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Matt Damon reveals Steven Soderbergh sent him a fully scored cut of every scene by 8pm the same night they shot it "Steven operates the camera, is the editor, is the cinematographer, and the director" "I'd go home and the kids were little, we'd bathe them, give him dinner,...

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69,579 views • 22 days ago •via X (Twitter)

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Wiz Khalifa says he rewrote his second verse for “See You Again” after Paul Walker's death, just one week before Furious 7 was released “It was right when he passed. He was filming for the movie, and they were like, ‘Something happened. We need to do a whole little redirection, and you're going to be a part of that” “So they're like, ‘This is the last scene of the movie. He's in the movie, but we're generating his face on a couple scenes. And this is going to be one of them where it's going to be him riding off into the sunset, but it's going to represent his departure’” “But by the time the movie had come out, it was like a week before the movie came out, they were like, ‘We need to finish the song, and we're going to shoot the video, and we just want you and Charlie Puth on there. Everybody else we don't want, so you need to write another verse.’ So I quickly came in there. I watched the scene, because I already did the first verse just based off what they told me it was going to be like. Then for the second verse, they were like watch the scene and write it based off that” “I watched the scene, wrote my verse real quick, recorded it, we shot the video the next week, and then it comes out with the movie. It's just supposed to be a soundtrack song, but as soon as it got on the radio, it went number one and stayed there for like 12 or 13 weeks. I never knew it was going to do all of that at all” “It's unfortunate that Paul Walker lost his life, and his legacy is always going to live on. I met his family and they loved it. But I think ‘See You Again’ connects because you can tell everybody goes through those losses, and you can feel that in those verses. I've taken losses, and I've personally felt what that feels like. So to be able to channel that through the music, tell his story, help his legacy live on, and also connect with other people who go through similar things, that was my main goal. That's what I knew I could do through my personal experiences, and I'm glad that the world”
2:32

Wiz Khalifa says he rewrote his second verse for “See You Again” after Paul Walker's death, just one week before Furious 7 was released “It was right when he passed. He was filming for the movie, and they were like, ‘Something happened. We need to do a whole little redirection, and you're going to be a part of that” “So they're like, ‘This is the last scene of the movie. He's in the movie, but we're generating his face on a couple scenes. And this is going to be one of them where it's going to be him riding off into the sunset, but it's going to represent his departure’” “But by the time the movie had come out, it was like a week before the movie came out, they were like, ‘We need to finish the song, and we're going to shoot the video, and we just want you and Charlie Puth on there. Everybody else we don't want, so you need to write another verse.’ So I quickly came in there. I watched the scene, because I already did the first verse just based off what they told me it was going to be like. Then for the second verse, they were like watch the scene and write it based off that” “I watched the scene, wrote my verse real quick, recorded it, we shot the video the next week, and then it comes out with the movie. It's just supposed to be a soundtrack song, but as soon as it got on the radio, it went number one and stayed there for like 12 or 13 weeks. I never knew it was going to do all of that at all” “It's unfortunate that Paul Walker lost his life, and his legacy is always going to live on. I met his family and they loved it. But I think ‘See You Again’ connects because you can tell everybody goes through those losses, and you can feel that in those verses. I've taken losses, and I've personally felt what that feels like. So to be able to channel that through the music, tell his story, help his legacy live on, and also connect with other people who go through similar things, that was my main goal. That's what I knew I could do through my personal experiences, and I'm glad that the world”

dank

38,260 views • 4 days ago

Charlie Cox says the scene with Jon Bernthal's Punisher in Episode 4 was shot the last day before the strikes which ultimately helped for the decision to overhaul 'DAREDEVIL: BORN AGAIN' S1: "What I heard was when they were then looking at the show and editing it and putting it together, that scene made it by one day. And the showed that scene to some of the high-ups at Disney and Marvel and they were like, this is great. This is the show we want to make. Jon [Bernthal] wrote most of that scene as well. So we are very grateful to him for potentially leading us back on track."
0:59

Charlie Cox says the scene with Jon Bernthal's Punisher in Episode 4 was shot the last day before the strikes which ultimately helped for the decision to overhaul 'DAREDEVIL: BORN AGAIN' S1: "What I heard was when they were then looking at the show and editing it and putting it together, that scene made it by one day. And the showed that scene to some of the high-ups at Disney and Marvel and they were like, this is great. This is the show we want to make. Jon [Bernthal] wrote most of that scene as well. So we are very grateful to him for potentially leading us back on track."

