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Martin Scorsese wouldn’t have made Mean Streets without John Cassavetes. Cassavetes pushed Marty to make real, authentic stories about his own experiences. Cassavetes’ advice gave us Mean Streets. It gave us a lifetime of mastery from Marty. So much of cinema is mentorship.

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62,358 görüntüleme • 10 ay önce •via X (Twitter)

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On this day, 52 years ago, John Cassavetes' "The Ki!!ing of a Chinese Bookie" (1974) was released in the USA. John Cassavetes explaining why he made the movie: "'A Woman Under the Influence' (1974) was the first picture I’ve had anything to do with that wasn’t made out of plain, simple feeling, but rather out of a real desire to do something in my profession. It was extremely frightening for me not to come to work out of enthusiasm and instead put myself up as something of a craftsman. Earlier films such as 'Shadows' (1958) and 'Husbands' (1970) grew out of personal experiences reaching all the way back to my childhood days. They were expressions of my innermost feelings, and now that I’ve dealt with all that, I feel obligated to view life in other terms. I want to explore other areas of human and artistic experience. I made 'The Ki!!ing of a Chinese Bookie' (1976) as an intellectual experiment– not because I am in love with it. I enjoy a more intellectual and less emotionally demanding view than in my previous work. If I can make, out of certain intellectual ideas, films that are complex in their nature, then I’m entering into new ground. And that is certainly something I look forward to. It is a film that has little to do with me and with how I feel about life. It’s interesting to me to see how other people live in our society, to look at them and ask myself, ‘Why do they do it? And how do they do it?’ Without trying to explain. The fun and challenge of the film was to imagine a self-contained world different from the one I live in: to move into it and live in it." ("Cassavetes on Cassavetes", edited by Ray Carney, 2001)
1:52

On this day, 52 years ago, John Cassavetes' "The Ki!!ing of a Chinese Bookie" (1974) was released in the USA. John Cassavetes explaining why he made the movie: "'A Woman Under the Influence' (1974) was the first picture I’ve had anything to do with that wasn’t made out of plain, simple feeling, but rather out of a real desire to do something in my profession. It was extremely frightening for me not to come to work out of enthusiasm and instead put myself up as something of a craftsman. Earlier films such as 'Shadows' (1958) and 'Husbands' (1970) grew out of personal experiences reaching all the way back to my childhood days. They were expressions of my innermost feelings, and now that I’ve dealt with all that, I feel obligated to view life in other terms. I want to explore other areas of human and artistic experience. I made 'The Ki!!ing of a Chinese Bookie' (1976) as an intellectual experiment– not because I am in love with it. I enjoy a more intellectual and less emotionally demanding view than in my previous work. If I can make, out of certain intellectual ideas, films that are complex in their nature, then I’m entering into new ground. And that is certainly something I look forward to. It is a film that has little to do with me and with how I feel about life. It’s interesting to me to see how other people live in our society, to look at them and ask myself, ‘Why do they do it? And how do they do it?’ Without trying to explain. The fun and challenge of the film was to imagine a self-contained world different from the one I live in: to move into it and live in it." ("Cassavetes on Cassavetes", edited by Ray Carney, 2001)

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"You guys are the ones that made us 'US'. America is like our 2nd home. Korea gave birth to us. You guys are the ones raised us." 😭 Joon acknowledging US ARMYS' hard works mean so much. We didn't do it to get praised but it feels good to be seen 💜.
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"You guys are the ones that made us 'US'. America is like our 2nd home. Korea gave birth to us. You guys are the ones raised us." 😭 Joon acknowledging US ARMYS' hard works mean so much. We didn't do it to get praised but it feels good to be seen 💜.

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This is one of the most improvised scenes in film history. Martin Scorsese cast his real-life mother Catherine Scorsese as Tommy’s mom in Goodfellas (1990). He gave her no script and told her to “act motherly.” She came up with the 2am dinner idea, making it one of the most authentic scenes ever.
0:54

This is one of the most improvised scenes in film history. Martin Scorsese cast his real-life mother Catherine Scorsese as Tommy’s mom in Goodfellas (1990). He gave her no script and told her to “act motherly.” She came up with the 2am dinner idea, making it one of the most authentic scenes ever.

