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Matt Damon says Good Will Hunting’s final line wasn’t in the script until Robin Williams found it after 60 takes "Robin would open the door and find this letter... I was right next to the camera, saying the line as if he was hearing my voice" "what was scripted... show more

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Robin Williams found Good Will Hunting’s final line after 60 takes, and it wasn’t originally in the script, according to Matt Damon. “Robin would open the door and come out and find the letter, and I was right next to Gus Van Sant, next to the camera. “I would say – because we wanted [it to look like] Robin heard my voice – ‘Sean if the professor calls about that job, tell him I’m sorry. I had to go see about a girl.’ So I’d say that.” “And what was scripted was that he just takes a moment and realises I’m gone. But in true Robin fashion, we did like 60 takes. We just left the camera rolling… and he did something different every single time. “I remember when he said, ‘Son of a bitch, he stole my line,’ I grabbed Gus’s shoulders, and I felt him tense up. We both knew. We were like, ‘holy shit, what a line; how did we not think of that?’”

Robin Williams found Good Will Hunting’s final line after 60 takes, and it wasn’t originally in the script, according to Matt Damon. “Robin would open the door and come out and find the letter, and I was right next to Gus Van Sant, next to the camera. “I would say – because we wanted [it to look like] Robin heard my voice – ‘Sean if the professor calls about that job, tell him I’m sorry. I had to go see about a girl.’ So I’d say that.” “And what was scripted was that he just takes a moment and realises I’m gone. But in true Robin fashion, we did like 60 takes. We just left the camera rolling… and he did something different every single time. “I remember when he said, ‘Son of a bitch, he stole my line,’ I grabbed Gus’s shoulders, and I felt him tense up. We both knew. We were like, ‘holy shit, what a line; how did we not think of that?’”

Emir Han

31,872 görüntüleme • 3 ay önce

Matt Damon and Amy Poehler reflect on the genius of the late Robin Williams and how life-changing it was to work with him, as Damon reveals that Williams improvised the iconic final line of Good Will Hunting after nearly 15 takes 🎬❤️ “The last line of the movie was not written… He must have done 15 takes. He’d put the envelope back in the mailbox, go in, and we’d still be rolling. Then he just started improvising lines.” “On like the ninth line, he opened the door, read the letter and said, ‘Son of a bitch, he stole my line.’ I grabbed Gus. When a piece of dialogue falls from heaven, you just know. The second Ben heard it, he was like, ‘That’s it.’”

Matt Damon and Amy Poehler reflect on the genius of the late Robin Williams and how life-changing it was to work with him, as Damon reveals that Williams improvised the iconic final line of Good Will Hunting after nearly 15 takes 🎬❤️ “The last line of the movie was not written… He must have done 15 takes. He’d put the envelope back in the mailbox, go in, and we’d still be rolling. Then he just started improvising lines.” “On like the ninth line, he opened the door, read the letter and said, ‘Son of a bitch, he stole my line.’ I grabbed Gus. When a piece of dialogue falls from heaven, you just know. The second Ben heard it, he was like, ‘That’s it.’”

Killa 🌺

116,853 görüntüleme • 2 ay önce

Josh Brolin says he forgot his line while playing thanos during an Avengers scene… and Mark Ruffalo somehow knew it Josh Brolin: “When I was finally in a scene with people who I knew, Ruffalo I knew. Don Cheadle I knew.” “We had a scene that we did together.” “I’m on the ground, and the cameras are on me.” “I looked at Ruffalo and I forgot my line.” “And I go, ‘What’s my line?’ Like he would know.” “It’s a different character, different actor.” “And he looked at me and he goes, ‘I don’t know.’” “And I go, ‘But you have to know. What is it? What is it?’” “And he actually gave me the line.” “I remember I thought that was so funny.” “I was like, ‘How the fuck did you remember the line?’” “Ruffalo’s the nicest human being in the world.” “And the most giving human being.” “That’s my favorite memory of doing that movie.”