Warling

30,303 views • 9 months ago

I'm recovering from surgery and decided to watch the Green Lantern. I've never seen it before and wanted to see if it really is as bad as every says it it - it is! But I noticed that about 30 mins into the film, there's a scene where Lively and Reynolds characters dance in a bar in an almost identical way to the slow dance scene from IEWU. The only difference is the characters were talking Could it be possible that Lively was trying to recreate the scene to be similar to the scene she did with her husband when she fell in love with him? Did she rewrite the scene to mirror the details of the dance? Is this what she means when she says her husband is "all over this movie"? Did Reynolds see this and get jealous because it hit a nerve? *side observation - she's rubbing her hands all over him and not intimacy coordinator is around
0:57

I'm recovering from surgery and decided to watch the Green Lantern. I've never seen it before and wanted to see if it really is as bad as every says it it - it is! But I noticed that about 30 mins into the film, there's a scene where Lively and Reynolds characters dance in a bar in an almost identical way to the slow dance scene from IEWU. The only difference is the characters were talking Could it be possible that Lively was trying to recreate the scene to be similar to the scene she did with her husband when she fell in love with him? Did she rewrite the scene to mirror the details of the dance? Is this what she means when she says her husband is "all over this movie"? Did Reynolds see this and get jealous because it hit a nerve? *side observation - she's rubbing her hands all over him and not intimacy coordinator is around

Leanne Newton

528,201 views • 1 year ago

The final scene in The Godfather Part II, with the family gathered around the dinner table, was originally going to include Marlon Brando, but he pulled out at the very last minute. Coppola had to rewrite a whole new ending the night before the shoot. He explains: “It’s a very interesting story, because I had written this scene that we go back to, around the period just before the first Godfather, when they were all young… My idea was that they would come together, finally, at the end, as a family. And the end of the movie would be a big, beautiful scene with Marlon Brando and Al Pacino, sort of summing up the whole saga that had gone down. And I was negotiating with Marlon Brando right up to the last minute saying, “Marlon, please, just one day. We’ll give you this money.” But Marlon was so mad at Paramount - for ultimately not paying him any money on the first picture, or whatever he was mad about - And although I didn’t know it until the last day, ultimately, it wasn’t going to be possible to have him in the picture. So I went to bed that night really worried. I had lost the end of my movie. I had to shoot it the next day. I had no idea what to do. I was sleeping in the Chateau Marmont Hotel. I had this scene. I had paid all this money to get Jimmy Caan to come back and some of the other actors to be in the last scene. And in the middle of the night, I just had this idea. And I wrote it - which is that they were all gathered for a surprise birthday party for the Don. And so after this scene plays out, in which Michael’s decision to join the Marines is kind of examined relative to really what all we know is going to happen, and what this young, beautiful, collegiate man who’s a war hero, who goes straight, is going to end up to be: this man without a heart, who’s killed his own brother and alienated his wife… And I thought there could be one beautiful scene with him and Don Corleone as we remember him from the first movie. Since Marlon didn’t come, I made it the surprise party, and I built it up to the point where they all said, “Oh, he’s here. He’s here.” And they all run out of the room. And as you’re waiting for Marlon to come into the room, you just stay on Al… And I came up with the solution at, like - three in the morning. And the next day they said, “Well, Marlon’s not coming.” And I said, “That’s all right. I’ve got a scene we can do without him.” And it was this one. Also, I like that staging kind of, especially about families who ultimately dissolve in front of your eyes, the idea that you have a table full of people. And one by one, someone argues or someone goes off, and then you’re just left with one … And everything else now is just sound. The father comes, and you know he’s there, and you feel he’s there, but you’re left with Michael alone.” This quote comes from the director's commentary track off the Godfather Part II Blu-ray
4:15