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'What will it take to make us once again a nation of shopkeepers?' Simon Marks remembers what our 'hollowed-out' high streets have lost — and demands real solutions from the PM.
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'What will it take to make us once again a nation of shopkeepers?' Simon Marks remembers what our 'hollowed-out' high streets have lost — and demands real solutions from the PM.

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REPORTER: President Zelensky says his country desperately needs long-range missiles for those Patriot missile batteries. Is that something that you're considering? US PRESIDENT TRUMP: Well, I mean, we want missiles, too. You know, when Biden gave him so much, Biden gave $300 billion worth of ammunition. You know, when I left, it was full. And he gave a lot of it away.
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REPORTER: President Zelensky says his country desperately needs long-range missiles for those Patriot missile batteries. Is that something that you're considering? US PRESIDENT TRUMP: Well, I mean, we want missiles, too. You know, when Biden gave him so much, Biden gave $300 billion worth of ammunition. You know, when I left, it was full. And he gave a lot of it away.

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“Forget about Jay Shah and the BCCI. Most of all, this will mean so much to every day Indians. They’ll be on the streets in every town, celebrating the success like it is a family occasion.” #T20WorldCup #IndiaVsNewZealand
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“Forget about Jay Shah and the BCCI. Most of all, this will mean so much to every day Indians. They’ll be on the streets in every town, celebrating the success like it is a family occasion.” #T20WorldCup #IndiaVsNewZealand

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What's funny about this answer is Kawhi has no idea the war going on in these twitter streets daily with old school vs. modern NBA fans, but he just gave a lot of ammo to those of us who have been saying it's not about the defense being worse, it's the offense being much better.
0:57

What's funny about this answer is Kawhi has no idea the war going on in these twitter streets daily with old school vs. modern NBA fans, but he just gave a lot of ammo to those of us who have been saying it's not about the defense being worse, it's the offense being much better.

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🚨 UPDATE: Mean Joe Greene is Alive and Well Apparently there is a vicious rumor about his death that started on Facebook The legendary NFL Hall of Famer gave us the greatest Coca-Cola commercial of all time! "Hey Kid, Catch!"
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🚨 UPDATE: Mean Joe Greene is Alive and Well Apparently there is a vicious rumor about his death that started on Facebook The legendary NFL Hall of Famer gave us the greatest Coca-Cola commercial of all time! "Hey Kid, Catch!"

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21 Savage saying “F the streets” exposed something ugly: a lot of people love the idea of “the streets” more than they love the kids watching them. Big Loon breaks it down as somebody who’s buried friends since 15. He says the streets aren’t a place, they’re a price tag. We brag on what the streets made us, but we almost never list what they cost—years in prison, trauma, missed potential, kids growing up without real guidance. So when rappers rush out to defend “the streets,” Loon’s question is simple: why you never fight this hard for the people the streets chewed up? At some point, loving the culture means telling the truth about what it took from us too.
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21 Savage saying “F the streets” exposed something ugly: a lot of people love the idea of “the streets” more than they love the kids watching them. Big Loon breaks it down as somebody who’s buried friends since 15. He says the streets aren’t a place, they’re a price tag. We brag on what the streets made us, but we almost never list what they cost—years in prison, trauma, missed potential, kids growing up without real guidance. So when rappers rush out to defend “the streets,” Loon’s question is simple: why you never fight this hard for the people the streets chewed up? At some point, loving the culture means telling the truth about what it took from us too.

