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Jean Eustache wrote the script for "La maman et la putain" (1973) with Jean-Pierre Léaud, Bernadette Lafont & Françoise Lebrun in mind. Even if one of the actors had refused, he wouldn't have made the movie. The dialogue was set in stone and Eustache was against any sort of...

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DepressedBergman

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23,933 просмотров • 1 месяц назад •via X (Twitter)

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REPORTER: Was Biden reading from a script when he called Trump supporters "garbage"? If so, why was that remark in there? KARINE JEAN-PIERRE: "It is not unusual for a president or the vice president or any elected official to have notes in front of them." 😳
1:00

REPORTER: Was Biden reading from a script when he called Trump supporters "garbage"? If so, why was that remark in there? KARINE JEAN-PIERRE: "It is not unusual for a president or the vice president or any elected official to have notes in front of them." 😳

RNC Research

137,741 просмотров • 1 год назад

Immediately after the production of Jean-Luc Godard's 'Breathless' (1960), Jean-Paul Belmondo was convinced that the film was so bad that it would never be released. He was very surprised by the warm reception the film received. When Belmondo agreed to star in the movie, Godard gave him three pages, where it was written, "He leaves Marseilles. He Steals a Car. He wants to sleep with the Girl again, she doesn't. In the end, he either dies or leaves — to be decided" Godard wrote the dialogue for the movie on the morning of each day's shoot. Belmondo & Jean Seberg had all the freedom in the world to improvise. P.S: On this day, 66 years ago, "Breathless" (1960) was released in France.
1:20

Immediately after the production of Jean-Luc Godard's 'Breathless' (1960), Jean-Paul Belmondo was convinced that the film was so bad that it would never be released. He was very surprised by the warm reception the film received. When Belmondo agreed to star in the movie, Godard gave him three pages, where it was written, "He leaves Marseilles. He Steals a Car. He wants to sleep with the Girl again, she doesn't. In the end, he either dies or leaves — to be decided" Godard wrote the dialogue for the movie on the morning of each day's shoot. Belmondo & Jean Seberg had all the freedom in the world to improvise. P.S: On this day, 66 years ago, "Breathless" (1960) was released in France.

DepressedBergman

45,721 просмотров • 4 месяцев назад

The filming of Gaspar Noé's "Love" (2015) began in October 2014 and was completed in February 2015, 3 months prior to its premiere at the Cannes Film Festival. According to Noé, the movie wasn't ready when the official selection was announced. One week later, the first edit of the movie was ready and Noé showed it to Thierry Frémaux, director of the Cannes Film Festival. He thought it would be good to have the movie in the festival. Noé had to work 20 hours a day to complete the movie on time. The movie was complete mere hours before the official premiere. Since he was tired, Noé slept while watching the premiere of the movie. He only woke up when the end credits came up. Noé said that he had never worked so hard to finish something on time. The film only got out of competition slot instead of the coveted slot in the competition. Noé said that it was important for him to premiere the film at Cannes, the section did not matter to him. (Gaspar Noé's interview with Nigel M. Smith, Indiewire, 2015, Gaspar Noé's interview with Pam Jahn, Electric Sheep, 2015 & IMDb) P.S: On this day, 11 years ago, "Love" (2015) premiered at the Cannes Film Festival, France.
1:40

The filming of Gaspar Noé's "Love" (2015) began in October 2014 and was completed in February 2015, 3 months prior to its premiere at the Cannes Film Festival. According to Noé, the movie wasn't ready when the official selection was announced. One week later, the first edit of the movie was ready and Noé showed it to Thierry Frémaux, director of the Cannes Film Festival. He thought it would be good to have the movie in the festival. Noé had to work 20 hours a day to complete the movie on time. The movie was complete mere hours before the official premiere. Since he was tired, Noé slept while watching the premiere of the movie. He only woke up when the end credits came up. Noé said that he had never worked so hard to finish something on time. The film only got out of competition slot instead of the coveted slot in the competition. Noé said that it was important for him to premiere the film at Cannes, the section did not matter to him. (Gaspar Noé's interview with Nigel M. Smith, Indiewire, 2015, Gaspar Noé's interview with Pam Jahn, Electric Sheep, 2015 & IMDb) P.S: On this day, 11 years ago, "Love" (2015) premiered at the Cannes Film Festival, France.