The final scene in The Godfather Part II, with the family gathered around the dinner table, was originally going to include Marlon Brando, but he pulled out at the very last minute. Coppola had to rewrite a whole new ending the night before the shoot. He explains: “It’s a very interesting story, because I had written this scene that we go back to, around the period just before the first Godfather, when they were all young… My idea was that they would come together, finally, at the end, as a family. And the end of the movie would be a big, beautiful scene with Marlon Brando and Al Pacino, sort of summing up the whole saga that had gone down. And I was negotiating with Marlon Brando right up to the last minute saying, “Marlon, please, just one day. We’ll give you this money.” But Marlon was so mad at Paramount - for ultimately not paying him any money on the first picture, or whatever he was mad about - And although I didn’t know it until the last day, ultimately, it wasn’t going to be possible to have him in the picture. So I went to bed that night really worried. I had lost the end of my movie. I had to shoot it the next day. I had no idea what to do. I was sleeping in the Chateau Marmont Hotel. I had this scene. I had paid all this money to get Jimmy Caan to come back and some of the other actors to be in the last scene. And in the middle of the night, I just had this idea. And I wrote it - which is that they were all gathered for a surprise birthday party for the Don. And so after this scene plays out, in which Michael’s decision to join the Marines is kind of examined relative to really what all we know is going to happen, and what this young, beautiful, collegiate man who’s a war hero, who goes straight, is going to end up to be: this man without a heart, who’s killed his own brother and alienated his wife… And I thought there could be one beautiful scene with him and Don Corleone as we remember him from the first movie. Since Marlon didn’t come, I made it the surprise party, and I built it up to the point where they all said, “Oh, he’s here. He’s here.” And they all run out of the room. And as you’re waiting for Marlon to come into the room, you just stay on Al… And I came up with the solution at, like - three in the morning. And the next day they said, “Well, Marlon’s not coming.” And I said, “That’s all right. I’ve got a scene we can do without him.” And it was this one. Also, I like that staging kind of, especially about families who ultimately dissolve in front of your eyes, the idea that you have a table full of people. And one by one, someone argues or someone goes off, and then you’re just left with one … And everything else now is just sound. The father comes, and you know he’s there, and you feel he’s there, but you’re left with Michael alone.” This quote comes from the director's commentary track off the Godfather Part II Blu-ray

Gangster Cinema Central

241,562 views • 1 month ago

"In #HiNanna, there is a beautiful scene between Yashna and Mahi. I keep telling him to release that deleted scene. Because when you watch it in movie, it felt like it was not needed, but when you watch it as a scene, it works." - #MrunalThakur | #NANI
1:06

"In #HiNanna, there is a beautiful scene between Yashna and Mahi. I keep telling him to release that deleted scene. Because when you watch it in movie, it felt like it was not needed, but when you watch it as a scene, it works." - #MrunalThakur | #NANI

Whynot Cinemas

38,650 views • 3 months ago

Alfonso Cuarón on how this continuous shot in "Children of Men" (2006) was clinched in the final attempt & the "Miracle" that occurred while filming: "Interviewer: When Theo runs into a hollowed-out bus in that shot, blood splatters on the camera lens. Can you tell me how that happened? Cuarón: Initially, there was going to be blood splatter on the lens when they ki!!ed Julianne Moore. We were going to add that digitally. But long story short — or long story long — is that for [the refugee camp] shot, we had like 14 days to shoot the whole set piece, except by day 12 we hadn’t rolled cameras yet. As you can guess, by day three that you don’t shoot camera, they send a production guy from the studio to visit you. By the sixth day that you haven’t done it, the creative executive comes to visit you. Well, by the time that you reach the 11th day, the head of the studio is there. That kind of stuff. And the problem is that we had only two shots a day to do the thing. The morning, then you have to reset the explosions, the screams, the whole thing. Five hours to reset. So you only have another shot right before the light goes away. And the problem is that, we could not extend it to the 15th day, because there was already a commitment with the army or something, one of those things. So we are in the 13th day, and in the afternoon, we do our first shot. Then after a minute and a half, it just was wrong. So we had to reset for the next day. The next morning we do the first take, and everything is perfect, and we’re about to reach the end. We were running towards getting inside the building, when [camera operator] George [Richardson] tripped, and so the camera fell. So we only had one more shot for one more before we have to move out. It was the end of my career. Interviewer: Were you panicking at that point? Cuarón: You know, at that point, you’re just focusing. Interviewer: Okay, so you get to the final attempt at the shot. Cuarón: And when we arrived at the bus, the camera goes in, and blood splatters the lens. With my little monitor, I see that I cannot see anything. I yell, “Cut!” But an explosion happens at the same time, so nobody hears me. And that gives me time to think, “Look, I have to roll to the end.” So we kept on going. When we said, “Cut,” Chivo [Emmanuel Lubezki] starts dancing like crazy. And I was like, “No, it didn’t work! There’s blood!” And Chivo turns to me and says, “You stupid! That was a miracle! The blood goes here, not with Julianne Moore!” Yeah, that was supposed to go in the other scene, but it happened here." ("The Vulture Transcript: Alfonso Cuarón on Children of Men", Abraham Josephine Riesman, Vulture, 2017)
3:32