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Before Raging Bull, Martin Scorsese was at his lowest point, having nearly died from an overdose in 1978. As he recovered, Robert De Niro pushed him to make a film about boxer Jake LaMotta. Scorsese saw LaMotta’s self-destruction as a reflection of his own struggles… and the film he created became the masterpiece that pulled him back from the edge.
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Before Raging Bull, Martin Scorsese was at his lowest point, having nearly died from an overdose in 1978. As he recovered, Robert De Niro pushed him to make a film about boxer Jake LaMotta. Scorsese saw LaMotta’s self-destruction as a reflection of his own struggles… and the film he created became the masterpiece that pulled him back from the edge.

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45 years ago today, Taxi gave us one of the best scenes in sitcom history. "What Does The Yellow Light Mean?" Marilu Henner is actually stabbing herself with a pencil to refrain from laughing.
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45 years ago today, Taxi gave us one of the best scenes in sitcom history. "What Does The Yellow Light Mean?" Marilu Henner is actually stabbing herself with a pencil to refrain from laughing.

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"When I made the 'Pusher' Trilogy I stole everything from Ruggiero Deodato, Gillo Pontecorvo, William Friedkin and I guess also a lot of 'Mean Streets' (1973)" --- Nicolas Winding Refn Full Excerpt: "Interviewer: Right. Now, watching your movies, I think there is a lot seventies American cinema. Was that an influence on you too? NWR: Oh, yeah, definitely. When I made the Pusher Trilogy I stole everything from Ruggiero Deodato, Gillo Pontecorvo, William Friedkin and I guess also a lot of Mean Streets. Interviewer: Yeah, that's what I was gonna say. I think Pusher, especially the first one, is like your Mean Streets. It has the same edge and grittiness and vital power to it. Even if your movies are in a way more nihilistic and pessimistic. NWR: Yes, that's true. Interviewer: But speaking of Scorsese. I think you did the same thing with the Pusher Trilogy. I mean, of course it is a genre movie, it has all the elements, but it is actually more like a way for you - at least that is my impression - to talk about your characters. NWR: Oh yeah. The Pusher films are not about drugs or about crime in any way. They are about people in a criminal environment, which was very much what Mean Streets was about. I guess there is also a lot of Killing of a Chinese Bookie in it. It's all about the people, but you use a genre universe to set them in, because genre is just a very good way to work in a commercial medium." ('A Conversation with Nicolas Winding Refn' with Paolo Gilli, Ard Vijn, SchreenAnarchy, 2010) Clip from: Pusher (1996) Director: Nicolas Winding Refn
1:36

"When I made the 'Pusher' Trilogy I stole everything from Ruggiero Deodato, Gillo Pontecorvo, William Friedkin and I guess also a lot of 'Mean Streets' (1973)" --- Nicolas Winding Refn Full Excerpt: "Interviewer: Right. Now, watching your movies, I think there is a lot seventies American cinema. Was that an influence on you too? NWR: Oh, yeah, definitely. When I made the Pusher Trilogy I stole everything from Ruggiero Deodato, Gillo Pontecorvo, William Friedkin and I guess also a lot of Mean Streets. Interviewer: Yeah, that's what I was gonna say. I think Pusher, especially the first one, is like your Mean Streets. It has the same edge and grittiness and vital power to it. Even if your movies are in a way more nihilistic and pessimistic. NWR: Yes, that's true. Interviewer: But speaking of Scorsese. I think you did the same thing with the Pusher Trilogy. I mean, of course it is a genre movie, it has all the elements, but it is actually more like a way for you - at least that is my impression - to talk about your characters. NWR: Oh yeah. The Pusher films are not about drugs or about crime in any way. They are about people in a criminal environment, which was very much what Mean Streets was about. I guess there is also a lot of Killing of a Chinese Bookie in it. It's all about the people, but you use a genre universe to set them in, because genre is just a very good way to work in a commercial medium." ('A Conversation with Nicolas Winding Refn' with Paolo Gilli, Ard Vijn, SchreenAnarchy, 2010) Clip from: Pusher (1996) Director: Nicolas Winding Refn

DepressedBergman

11,758 görüntüleme • 10 ay önce

46 years ago today, Taxi gave us one of the best scenes in sitcom history. "What Does The Yellow Light Mean?" Marilu Henner is actually stabbing herself with a pencil to stifle herself from laughing.
1:53

46 years ago today, Taxi gave us one of the best scenes in sitcom history. "What Does The Yellow Light Mean?" Marilu Henner is actually stabbing herself with a pencil to stifle herself from laughing.