DepressedBergman

30,467 просмотров • 1 месяц назад

‘Have You Apologized?’ KJP Gets *WRECKED* for Covering Up Biden's Mental Decline on... MSNBC?? Former WH Press Secretary Karine Jean-Pierre was pressed *ON MSNBC* for covering up Joe Biden's mental decline. “Have you apologized to Robert Hur?” KJP was stopped cold. Visibly rattled, Jean-Pierre dodged the question, shaking her head as she scrambled for a response. “I saw the president every single day,” she insisted. “It wasn’t one-offs, it wasn’t once in a while, I saw him every day.” The ex-White House flack completely sidestepped the overwhelming evidence of Biden’s mental struggles that was documented by Special Counsel Robert Hur. Hur had said Biden was likely to be seen by a jury as a “a sympathetic, well-meaning, elderly man with a poor memory,” and insinuated he thus should not be charged for his classified documents scandal. Jean-Pierre had taken Hur to task for daring to suggest Biden was unfit to stand trial, and therefore, providing fodder to opposition who said he was unfit for office. When Jordan pressed KJP further, pointing out Jean-Pierre’s “pretty sharp comments” about Hur and asking if she regretted her defense of Biden’s mental health, Jean-Pierre doubled down. She claimed Biden was “very zeroed in and focused” every day, citing her frequent Oval Office visits and travels with him. It's a complete smokescreen response, and MSNBC wasn't letting her off so easily. Later, co-host Ayman Mohyeldin gave Jean-Pierre another chance to admit fault, asking if she had “any regrets” about her tenure as press secretary. Jean-Pierre deflected, refusing to offer a straightforward answer. Instead, she shifted focus to her pride “as a black woman who is queer” in serving the Biden administration. Pathetic. Just for context, the bizarre MSDNC episode comes after Karine Jean-Pierre allegedly left the Democratic Party and became an "independent."
3:15

‘Have You Apologized?’ KJP Gets *WRECKED* for Covering Up Biden's Mental Decline on... MSNBC?? Former WH Press Secretary Karine Jean-Pierre was pressed *ON MSNBC* for covering up Joe Biden's mental decline. “Have you apologized to Robert Hur?” KJP was stopped cold. Visibly rattled, Jean-Pierre dodged the question, shaking her head as she scrambled for a response. “I saw the president every single day,” she insisted. “It wasn’t one-offs, it wasn’t once in a while, I saw him every day.” The ex-White House flack completely sidestepped the overwhelming evidence of Biden’s mental struggles that was documented by Special Counsel Robert Hur. Hur had said Biden was likely to be seen by a jury as a “a sympathetic, well-meaning, elderly man with a poor memory,” and insinuated he thus should not be charged for his classified documents scandal. Jean-Pierre had taken Hur to task for daring to suggest Biden was unfit to stand trial, and therefore, providing fodder to opposition who said he was unfit for office. When Jordan pressed KJP further, pointing out Jean-Pierre’s “pretty sharp comments” about Hur and asking if she regretted her defense of Biden’s mental health, Jean-Pierre doubled down. She claimed Biden was “very zeroed in and focused” every day, citing her frequent Oval Office visits and travels with him. It's a complete smokescreen response, and MSNBC wasn't letting her off so easily. Later, co-host Ayman Mohyeldin gave Jean-Pierre another chance to admit fault, asking if she had “any regrets” about her tenure as press secretary. Jean-Pierre deflected, refusing to offer a straightforward answer. Instead, she shifted focus to her pride “as a black woman who is queer” in serving the Biden administration. Pathetic. Just for context, the bizarre MSDNC episode comes after Karine Jean-Pierre allegedly left the Democratic Party and became an "independent."