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

DepressedBergman

107,518 views • 3 months ago

Matt Damon reveals Steven Spielberg cut all dialogue and had no talking for the first 27 minutes of Saving Private Ryan "How did it go the beggining, all that dialogue with them on the boat coming in and and Steven goes 'I cut all of that out." “He goes, 'No talking for the first 27 minutes of this movie.'” “And that was when I was like, oh my god, this movie is going to be fucking unbelievable.”
0:43

Matt Damon reveals Steven Spielberg cut all dialogue and had no talking for the first 27 minutes of Saving Private Ryan "How did it go the beggining, all that dialogue with them on the boat coming in and and Steven goes 'I cut all of that out." “He goes, 'No talking for the first 27 minutes of this movie.'” “And that was when I was like, oh my god, this movie is going to be fucking unbelievable.”

ramagazzi

541,129 views • 22 days ago

Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”
0:42

Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”

Hollywood Golden Age of Cinema

198,315 views • 7 months ago

The censors objected to this kissing (sex) scene in 'The Big Combo' (1955) stating that “This filth of showing a guy going down on a woman is not for the American audience.” Joseph H Lewis hit back at them saying that the scene was open left to interpretation and they were the one filthy for imagining that. After that, the Censors allowed that scene to appear in the movie. Here is Joseph H. Lewis explaining the incident: "They called me into the projection room and I asked them what they objected to, and one guy very crudely came out and said, “This filth of showing a guy going down on a woman is not for the American audience.” And I said, “You’re the one that’s filthy. This wasn’t my intention at all—I left it to your imagination. If you want to imagine this, that’s up to you. But you never saw him kiss that girl below her neck and—” He says, “Well, what was the intent?” I said, “You supply me with the emotion: that’s why I left it to the audience. But don’t tell me I’m filthy, or a filthy director.” And they left it in, of course. They had no basis." ('Who the devil made it', Peter Bogdanovich, 1997)
0:38

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The censors objected to this kissing (sex) scene in 'The Big Combo' (1955) stating that “This filth of showing a guy going down on a woman is not for the American audience.” Joseph H Lewis hit back at them saying that the scene was open left to interpretation and they were the one filthy for imagining that. After that, the Censors allowed that scene to appear in the movie. Here is Joseph H. Lewis explaining the incident: "They called me into the projection room and I asked them what they objected to, and one guy very crudely came out and said, “This filth of showing a guy going down on a woman is not for the American audience.” And I said, “You’re the one that’s filthy. This wasn’t my intention at all—I left it to your imagination. If you want to imagine this, that’s up to you. But you never saw him kiss that girl below her neck and—” He says, “Well, what was the intent?” I said, “You supply me with the emotion: that’s why I left it to the audience. But don’t tell me I’m filthy, or a filthy director.” And they left it in, of course. They had no basis." ('Who the devil made it', Peter Bogdanovich, 1997)

DepressedBergman

70,276 views • 5 months ago

Yes on the videos we have so far. The initial encounter was him filming them. There was no gun being brandished. They jumped out of vehicles to go to try to intimidate him. Unfortunately there's no video yet between then and when they had them on the ground. When they had him on the ground they were pistol whipping him, at first it looked like a baton, but it's actually a gun. They had him down with at least five officers. You got to wait for a second so he tried to stand up they shot him in the back he was motionless after they shot him in the back. Then there were four more shots or more after that unloaded into his body from a posture of standing above him. Not a defensive posture. He's supposedly has a gun. It looks like ICE took something out of a holster. So it's likely that he did have a HOLSTERED GUN in an open carry state that is not a reason to shoot someone to death. He was not brandishing it -- again it was his camera. That was the reason for the initial approach was to intimidate him about his camera. It is perfectly legal to film ice This is out not murder once again. Now there is some sort of speculation on social that a gun was dropped and a bullet went off. That would be the ICE AGENTS who took the gun out of his holster. I'll post some videos for people to see in the order that they happened.
0:35