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589,290 görüntüleme • 11 ay önce

Martin Scorsese explains why money doesn't mean anything to him: "When I’m dealing with a Hollywood film, that means I have to do a certain kind of subject matter that will make a certain amount of money. If I decide to make less money, that means I can take a risk on subject matter. So the only criterion on the films I’m willing to take risks on is that it be truthful, that it be honest about your own feelings and truthful to what you know to be the reality around you or the reality of the human condition of the characters. If it’s something that’s not honest, not truthful, then it’s a problem. If you don’t believe in it, why are you making it? You’re going to offend people to make some money? What for? It doesn’t mean anything. The money doesn’t mean anything. All that matters is the work, just what’s up on the screen. So that’s it. I’m not like some great person who’s out there undaunted, fighting off all these people." (From Scorsese's interview with Anthony Decurtis, 1990) Clip from: After Hours (1985) Director: Martin Scorsese
1:22

Martin Scorsese explains why money doesn't mean anything to him: "When I’m dealing with a Hollywood film, that means I have to do a certain kind of subject matter that will make a certain amount of money. If I decide to make less money, that means I can take a risk on subject matter. So the only criterion on the films I’m willing to take risks on is that it be truthful, that it be honest about your own feelings and truthful to what you know to be the reality around you or the reality of the human condition of the characters. If it’s something that’s not honest, not truthful, then it’s a problem. If you don’t believe in it, why are you making it? You’re going to offend people to make some money? What for? It doesn’t mean anything. The money doesn’t mean anything. All that matters is the work, just what’s up on the screen. So that’s it. I’m not like some great person who’s out there undaunted, fighting off all these people." (From Scorsese's interview with Anthony Decurtis, 1990) Clip from: After Hours (1985) Director: Martin Scorsese

DepressedBergman

21,602 görüntüleme • 1 yıl önce

Benjamin Netanyahu, where are you? The people of Iran stood by Israel for two years, risking our lives, at a time when so much of the world is against you. We cried with you, protested with you. You promised you will stand by us and help us, you called on Iran to take to the streets. Well, Iran is in the streets. Will you keep your promise and help us? Because words mean nothing - only action. The islamic regime is on the edge of collapsing, and you have an extraordinary opportunity to move this uprising in our favour. We will fight with or without you. The question remains, will you fight with us? With regards, 90 million Iranians, including myself - a Jewish Iranian.
0:27

Benjamin Netanyahu, where are you? The people of Iran stood by Israel for two years, risking our lives, at a time when so much of the world is against you. We cried with you, protested with you. You promised you will stand by us and help us, you called on Iran to take to the streets. Well, Iran is in the streets. Will you keep your promise and help us? Because words mean nothing - only action. The islamic regime is on the edge of collapsing, and you have an extraordinary opportunity to move this uprising in our favour. We will fight with or without you. The question remains, will you fight with us? With regards, 90 million Iranians, including myself - a Jewish Iranian.

𝐍𝐢𝐨𝐡 𝐁𝐞𝐫𝐠 🇮🇷 ✡︎

405,642 görüntüleme • 8 ay önce

🚨 NOW: Pawn Stars' Rick Harrison, owner of Gold and Silver Pawn Shop in Vegas, just gave a HUGE endorsement of President Trump at the Small Business Summit "With the last guy in office (Biden), all we heard was that we were the EVIL people. We were the bad people, everything else like that. We don't pay our fair share— whatever that's supposed to mean. He made it tough. And this guy, the Big Beautiful Bill, absolutely amazing." "I just want to say he's amazing. He's done so much. I mean, so much for ALL of us. I mean, the backbone of this country is small business, plain and simple."
1:32

🚨 NOW: Pawn Stars' Rick Harrison, owner of Gold and Silver Pawn Shop in Vegas, just gave a HUGE endorsement of President Trump at the Small Business Summit "With the last guy in office (Biden), all we heard was that we were the EVIL people. We were the bad people, everything else like that. We don't pay our fair share— whatever that's supposed to mean. He made it tough. And this guy, the Big Beautiful Bill, absolutely amazing." "I just want to say he's amazing. He's done so much. I mean, so much for ALL of us. I mean, the backbone of this country is small business, plain and simple."