Josh Brolin says he forgot his line while playing thanos during an Avengers scene… and Mark Ruffalo somehow knew it Josh Brolin: “When I was finally in a scene with people who I knew, Ruffalo I knew. Don Cheadle I knew.” “We had a scene that we did together.” “I’m on the ground, and the cameras are on me.” “I looked at Ruffalo and I forgot my line.” “And I go, ‘What’s my line?’ Like he would know.” “It’s a different character, different actor.” “And he looked at me and he goes, ‘I don’t know.’” “And I go, ‘But you have to know. What is it? What is it?’” “And he actually gave me the line.” “I remember I thought that was so funny.” “I was like, ‘How the fuck did you remember the line?’” “Ruffalo’s the nicest human being in the world.” “And the most giving human being.” “That’s my favorite memory of doing that movie.”

agim𓍯

364,565 görüntüleme • 2 ay önce

☕️☕️ I don’t think Ali was actually surprised in that moment. I think he was the one who trained her like he did with Melek or at least he already knew she was good with guns so his reaction wasn’t shock at what she did, but fear of what it means. She crossed a line for him, and now she’s involved in something much bigger. I think he was thinking: “This just got out of control.” #Yeraltı

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☕️☕️ I don’t think Ali was actually surprised in that moment. I think he was the one who trained her like he did with Melek or at least he already knew she was good with guns so his reaction wasn’t shock at what she did, but fear of what it means. She crossed a line for him, and now she’s involved in something much bigger. I think he was thinking: “This just got out of control.” #Yeraltı

Riham 𓍯𓂃♡

16,410 görüntüleme • 5 ay önce

Ryan Reynolds says Disney CEO Bob Iger forced him to remove a Mickey Mouse joke from Deadpool "Bob Iger saw the first time he saw the film, it was in pretty good shape, and he said, 'You gotta remove the one line, Ryan.'" "And I was like, 'What line?' He's like, 'You know the line.' And I went, 'Mickey Mouse?' He's like, 'Yeah.'" "And I was like, 'But Bob, the whole movie orbits around that line! Like, that line is the film. It's the thrust, the thesis, it's everything.'" "It's because my brain when he says the one line is like, 'Precious! Must keep the line!'" "And so I really had to kind of walk around his office a little bit, do a couple of laps, and then we were good. We switched it up." "He just didn't want the Mickey Mouse joke in."

Ryan Reynolds says Disney CEO Bob Iger forced him to remove a Mickey Mouse joke from Deadpool "Bob Iger saw the first time he saw the film, it was in pretty good shape, and he said, 'You gotta remove the one line, Ryan.'" "And I was like, 'What line?' He's like, 'You know the line.' And I went, 'Mickey Mouse?' He's like, 'Yeah.'" "And I was like, 'But Bob, the whole movie orbits around that line! Like, that line is the film. It's the thrust, the thesis, it's everything.'" "It's because my brain when he says the one line is like, 'Precious! Must keep the line!'" "And so I really had to kind of walk around his office a little bit, do a couple of laps, and then we were good. We switched it up." "He just didn't want the Mickey Mouse joke in."

Nuga

915,135 görüntüleme • 1 ay önce

Josh Brolin recalls a tense moment on the set of American Gangster when he thought he might have to “fight Denzel Washington.” “You know, Denzel was a hero of mine. Denzel and I did American Gangster together, and Denzel wouldn’t look at me. I did this scene with Denzel, and he had reworked the scene. He didn’t change any lines, he just reworked the scene. ‘Lines here, you say your line - You hold that line until the end - I said, ‘Okay.’ And then, as we're going through the scenes…Denzel Washington man, my hero….and I forgot a line. I put my hand on his shoulder, and I asked for the line. And he hit my hand away. He said, ‘Don’t you ever fucking touch me.’ And I was like, ‘Is he in character?’ - I was thinking, ‘Holy fuck, I’m going to fight Denzel Washington. This is amazing.’ And he looked at me right in the eye, and then I said, ‘Are we okay?’ And he said, ‘Yeah, we’re okay.’ I still don’t know to this day, because every time I see Denzel, he puts his arms out and gives me the biggest hug. And I’m just like, ‘I don’t understand actors. I know I’m an actor, but I don’t understand.’”

Josh Brolin recalls a tense moment on the set of American Gangster when he thought he might have to “fight Denzel Washington.” “You know, Denzel was a hero of mine. Denzel and I did American Gangster together, and Denzel wouldn’t look at me. I did this scene with Denzel, and he had reworked the scene. He didn’t change any lines, he just reworked the scene. ‘Lines here, you say your line - You hold that line until the end - I said, ‘Okay.’ And then, as we're going through the scenes…Denzel Washington man, my hero….and I forgot a line. I put my hand on his shoulder, and I asked for the line. And he hit my hand away. He said, ‘Don’t you ever fucking touch me.’ And I was like, ‘Is he in character?’ - I was thinking, ‘Holy fuck, I’m going to fight Denzel Washington. This is amazing.’ And he looked at me right in the eye, and then I said, ‘Are we okay?’ And he said, ‘Yeah, we’re okay.’ I still don’t know to this day, because every time I see Denzel, he puts his arms out and gives me the biggest hug. And I’m just like, ‘I don’t understand actors. I know I’m an actor, but I don’t understand.’”