Yes on the videos we have so far. The initial encounter was him filming them. There was no gun being brandished. They jumped out of vehicles to go to try to intimidate him. Unfortunately there's no video yet between then and when they had them on the ground. When they had him on the ground they were pistol whipping him, at first it looked like a baton, but it's actually a gun. They had him down with at least five officers. You got to wait for a second so he tried to stand up they shot him in the back he was motionless after they shot him in the back. Then there were four more shots or more after that unloaded into his body from a posture of standing above him. Not a defensive posture. He's supposedly has a gun. It looks like ICE took something out of a holster. So it's likely that he did have a HOLSTERED GUN in an open carry state that is not a reason to shoot someone to death. He was not brandishing it -- again it was his camera. That was the reason for the initial approach was to intimidate him about his camera. It is perfectly legal to film ice This is out not murder once again. Now there is some sort of speculation on social that a gun was dropped and a bullet went off. That would be the ICE AGENTS who took the gun out of his holster. I'll post some videos for people to see in the order that they happened.

Kristine (@schachin on Threads) 🇺🇦

23,566 views • 6 months ago

Matt Damon reveals he gave up directing and starring in Manchester by the Sea to give Casey Affleck the role that won him an Oscar "John Krasinski and I commissioned Kenny to write Manchester by the Sea, and I was gonna direct it... I was like, Kenny, this, you gotta do it." "I was gonna play the part... but we were behind... and I called Kenny, i was like..." "The only person I'm giving this role to is Casey, 'cause we'd all done the play together in London, and we're all friends and I'm like this is the best role I've seen in a long time." Amy Poehler: "And he stole that Oscar from you. That's how he returned the favor." Matt Damon: "I like to say I gave it to him. I'm sure he wouldn't mind that, right? After ripping his heart open in that performance."
2:00

Matt Damon reveals he gave up directing and starring in Manchester by the Sea to give Casey Affleck the role that won him an Oscar "John Krasinski and I commissioned Kenny to write Manchester by the Sea, and I was gonna direct it... I was like, Kenny, this, you gotta do it." "I was gonna play the part... but we were behind... and I called Kenny, i was like..." "The only person I'm giving this role to is Casey, 'cause we'd all done the play together in London, and we're all friends and I'm like this is the best role I've seen in a long time." Amy Poehler: "And he stole that Oscar from you. That's how he returned the favor." Matt Damon: "I like to say I gave it to him. I'm sure he wouldn't mind that, right? After ripping his heart open in that performance."

Bavi

529,606 views • 21 days ago

John Krasinski says he and Steve Carell needed 17 takes just to speak while filming Steve’s final scene on The Office "When Steve left, that was actually the last scene of Steve’s last day, and I didn’t realize that until later" "So I go in to do this scene, and it just hit me. You were in the room with Steve, and he had been really quiet all day, very sweet but very quiet. I think we knew that this was it" "We rolled, and I remember the director telling me it was 17 takes before we got one word out. There were a lot of retouches. I think that scene took like four and a half hours"
0:59

John Krasinski says he and Steve Carell needed 17 takes just to speak while filming Steve’s final scene on The Office "When Steve left, that was actually the last scene of Steve’s last day, and I didn’t realize that until later" "So I go in to do this scene, and it just hit me. You were in the room with Steve, and he had been really quiet all day, very sweet but very quiet. I think we knew that this was it" "We rolled, and I remember the director telling me it was 17 takes before we got one word out. There were a lot of retouches. I think that scene took like four and a half hours"

Yonan

1,547,400 views • 24 days ago

it blows my mind how perfectly the set up for byler was. will quite literally gained powers with the memory of the first day he met mike to save him and they threw it all away. this scene is the buzziest scene to ever happen to a ship
1:41

it blows my mind how perfectly the set up for byler was. will quite literally gained powers with the memory of the first day he met mike to save him and they threw it all away. this scene is the buzziest scene to ever happen to a ship

izzy 🂽

36,984 views • 5 months ago

Police knocked on the wrong door in the middle of the night at the Mississippi home of Ismael Lopez. When he opened the door, his dog ran out. They shot and killed it. He was holding a rifle. They told him to put it down. He turned around to put it down and they shot him in the back of the head and killed him. The officer was not prosecuted. And today a Mississippi jury rejected his wife's civil suit, stating that they did not feel the officer used "excessive force."
2:01