Kyle Becker

152,028 просмотров • 8 месяцев назад

François Truffaut on why he got more pleasure in directing a child actor than an adult in his debut film, "The 400 Blows" (1959): "To shoot a film with children is very enticing beforehand, entails a lot of panic while it is happening (because it is a fearsomely challenging business that is always slipping through one’s fingers), and is immensely satisfying afterwards. Even when I have a feeling that everything is going adrift, there is always something that is salvageable, and no matter what happens, it is always the child who comes across best on the screen. I also think that I get more pleasure from directing a child than an adult because I am just starting out as a director, whereas adults have already had experience at acting. I tend to be intimidated by their “seniority,” and when they don’t want to do what I tell them, I sometimes give up the struggle, or else allow myself to be pulled along when they do their thing, and I am never sure I’m right. A child’s sincerity is something I think I can feel absolutely. For example, through the whole length of the film, I had to wrestle with Jean-Pierre Léaud. He was terrific, but he was scared that he was going to come across as unlikeable, which meant that he continually wanted to smile. For three whole months I prevented him from smiling … and I’m sure I was right. That said, I was amazingly lucky to come across that kid. He was the character. Better still, he improved the film. I had been seeing Antoine as more fragile, more timid, less aggressive, whereas Jean-Pierre gave him his robustness, his truculence, his courage. He was an invaluable collaborator. He was able to find the right gestures spontaneously, he adjusted the script, always for the better, and he used the words that he wanted to use." (Truffaut's interview to Arts, 1959) P.S: On this day, 67 years ago, "The 400 Blows" (1959) premiered at the Cannes Film Festival.
1:04

François Truffaut on why he got more pleasure in directing a child actor than an adult in his debut film, "The 400 Blows" (1959): "To shoot a film with children is very enticing beforehand, entails a lot of panic while it is happening (because it is a fearsomely challenging business that is always slipping through one’s fingers), and is immensely satisfying afterwards. Even when I have a feeling that everything is going adrift, there is always something that is salvageable, and no matter what happens, it is always the child who comes across best on the screen. I also think that I get more pleasure from directing a child than an adult because I am just starting out as a director, whereas adults have already had experience at acting. I tend to be intimidated by their “seniority,” and when they don’t want to do what I tell them, I sometimes give up the struggle, or else allow myself to be pulled along when they do their thing, and I am never sure I’m right. A child’s sincerity is something I think I can feel absolutely. For example, through the whole length of the film, I had to wrestle with Jean-Pierre Léaud. He was terrific, but he was scared that he was going to come across as unlikeable, which meant that he continually wanted to smile. For three whole months I prevented him from smiling … and I’m sure I was right. That said, I was amazingly lucky to come across that kid. He was the character. Better still, he improved the film. I had been seeing Antoine as more fragile, more timid, less aggressive, whereas Jean-Pierre gave him his robustness, his truculence, his courage. He was an invaluable collaborator. He was able to find the right gestures spontaneously, he adjusted the script, always for the better, and he used the words that he wanted to use." (Truffaut's interview to Arts, 1959) P.S: On this day, 67 years ago, "The 400 Blows" (1959) premiered at the Cannes Film Festival.

DepressedBergman

25,571 просмотров • 2 месяцев назад

Ryan Reynolds hated Green Lantern so much that he said he was “unhireable” because of it The script wasn’t even fully finished or shared when actors signed on. “Nobody auditioning for the role of Green Lantern was given the opportunity to read the script because the script didn’t exist.” “I learned all the most amazing lessons I could ever have in the creative space from that movie.” “On that film, I saw a lot of money going into special effects, and I suggested, “Why don’t we just write a simple scene where people talk naturally? It wouldn’t cost anything, but it could be good.” “Character over spectacle is the lesson that I took with me.”
1:29

Ryan Reynolds hated Green Lantern so much that he said he was “unhireable” because of it The script wasn’t even fully finished or shared when actors signed on. “Nobody auditioning for the role of Green Lantern was given the opportunity to read the script because the script didn’t exist.” “I learned all the most amazing lessons I could ever have in the creative space from that movie.” “On that film, I saw a lot of money going into special effects, and I suggested, “Why don’t we just write a simple scene where people talk naturally? It wouldn’t cost anything, but it could be good.” “Character over spectacle is the lesson that I took with me.”