Gangster Cinema Central

50,094 görüntüleme • 2 ay önce

According to Terry Gilliam, Robin Williams' character in "'The Fisher King' (1991) is in many ways the closest one to Robin, just that range — the madness, the damage, the pain, the sweetness, the outrageousness. That was the role I think that stretched him to the limits." Gilliam considered the filming of this important scene in the movie to be easy as far as effects were concerned, but as for acting, it was very hard as Robin Williams was tearing himself out emotionally. About how Robin Williams approached the scene, Gilliam said, "The interesting thing about Robin in all of those scenes was that he always wanted to do another take. He felt he had even more anguish and pain to spill out of the character. And I had to really stop him. I had to say, ‘Robin, you’ve reached a point here, way beyond what we expected. We’ve got what we needed. Now you’re just hurting yourself. That happened a couple of times while we were shooting this scene. The most worrisome moment for me was after he’s been chased by the Red Knight, when he’s running through the streets, and then he comes to the river, where the teenage punks arrive and knife him. We had to do other things on that night shoot, too, and things were going very slowly. Suddenly, we realized that we had like an hour until the dawn [would arrive]. The last shot we had to do was Robin running at the end of this scene, in this hysterical state. You can even see the light ever so slightly beginning to come on the river in the background. But Robin was so angry because it was such a crucial moment, and he felt he’d been cheated of his ability to really give this moment his all. And Robin was an incredibly strong guy: When he’d worked himself into this state of madness for the part, nobody could approach him. The first assistant, the stunt guy … nobody wanted to get near him. They were terrified. So, I had to go up there and tell him, ‘Robin, what we have here is very good. And if we look at the rushes and it isn’t, I promise you I will reshoot it.’ And I had to hug him basically, and hold him. I could feel these muscles that were so tense and so strong, they felt like they could easily r!p my he@d off. But that’s what was so extraordinary about him — how he would commit everything and more to what he had to do." ("Terry Gilliam Breaks Down a Particularly Hard Night With Robin Williams on The Fisher King", Bilge Ebiri, Vulture, 2014) P.S: Remembering the great American actor, Robin Williams, on his 75th birthday!

According to Terry Gilliam, Robin Williams' character in "'The Fisher King' (1991) is in many ways the closest one to Robin, just that range — the madness, the damage, the pain, the sweetness, the outrageousness. That was the role I think that stretched him to the limits." Gilliam considered the filming of this important scene in the movie to be easy as far as effects were concerned, but as for acting, it was very hard as Robin Williams was tearing himself out emotionally. About how Robin Williams approached the scene, Gilliam said, "The interesting thing about Robin in all of those scenes was that he always wanted to do another take. He felt he had even more anguish and pain to spill out of the character. And I had to really stop him. I had to say, ‘Robin, you’ve reached a point here, way beyond what we expected. We’ve got what we needed. Now you’re just hurting yourself. That happened a couple of times while we were shooting this scene. The most worrisome moment for me was after he’s been chased by the Red Knight, when he’s running through the streets, and then he comes to the river, where the teenage punks arrive and knife him. We had to do other things on that night shoot, too, and things were going very slowly. Suddenly, we realized that we had like an hour until the dawn [would arrive]. The last shot we had to do was Robin running at the end of this scene, in this hysterical state. You can even see the light ever so slightly beginning to come on the river in the background. But Robin was so angry because it was such a crucial moment, and he felt he’d been cheated of his ability to really give this moment his all. And Robin was an incredibly strong guy: When he’d worked himself into this state of madness for the part, nobody could approach him. The first assistant, the stunt guy … nobody wanted to get near him. They were terrified. So, I had to go up there and tell him, ‘Robin, what we have here is very good. And if we look at the rushes and it isn’t, I promise you I will reshoot it.’ And I had to hug him basically, and hold him. I could feel these muscles that were so tense and so strong, they felt like they could easily r!p my he@d off. But that’s what was so extraordinary about him — how he would commit everything and more to what he had to do." ("Terry Gilliam Breaks Down a Particularly Hard Night With Robin Williams on The Fisher King", Bilge Ebiri, Vulture, 2014) P.S: Remembering the great American actor, Robin Williams, on his 75th birthday!