Police knocked on the wrong door in the middle of the night at the Mississippi home of Ismael Lopez. When he opened the door, his dog ran out. They shot and killed it. He was holding a rifle. They told him to put it down. He turned around to put it down and they shot him in the back of the head and killed him. The officer was not prosecuted. And today a Mississippi jury rejected his wife's civil suit, stating that they did not feel the officer used "excessive force."

Rebekah Jones

1,775,706 views • 2 years ago

Scarface is widely regarded as a classic today, but when it first came out, the reception was brutal. Steven Bauer, who played Manny, says it was so painful that for years he and Al Pacino barely even spoke about the film. He explains… “Scarface is great to be a part of now. For years, it was dismal - like everybody associated with Scarface was a leper - people got very wimpy about Scarface really quickly. As soon as the reviews were out… Our peers came to see the movie in the premiere, right? There were two premieres, one in New York, one in LA, and people came to see it and they were like, ‘Wow, what a movie…. The next day, the reviews are out, and all the papers — this is before the internet, okay? - so you get just the conventional news media outlets - and 90% of them gave Scarface a horrible review. Like horrible, really, really insulting, injurious stuff. Personal attacks on Pacino and Brian De Palma, the director, and on Oliver, the writer... It was really, really mean because the country was going through a politically correct sort of thing - they were like, "This is like a new wave of violence in the movies, oh!" It’s nice because when I see Al - we can finally talk about it, because...for years, we couldn’t even talk about it. We’d be like, “Oh yeah, Scarface, yeah, yeah...” It was so sad! Because the movie was so great! And then it was like this thud, and it lasted like 10 years… Anywhere I’d go, it was like, ‘You’re that guy who was really good in that really terrible movie.’ And I’d be like, ‘How could you say that?’ And they’d go, ‘Well, you were good.’ And I’m like, ‘Okay, but I don’t care. What about the movie?’ And they go, ‘Oh, come on, you gotta admit it. It was like way over the top. It was like so exaggerating,’ blah, blah, blah, blah.…and I’d be like, ‘You’re a pussy!”
5:30

Scarface is widely regarded as a classic today, but when it first came out, the reception was brutal. Steven Bauer, who played Manny, says it was so painful that for years he and Al Pacino barely even spoke about the film. He explains… “Scarface is great to be a part of now. For years, it was dismal - like everybody associated with Scarface was a leper - people got very wimpy about Scarface really quickly. As soon as the reviews were out… Our peers came to see the movie in the premiere, right? There were two premieres, one in New York, one in LA, and people came to see it and they were like, ‘Wow, what a movie…. The next day, the reviews are out, and all the papers — this is before the internet, okay? - so you get just the conventional news media outlets - and 90% of them gave Scarface a horrible review. Like horrible, really, really insulting, injurious stuff. Personal attacks on Pacino and Brian De Palma, the director, and on Oliver, the writer... It was really, really mean because the country was going through a politically correct sort of thing - they were like, "This is like a new wave of violence in the movies, oh!" It’s nice because when I see Al - we can finally talk about it, because...for years, we couldn’t even talk about it. We’d be like, “Oh yeah, Scarface, yeah, yeah...” It was so sad! Because the movie was so great! And then it was like this thud, and it lasted like 10 years… Anywhere I’d go, it was like, ‘You’re that guy who was really good in that really terrible movie.’ And I’d be like, ‘How could you say that?’ And they’d go, ‘Well, you were good.’ And I’m like, ‘Okay, but I don’t care. What about the movie?’ And they go, ‘Oh, come on, you gotta admit it. It was like way over the top. It was like so exaggerating,’ blah, blah, blah, blah.…and I’d be like, ‘You’re a pussy!”