Emir Han

74,942 просмотров • 1 месяц назад

When "One Deadly Summer" (1983) premiered at the Cannes Film Festival, Isabelle Adjani was part of a controversy. She was unhappy with how the paparazzi had been hounding her; she refused to do a general photo shoot with them and instead granted an exclusive to the few reporters she trusted. In protest, when it came time for the montée des marches — the climb up the steps of the festival palace for the screening — the photographers refused to take pictures and put their cameras on the ground as Adjani walked by. ("‘We all went crazy for her’: ‘One Deadly Summer,’ the tragic movie that made Isabelle Adjani a legend", Ianko López, El Pais, 2023) P.S: On this day, 43 years ago, Jean Becker's "One Deadly Summer" (1983) premiered at the Cannes Film Festival, France.
1:14

When "One Deadly Summer" (1983) premiered at the Cannes Film Festival, Isabelle Adjani was part of a controversy. She was unhappy with how the paparazzi had been hounding her; she refused to do a general photo shoot with them and instead granted an exclusive to the few reporters she trusted. In protest, when it came time for the montée des marches — the climb up the steps of the festival palace for the screening — the photographers refused to take pictures and put their cameras on the ground as Adjani walked by. ("‘We all went crazy for her’: ‘One Deadly Summer,’ the tragic movie that made Isabelle Adjani a legend", Ianko López, El Pais, 2023) P.S: On this day, 43 years ago, Jean Becker's "One Deadly Summer" (1983) premiered at the Cannes Film Festival, France.

DepressedBergman

2,118,386 просмотров • 2 месяцев назад

Eric Rohmer on the difference in how Scriptwriters are treated in France and America: "Interviewer: American script-writers are very much the servants of the directors. Perhaps more than in France. Professionally it’s very difficult to get intothe system because the producers have their stable of script-writers. Rohmer: In France, a young author can succeed more easily in doing a film based on his own subject than on someone else’s. If you come saying, “I want to adapt such and such a thing,” or, “I’m working with a script writer,” you won’t be taken so seriously. Whereas, in the United States, according to what I’m told anyway, if a new director wants to make a film based on his own subject, he can’t. Nestor Almendros, my cameraman, told me about the case of Benton, who did 'Kramer vs. Kramer' (1979). He told me that Benton had succeeded in making the film only because his own subjects had been filmed before by others. Or, inversely, you won’t get to make a film if you don’t have a known script-writer; whereas, in France you can very well get along without a script-writer. In France, at present, I believe that there is not a script-writer who carries really great weight, in whom producers can have confidence. And then, in France, the production system is a little different. What counts more and more are the Commissions (of advance on receipts, television, etc.) and the Distributors. Those are the great powers. Beneath, there are the directors and the producers on more or less the same footing." (Eric Rohmer's interview with Robert Hammond and Jean-Pierre Pagliano, 1982)
1:36

Eric Rohmer on the difference in how Scriptwriters are treated in France and America: "Interviewer: American script-writers are very much the servants of the directors. Perhaps more than in France. Professionally it’s very difficult to get intothe system because the producers have their stable of script-writers. Rohmer: In France, a young author can succeed more easily in doing a film based on his own subject than on someone else’s. If you come saying, “I want to adapt such and such a thing,” or, “I’m working with a script writer,” you won’t be taken so seriously. Whereas, in the United States, according to what I’m told anyway, if a new director wants to make a film based on his own subject, he can’t. Nestor Almendros, my cameraman, told me about the case of Benton, who did 'Kramer vs. Kramer' (1979). He told me that Benton had succeeded in making the film only because his own subjects had been filmed before by others. Or, inversely, you won’t get to make a film if you don’t have a known script-writer; whereas, in France you can very well get along without a script-writer. In France, at present, I believe that there is not a script-writer who carries really great weight, in whom producers can have confidence. And then, in France, the production system is a little different. What counts more and more are the Commissions (of advance on receipts, television, etc.) and the Distributors. Those are the great powers. Beneath, there are the directors and the producers on more or less the same footing." (Eric Rohmer's interview with Robert Hammond and Jean-Pierre Pagliano, 1982)