DepressedBergman

31,441 görüntüleme • 2 ay önce

Sally Field says Robin Williams “wasn’t funny” to her while filming Mrs. Doubtfire despite constantly trying to make her laugh. “Robin was always trying something different to make me laugh. It was so unfunny. I can’t begin to tell you.” Then Pierce Brosnan did something incredibly stupid and instantly broke her. “We were sitting at a table at t he restaurant, and he made a fart noise on his arm. And I was gone. That was it.”

Sally Field says Robin Williams “wasn’t funny” to her while filming Mrs. Doubtfire despite constantly trying to make her laugh. “Robin was always trying something different to make me laugh. It was so unfunny. I can’t begin to tell you.” Then Pierce Brosnan did something incredibly stupid and instantly broke her. “We were sitting at a table at t he restaurant, and he made a fart noise on his arm. And I was gone. That was it.”

Best Cine Moments 🍿

94,768 görüntüleme • 4 ay önce

Robin Williams bittersweet last line in his final film. In Night at the Museum 3, he gave a performance that is impossible to watch without feeling the weight of the moment.⁠ ⁠ He delivers a line of hope and acceptance that lands like a quiet farewell.

Robin Williams bittersweet last line in his final film. In Night at the Museum 3, he gave a performance that is impossible to watch without feeling the weight of the moment.⁠ ⁠ He delivers a line of hope and acceptance that lands like a quiet farewell.

Emir Han

335,442 görüntüleme • 9 ay önce

“He was considered a sidekick, he was considered a robin, he was considered the next Pippen” Meanwhile this is what LEGENDS of the game, Shaq and Charles Barkley, thought of a 22 year old Kobe Bryant: “The best player in the world” “I didn’t think he [MJ] was as good as you”

“He was considered a sidekick, he was considered a robin, he was considered the next Pippen” Meanwhile this is what LEGENDS of the game, Shaq and Charles Barkley, thought of a 22 year old Kobe Bryant: “The best player in the world” “I didn’t think he [MJ] was as good as you”

KBs GOAT

234,888 görüntüleme • 1 yıl önce

He sees a man who was here 45 minutes earlier and he realizes he was waiting for his mother who was in line just ahead of him. So he brings him in line with him up front, cutting everyone else in line. What I don’t get is if the man’s mother is already in line, why did he have to do anything at all, she could have easily ordered for him. Don’t think this was appropriate?

He sees a man who was here 45 minutes earlier and he realizes he was waiting for his mother who was in line just ahead of him. So he brings him in line with him up front, cutting everyone else in line. What I don’t get is if the man’s mother is already in line, why did he have to do anything at all, she could have easily ordered for him. Don’t think this was appropriate?

SonnyBoy🇺🇸

326,240 görüntüleme • 7 ay önce

Carlos Alcaraz says he initially wasn’t sure if he was cramping or if it was an issue with his adductor during his match against Zverev, ‘I just told what happened to the physio & he decided to take a medical’ “I didn’t think it was cramps at all at the beginning. I didn’t know exactly what it was. I ran to a forehand and started to feel it in the right adductor. That’s why I called the physio. Because it was just that moment, the rest of the legs.. the left leg was good. Not good but decent. After that with all the stress I didn’t know what was going on. I didn’t know if it was going to be worse or not. In that moment I just talked to the physio and said ‘Ok I just went to run to the forehand side and I started to feel the right adductor.’ He decided to take the medical time out and he did it. I just told what happened to the physio and he decided to take a medical.” (via Australian Open Press)

Carlos Alcaraz says he initially wasn’t sure if he was cramping or if it was an issue with his adductor during his match against Zverev, ‘I just told what happened to the physio & he decided to take a medical’ “I didn’t think it was cramps at all at the beginning. I didn’t know exactly what it was. I ran to a forehand and started to feel it in the right adductor. That’s why I called the physio. Because it was just that moment, the rest of the legs.. the left leg was good. Not good but decent. After that with all the stress I didn’t know what was going on. I didn’t know if it was going to be worse or not. In that moment I just talked to the physio and said ‘Ok I just went to run to the forehand side and I started to feel the right adductor.’ He decided to take the medical time out and he did it. I just told what happened to the physio and he decided to take a medical.” (via Australian Open Press)