Nick Sortor

79,775 görüntüleme • 3 ay önce

"I wrote this story ['Gloria' (1980] to sell, strictly to sell. I really didn’t want to do that movie. Columbia insisted I direct it, which I really didn’t want. Too commercial. I like to make movies that don’t go." --- John Cassavetes Full Excerpt: "'Gloria' (1980) was an accident. Of course, I believe the business is a meta physical thing – no rules apply. The phone rang and it was Dick Shepherd, who’s at Metro-Goldwyn-Mayer, and he said, ‘We’ve been very successful with a kid’s story, The Champ. You don’t happen to have a story about kids, do you? If you could come up with something for Ricky Schroder, I’d buy it immediately.’ So I wrote a very fast-moving, thoughtless piece about gangsters. And I don’t even know any gangsters! I sent it over. In the meantime, Schroder signed to do a picture with Walt Disney, so MGM lost interest. And then my agent Guy MacElwaine said, ‘I like this script very much, let me give it to Columbia,’ and I said, ‘OK.’ So they sent it to Columbia, and a couple of days later he called and he said, ‘I have some good news and some bad news. One, they like the picture very much and want to buy it. And they want to have Gena in the picture.’ And I said what’s the bad news. ‘The bad news,’ he said, ‘is they want you to direct it.’ So that’s where we started. I wrote this story to sell, strictly to sell. I really didn’t want to do that movie. Columbia insisted I direct it, which I really didn’t want. Too commercial. I like to make movies that don’t go. Besides that, I didn’t like killing off an entire family to make a picture. In the end, I decided that it is a story of violence, but less physical than emotional violence." ('Cassavetes on Cassavetes', edited by Ray Carney, 2001)
1:50

"I wrote this story ['Gloria' (1980] to sell, strictly to sell. I really didn’t want to do that movie. Columbia insisted I direct it, which I really didn’t want. Too commercial. I like to make movies that don’t go." --- John Cassavetes Full Excerpt: "'Gloria' (1980) was an accident. Of course, I believe the business is a meta physical thing – no rules apply. The phone rang and it was Dick Shepherd, who’s at Metro-Goldwyn-Mayer, and he said, ‘We’ve been very successful with a kid’s story, The Champ. You don’t happen to have a story about kids, do you? If you could come up with something for Ricky Schroder, I’d buy it immediately.’ So I wrote a very fast-moving, thoughtless piece about gangsters. And I don’t even know any gangsters! I sent it over. In the meantime, Schroder signed to do a picture with Walt Disney, so MGM lost interest. And then my agent Guy MacElwaine said, ‘I like this script very much, let me give it to Columbia,’ and I said, ‘OK.’ So they sent it to Columbia, and a couple of days later he called and he said, ‘I have some good news and some bad news. One, they like the picture very much and want to buy it. And they want to have Gena in the picture.’ And I said what’s the bad news. ‘The bad news,’ he said, ‘is they want you to direct it.’ So that’s where we started. I wrote this story to sell, strictly to sell. I really didn’t want to do that movie. Columbia insisted I direct it, which I really didn’t want. Too commercial. I like to make movies that don’t go. Besides that, I didn’t like killing off an entire family to make a picture. In the end, I decided that it is a story of violence, but less physical than emotional violence." ('Cassavetes on Cassavetes', edited by Ray Carney, 2001)

DepressedBergman

69,290 görüntüleme • 8 ay önce