DepressedBergman

17,924 просмотров • 11 месяцев назад

Then he turned to the media. And according to Hanson, they’re not just biased—they’re part of the machine and they’re in shambles. “Then we turn to the media,” he said. “The media is in a fight with the Democratic left now because of the scandal of Joe Biden.” He described a quiet blame game behind the scenes. Democrats were accusing the press of covering up Biden’s mental decline, while journalists were firing back, saying they never had real access to begin with. “The Democratic left is saying, well, you were a journalist. If you thought he was demented or cognitively challenged, why didn’t you report it?” Hanson explained. “But the journalists are saying we couldn’t get close to him. He looked okay for us because you had him in such a guarded environment. In truth, they’re both guilty.” He pointed to the White House briefings as proof. “Do you remember those press conferences by Karine Jean-Pierre?” he asked. “Did anyone ever hear one—one—question on those daily or 3 or 4 times a week press conferences, ‘Ms. Jean-Pierre, is Joe Biden cognitively able to navigate himself to the podium? What is the nature of his cue cards? Have you had a Montreal cognitive assessment of him?’ There was nothing.” In Hanson’s view, it wasn’t just political shielding—it was full cooperation. “It was a combination of the Democratic Party, the Biden insider, and the media.” And something else had shifted. Hanson said that in the absence of real leadership, the press had taken on a new role. “Very quickly, the media has gained a lot of influence and power in the opposition because there is no opposition in the Democratic Party,” he said. Then VDH named the last weapon the media has against Trump: “So in lieu of an alternate agenda, the media has taken it upon themselves to use the only strategy that the Democratic Party can come up with—and that is to attack Donald Trump.”
1:23

Then he turned to the media. And according to Hanson, they’re not just biased—they’re part of the machine and they’re in shambles. “Then we turn to the media,” he said. “The media is in a fight with the Democratic left now because of the scandal of Joe Biden.” He described a quiet blame game behind the scenes. Democrats were accusing the press of covering up Biden’s mental decline, while journalists were firing back, saying they never had real access to begin with. “The Democratic left is saying, well, you were a journalist. If you thought he was demented or cognitively challenged, why didn’t you report it?” Hanson explained. “But the journalists are saying we couldn’t get close to him. He looked okay for us because you had him in such a guarded environment. In truth, they’re both guilty.” He pointed to the White House briefings as proof. “Do you remember those press conferences by Karine Jean-Pierre?” he asked. “Did anyone ever hear one—one—question on those daily or 3 or 4 times a week press conferences, ‘Ms. Jean-Pierre, is Joe Biden cognitively able to navigate himself to the podium? What is the nature of his cue cards? Have you had a Montreal cognitive assessment of him?’ There was nothing.” In Hanson’s view, it wasn’t just political shielding—it was full cooperation. “It was a combination of the Democratic Party, the Biden insider, and the media.” And something else had shifted. Hanson said that in the absence of real leadership, the press had taken on a new role. “Very quickly, the media has gained a lot of influence and power in the opposition because there is no opposition in the Democratic Party,” he said. Then VDH named the last weapon the media has against Trump: “So in lieu of an alternate agenda, the media has taken it upon themselves to use the only strategy that the Democratic Party can come up with—and that is to attack Donald Trump.”

The Vigilant Fox 🦊

248,985 просмотров • 1 год назад

Billie Jean is from the album Thriller (1982), the best-selling album in history, but the moment that eternalized the track was the solo performance in the special Motown 25 recorded on March 25, 1983. Michael Jackson, only 24, hardly wanted to participate in the show. Berry Gordy had to insist a lot. He chose "Billie Jean" because he thought the other tracks from when he was younger didn't match his new style. Michael performed the song with impeccable choreography and, in the middle of the track, debuted the moonwalk for the first time on world television, a step he had learned from street dancers years earlier. This performance changed the history of music: it was the moment when Michael stopped being "the boy of the Jackson 5" and became the King of Pop. The special was shown in May 1983 and seen by more than 47 million people, to this day it is considered one of the greatest live performances of all time.
4:41

Billie Jean is from the album Thriller (1982), the best-selling album in history, but the moment that eternalized the track was the solo performance in the special Motown 25 recorded on March 25, 1983. Michael Jackson, only 24, hardly wanted to participate in the show. Berry Gordy had to insist a lot. He chose "Billie Jean" because he thought the other tracks from when he was younger didn't match his new style. Michael performed the song with impeccable choreography and, in the middle of the track, debuted the moonwalk for the first time on world television, a step he had learned from street dancers years earlier. This performance changed the history of music: it was the moment when Michael stopped being "the boy of the Jackson 5" and became the King of Pop. The special was shown in May 1983 and seen by more than 47 million people, to this day it is considered one of the greatest live performances of all time.

