. Then all of a sudden he got a lead role. He's one of the two leads in a brand new movie by a director who had just done a smash hit.” And he's talking about Larry Pierce (the director) and uh... Goodbye Columbus. ”And he started dining out on it. And all of a sudden I go to the places that we used to go to, and now he's there and everyone's kind of revolving around him. He's kind of holding court. He's not doing anything bad; he's just arisen in the way that none of us have - and we're all treating him different. Then the movie comes out; nobody likes it - The movie comes out, and it goes away, and he's exactly in the same place he was. And I just wanted to make sure that that would never happen to me because I watched it happen to him.” Quote from Video Archives Podcast, sourced from James Whale Bake Sale YouTube channel. Clip below from the Godfather Part II (1974)

Gangster Cinema Central

97,458 görüntüleme • 3 ay önce

Azeez Al-Shaair to Jon Gruden on DeMeco Ryans: “I truly believe he might have been one of the best position coaches I’ve ever had. When I talk to other guys on how they were taught, I’m grateful that I went undrafted and had to deal with DeMeco Ryans for four years. He is a technician. Me, Dre Greenlaw, Fred Warner, it was not by mistake that all 3 of us have grown to be 3 of the best linebackers in the NFL. It was one person who had his hand right there in the middle of it & it was DeMeco.” DeMeco is a linebacker guru.

Azeez Al-Shaair to Jon Gruden on DeMeco Ryans: “I truly believe he might have been one of the best position coaches I’ve ever had. When I talk to other guys on how they were taught, I’m grateful that I went undrafted and had to deal with DeMeco Ryans for four years. He is a technician. Me, Dre Greenlaw, Fred Warner, it was not by mistake that all 3 of us have grown to be 3 of the best linebackers in the NFL. It was one person who had his hand right there in the middle of it & it was DeMeco.” DeMeco is a linebacker guru.

Houston Stressans

155,303 görüntüleme • 4 ay önce