Gangster Cinema Central

427,224 views • 1 month ago

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
2:54

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

655,921 views • 1 month ago

Tom Cruise shot the Burj Khalifa scene in Mission: Impossible Ghost Protocol without knowing why his character was on the building “I didn't know why I was on the side of the Burj. I was like, we'll figure that out later. Problems for another day, problems for another day.” “I said, 'Well, what is it? Red light means it won't stick anymore. And blue means it sticks and I can go up the wall and climb the whole thing.' And he just, without even a breath, he goes, 'Oh, well, how blue is glue, red is dead.'” “And proceeded to write the rest of the scene. And they were like, Brad and Simon like, 'Who is that guy?' I was like, 'Oh yeah, it's McQ, he's gonna write the rest of the movie.'” “He proceeded to write the film in the other room and he'd write it and we'd shoot it right there. That's how movies are made. You just keep going until it's right. And you never, ever give up.”
3:01

Tom Cruise shot the Burj Khalifa scene in Mission: Impossible Ghost Protocol without knowing why his character was on the building “I didn't know why I was on the side of the Burj. I was like, we'll figure that out later. Problems for another day, problems for another day.” “I said, 'Well, what is it? Red light means it won't stick anymore. And blue means it sticks and I can go up the wall and climb the whole thing.' And he just, without even a breath, he goes, 'Oh, well, how blue is glue, red is dead.'” “And proceeded to write the rest of the scene. And they were like, Brad and Simon like, 'Who is that guy?' I was like, 'Oh yeah, it's McQ, he's gonna write the rest of the movie.'” “He proceeded to write the film in the other room and he'd write it and we'd shoot it right there. That's how movies are made. You just keep going until it's right. And you never, ever give up.”

ramagazzi

233,439 views • 1 month ago

ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.
2:15

ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.

Kgopolo

53,561 views • 1 year ago

The Lyrics of Imperfect Mew : Every moment in the song is based on a true story. 🗣️: Can you share some of it with us? Mew : Looking at the lyrics, the first verse starts from the moment of waking up. I wrote it when we were on a cruise, we went to the Caribbean together. The image of sunlight shining on his face, that messy, bedhead look right after waking up... just how incredibly cute he was 😆 Mew : The next verse talks about things we’ve experienced together, such as when we went traveling and missed a train. When we look back on it now, it’s actually funny. Or when it suddenly started raining and we didn’t have an umbrella, so we had to take off a shirt and cover ourselves. In those moments, the imperfection somehow became perfect for us. 🗣️: So this is all based on a true story? Mew: All of it is real. 🗣️: Not a scene from a series? 😂 Mew: No, it really happened. The train incident happened in Munich. Usually, he’s the one who checks the schedule. Like, where to go, which platform and what time. But that day, it looked like he read it wrong, so we rushed because we thought we were going to miss it. But actually, he didn’t read it wrong, the train changed platforms. We had to go to another one. It was funny. No one was at fault… the platform was the one that was wrong 😂 Mew : When I told him which moments behind the song, he related to it so much. He listens to it every night now. He probably knows the lyrics better than I do 😂 Mew : Usually when I write a song, I let him listen to it first. He relates to this one so deeply that he especially loves it.
1:59

The Lyrics of Imperfect Mew : Every moment in the song is based on a true story. 🗣️: Can you share some of it with us? Mew : Looking at the lyrics, the first verse starts from the moment of waking up. I wrote it when we were on a cruise, we went to the Caribbean together. The image of sunlight shining on his face, that messy, bedhead look right after waking up... just how incredibly cute he was 😆 Mew : The next verse talks about things we’ve experienced together, such as when we went traveling and missed a train. When we look back on it now, it’s actually funny. Or when it suddenly started raining and we didn’t have an umbrella, so we had to take off a shirt and cover ourselves. In those moments, the imperfection somehow became perfect for us. 🗣️: So this is all based on a true story? Mew: All of it is real. 🗣️: Not a scene from a series? 😂 Mew: No, it really happened. The train incident happened in Munich. Usually, he’s the one who checks the schedule. Like, where to go, which platform and what time. But that day, it looked like he read it wrong, so we rushed because we thought we were going to miss it. But actually, he didn’t read it wrong, the train changed platforms. We had to go to another one. It was funny. No one was at fault… the platform was the one that was wrong 😂 Mew : When I told him which moments behind the song, he related to it so much. He listens to it every night now. He probably knows the lyrics better than I do 😂 Mew : Usually when I write a song, I let him listen to it first. He relates to this one so deeply that he especially loves it.

💞

20,628 views • 5 months ago