Ladytron Fan Account

126,272 просмотров • 1 месяц назад

Ken Russell on the reason he loved Jean Cocteau's "Beauty and the Beast" (1946): "I liked Cocteau best of all, just before the New Wave. It was on TV when my daughter was six and I hadn’t seen it for years. By the end of the film we were both crying, moved to tears. There’s a spiritual truth in that film that continues to this day. Beautiful photography mise-en-scene, and acting that still has the ability to move. I love it’ (Ken Russell's interview with James Payne, Garageland, Issue 6) P.S: Remembering the great poet, novelist, painter, playwright & filmmaker Jean Cocteau on his 137th birthday!
2:08

Ken Russell on the reason he loved Jean Cocteau's "Beauty and the Beast" (1946): "I liked Cocteau best of all, just before the New Wave. It was on TV when my daughter was six and I hadn’t seen it for years. By the end of the film we were both crying, moved to tears. There’s a spiritual truth in that film that continues to this day. Beautiful photography mise-en-scene, and acting that still has the ability to move. I love it’ (Ken Russell's interview with James Payne, Garageland, Issue 6) P.S: Remembering the great poet, novelist, painter, playwright & filmmaker Jean Cocteau on his 137th birthday!

DepressedBergman

27,641 просмотров • 12 дней назад

Happy 56th birthday, Martin McDonagh! Martin McDonagh on his writing process: "I don't write very often because I'm very lazy. But when I'm writing I'll do a set number of pages a day, every day - usually two or three film script pages. And then I leave it. I never really plot it out beforehand, in either the plays or the films. I let the plot or story tell itself and let the characters take me to the place where they're going to. With "Seven Psychopaths" (2012), even though it feels quite detailed, I didn't really know where any of it was going on page one. I guess I did have a couple of the short stories I wanted tell within the film, like the Quaker Psychopath story, for instance, and the serial ki!!er ki!!ers. So, I knew I had to hit those points. But as I wrote the script I realized that the Quaker character, for instance, was going to secretly become one of the main characters. So, that was fun, those things just kept opening up." (Martin McDonagh's interview with Jeff Meyers, Script magazine, 2012)
2:15

Happy 56th birthday, Martin McDonagh! Martin McDonagh on his writing process: "I don't write very often because I'm very lazy. But when I'm writing I'll do a set number of pages a day, every day - usually two or three film script pages. And then I leave it. I never really plot it out beforehand, in either the plays or the films. I let the plot or story tell itself and let the characters take me to the place where they're going to. With "Seven Psychopaths" (2012), even though it feels quite detailed, I didn't really know where any of it was going on page one. I guess I did have a couple of the short stories I wanted tell within the film, like the Quaker Psychopath story, for instance, and the serial ki!!er ki!!ers. So, I knew I had to hit those points. But as I wrote the script I realized that the Quaker character, for instance, was going to secretly become one of the main characters. So, that was fun, those things just kept opening up." (Martin McDonagh's interview with Jeff Meyers, Script magazine, 2012)

DepressedBergman

49,454 просмотров • 3 месяцев назад

Hi vitalik.eth . Your wallet currently holds a large amount of $Kimchi ($100,000+) , and on behalf of the $Kimchi community I recently visited a dog shelter to meet Jean-Pierre, who has been running a small shelter with 30 rescued dogs for over 26 years. I made a small personal donation, but he urgently needs funds to continue working because he needs hip surgery, and to pay someone for one month to take care of the dogs. If he cannot get the operation, he will no longer be able to run the shelter, and the future of these 30 dogs is at risk. He’s working alone in the shelter. You hold 10% of the supply, even selling $10-20k worth of $KIMCHI to donate could literally save this shelter and allow him to get surgery. The shelter details are here, and I can help facilitate the donation by coordinating directly with Jean-Pierre. It would mean the world for these 30 dogs. 🐶❤️ Dog shelter info below👇
0:59

Hi vitalik.eth . Your wallet currently holds a large amount of $Kimchi ($100,000+) , and on behalf of the $Kimchi community I recently visited a dog shelter to meet Jean-Pierre, who has been running a small shelter with 30 rescued dogs for over 26 years. I made a small personal donation, but he urgently needs funds to continue working because he needs hip surgery, and to pay someone for one month to take care of the dogs. If he cannot get the operation, he will no longer be able to run the shelter, and the future of these 30 dogs is at risk. He’s working alone in the shelter. You hold 10% of the supply, even selling $10-20k worth of $KIMCHI to donate could literally save this shelter and allow him to get surgery. The shelter details are here, and I can help facilitate the donation by coordinating directly with Jean-Pierre. It would mean the world for these 30 dogs. 🐶❤️ Dog shelter info below👇

GLO (CryptoApe) - CryptoLaunch™

18,523 просмотров • 4 месяцев назад

No Time to Die is the first James Bond film in history where 007 dies at the end. Daniel Craig explained that he only agreed to return for one last movie if his character had a “real ending.” He wanted to close the cycle that began with Casino Royale. Bond’s death was kept secret until the very end, with even some crew members not having access to the final pages of the script.
1:56

No Time to Die is the first James Bond film in history where 007 dies at the end. Daniel Craig explained that he only agreed to return for one last movie if his character had a “real ending.” He wanted to close the cycle that began with Casino Royale. Bond’s death was kept secret until the very end, with even some crew members not having access to the final pages of the script.

Kalshi Film

4,061,902 просмотров • 9 месяцев назад

#BREAKING: Legendary #Maddow: “You know who else got paid today, or who learned today that she’s gonna get paid? E. Jean Carroll…In the 1990s E. Jean Carroll was a very successful, very well known magazine writer and columnist…and in her NY glam media celebrity, E. Jean Carroll was a sort of distant acquaintance of Donald Trump, and she says that in the mid 1990s, she met up with Trump by happenstance at a department store in NY, and she says he essentially boxed her in in a dressing room and raped her. She filed a civil lawsuit against him. A jury in that case found him liable for sexually abusing her but not for rape. Also found him liable for defaming her. The jury ordered Trump to pay her $5 million. Trump refused and appealed, but today the United States Supreme Court decided they would not save Donald Trump from that verdict, and so now E. Jean Carroll will be paid…millions of dollars by Donald Trump personally, potentially with tens of millions more to come in the future, if the other verdicts she obtained against him also turn out this way. But regardless of any future potential payments from Donald Trump to E. Jean Carroll, as of today, he must pay her $5 million…”😳
1:39

#BREAKING: Legendary #Maddow: “You know who else got paid today, or who learned today that she’s gonna get paid? E. Jean Carroll…In the 1990s E. Jean Carroll was a very successful, very well known magazine writer and columnist…and in her NY glam media celebrity, E. Jean Carroll was a sort of distant acquaintance of Donald Trump, and she says that in the mid 1990s, she met up with Trump by happenstance at a department store in NY, and she says he essentially boxed her in in a dressing room and raped her. She filed a civil lawsuit against him. A jury in that case found him liable for sexually abusing her but not for rape. Also found him liable for defaming her. The jury ordered Trump to pay her $5 million. Trump refused and appealed, but today the United States Supreme Court decided they would not save Donald Trump from that verdict, and so now E. Jean Carroll will be paid…millions of dollars by Donald Trump personally, potentially with tens of millions more to come in the future, if the other verdicts she obtained against him also turn out this way. But regardless of any future potential payments from Donald Trump to E. Jean Carroll, as of today, he must pay her $5 million…”😳

Emoluments Clause

14,764 просмотров • 17 дней назад

On this day, 65 years ago, Allen Baron's "Blast of Silence" (1961) premiered in New York City, USA. "Blast of Silence" (1961) was Allen Baron's first movie as a director. He didn't have any prior filming experience. The movie was shot in less than shoestring budget. Baron started the movie with $2800, just enough to test and process the test footage. Because of the footage, he secured a budget of $18,000 for the movie. He shot almost all of the movie on real locations without permits, using borrowed equipment. The cast included Baron's friends and family who worked for free. He even used screen tests in the final cut of the film to cut costs. (Source: Eddie Muller - 'Noir Alley')
2:56

On this day, 65 years ago, Allen Baron's "Blast of Silence" (1961) premiered in New York City, USA. "Blast of Silence" (1961) was Allen Baron's first movie as a director. He didn't have any prior filming experience. The movie was shot in less than shoestring budget. Baron started the movie with $2800, just enough to test and process the test footage. Because of the footage, he secured a budget of $18,000 for the movie. He shot almost all of the movie on real locations without permits, using borrowed equipment. The cast included Baron's friends and family who worked for free. He even used screen tests in the final cut of the film to cut costs. (Source: Eddie Muller - 'Noir Alley')

DepressedBergman

13,251 просмотров • 3 месяцев назад

🚨NEW🚨 Karine Jean-Pierre is FURIOUS with Democrats for their "disrespectful" and "humiliating" treatment of Joe Biden: "And whatever view that you may have of him, treating him the way that he was treated in those three weeks was awful. And it was something that I just had never seen before. It was so disrespectful to a man who had given more than 50 years of public service." Daily Caller
2:16

🚨NEW🚨 Karine Jean-Pierre is FURIOUS with Democrats for their "disrespectful" and "humiliating" treatment of Joe Biden: "And whatever view that you may have of him, treating him the way that he was treated in those three weeks was awful. And it was something that I just had never seen before. It was so disrespectful to a man who had given more than 50 years of public service." Daily Caller

Nicole Silverio

147,177 просмотров • 8 месяцев назад

🇮🇳🕵️🇨🇦Video : Amazing how no one needed a security clearance to expose this alleged foreign interference, from India against a candidate for the CPC leadership, who was not even polling at 5%. This is more proof that NSICOP is a Justin Trudeau created gag order and nothing more. Patrick Brown was never in contention for the CPC leadership and had to bow out after the specter of yet another scandal. The CPC leadership was always a 2 horse race between Pierre Poilievre and Jean Charest. Pierre won with 70% CPC membership support.
0:54

🇮🇳🕵️🇨🇦Video : Amazing how no one needed a security clearance to expose this alleged foreign interference, from India against a candidate for the CPC leadership, who was not even polling at 5%. This is more proof that NSICOP is a Justin Trudeau created gag order and nothing more. Patrick Brown was never in contention for the CPC leadership and had to bow out after the specter of yet another scandal. The CPC leadership was always a 2 horse race between Pierre Poilievre and Jean Charest. Pierre won with 70% CPC membership support.

Bruce McGonigal

68,751 просмотров • 1 год назад

In spite of the impressive cast of "Murder by Death" (1976), some had their doubts about how the film would do at the box office. Peter Sellers didn't realize how well the film would do. He wasn't pleased with his performance or the final film. He told producer Ray Stark the film was "the epitome of 8mm home moviemaking" and sold his percentage for about $1.3 million. The company David Niven's son worked for invested in the film expecting it to be a tax loss. Instead, "Murder By Death" became the number eight moneymaker of 1976. Niven responded, "So much for a tax loss? But isn't it rather alarming to have a son who has absolutely no faith in his old man's pictures?" Alec Guinness, however, considered Murder By Death "a very funny film." Guinness rarely went to Hollywood, but he liked the script so much, he made the trip in order to play Bensonmum. Guinness said, "The script made me laugh, and not many things in recent times have done that." ("Murder by Death", Deborah Looney, TCM, 2003) P.S: On this day, 50 years ago, "Murder by Death" (1976) was released in the USA.
1:43

In spite of the impressive cast of "Murder by Death" (1976), some had their doubts about how the film would do at the box office. Peter Sellers didn't realize how well the film would do. He wasn't pleased with his performance or the final film. He told producer Ray Stark the film was "the epitome of 8mm home moviemaking" and sold his percentage for about $1.3 million. The company David Niven's son worked for invested in the film expecting it to be a tax loss. Instead, "Murder By Death" became the number eight moneymaker of 1976. Niven responded, "So much for a tax loss? But isn't it rather alarming to have a son who has absolutely no faith in his old man's pictures?" Alec Guinness, however, considered Murder By Death "a very funny film." Guinness rarely went to Hollywood, but he liked the script so much, he made the trip in order to play Bensonmum. Guinness said, "The script made me laugh, and not many things in recent times have done that." ("Murder by Death", Deborah Looney, TCM, 2003) P.S: On this day, 50 years ago, "Murder by Death" (1976) was released in the USA.

DepressedBergman

118,058 просмотров • 24 дней назад

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."
2:02

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 просмотров • 1 месяц назад