The Tennis Letter

516,967 görüntüleme • 7 ay önce

I remember when I was young, around 10-11 years old. My parents were both asleep as was my brother. I heard a knock on the back door which was weird because who uses the back door at a stranger’s house? The kitchen window was close by so I take a look. It looked like a teenager but hard to tell because they had a hoodie with the hood up. I didn’t open the door but I did crack the window and asked them what they wanted. They replied they were lost and wanted to come in to warm up and use the phone. Even when it’s daylight I know never to let anybody in period that I didn’t know, but a stranger after midnight was weird enough. I said no because I didn’t know them. Then they said that hey knew my dad and that’s why he came by. I said that’s fine and all but I’m not letting you use our phone. This was before cellphones were widely used, we had a landline like most people. The person wouldn’t take no for an answer and I could sense he was getting angry. I went and woke up my dad, I told him there was somebody at the back door and that he said they knew him. He walked to the door and looked out and said he didn’t know him. But he did talk through the door and told him that he was calling the police and that he should just leave. The person just stood there until the police finally came and even they asked him what he was doing knocking on the door at that hour. He told them he was lost and thought this was a house of a family friend. The police told him my dad didn’t know him and made him leave. So was this a case of wrong house or was he up to something. It makes me still wonder to this day but I’m still glad I never opened the door.

I remember when I was young, around 10-11 years old. My parents were both asleep as was my brother. I heard a knock on the back door which was weird because who uses the back door at a stranger’s house? The kitchen window was close by so I take a look. It looked like a teenager but hard to tell because they had a hoodie with the hood up. I didn’t open the door but I did crack the window and asked them what they wanted. They replied they were lost and wanted to come in to warm up and use the phone. Even when it’s daylight I know never to let anybody in period that I didn’t know, but a stranger after midnight was weird enough. I said no because I didn’t know them. Then they said that hey knew my dad and that’s why he came by. I said that’s fine and all but I’m not letting you use our phone. This was before cellphones were widely used, we had a landline like most people. The person wouldn’t take no for an answer and I could sense he was getting angry. I went and woke up my dad, I told him there was somebody at the back door and that he said they knew him. He walked to the door and looked out and said he didn’t know him. But he did talk through the door and told him that he was calling the police and that he should just leave. The person just stood there until the police finally came and even they asked him what he was doing knocking on the door at that hour. He told them he was lost and thought this was a house of a family friend. The police told him my dad didn’t know him and made him leave. So was this a case of wrong house or was he up to something. It makes me still wonder to this day but I’m still glad I never opened the door.

SonnyBoy🇺🇸

117,986 görüntüleme • 1 ay önce

Arnold Schwarzenegger reveals he tried to change the iconic “I’ll be back” line because he thought it sounded weak “I very casually said Jim, I said I would just rather say I will be back, and I thought this was gonna go right by and he would say whatever you want.” “And he says I like it, I’ll be back, and I said no, a machine will not abbreviate, plus it sounds really weird when I said I’ll, it sounds weak, I said why don’t we say I will be back” “He says no no no just say I’ll be back, I said it’s better I will be back, and he says what does the goddamn script say, cause you’re being a pain, and I said the script says I’ll be back, and he says then say the fucking line, I don’t correct your acting so don’t correct my fucking writing, what’s the matter with you Arnold” “And he is so right, because there’s a reason why he wrote it this way, he maybe knew it’s going to be one of those powerful lines, I didn’t know, I didn’t see anything in it, who would know that” “I was amazed when we had the screening of the movie and then kids came up to me and said say the line I’ll be back, and I said I’ll be back, and they said no no no, the way you said it in the movie, so I said I’ll be back, yeah that’s the way, so then we knew that we had a big line here”

Arnold Schwarzenegger reveals he tried to change the iconic “I’ll be back” line because he thought it sounded weak “I very casually said Jim, I said I would just rather say I will be back, and I thought this was gonna go right by and he would say whatever you want.” “And he says I like it, I’ll be back, and I said no, a machine will not abbreviate, plus it sounds really weird when I said I’ll, it sounds weak, I said why don’t we say I will be back” “He says no no no just say I’ll be back, I said it’s better I will be back, and he says what does the goddamn script say, cause you’re being a pain, and I said the script says I’ll be back, and he says then say the fucking line, I don’t correct your acting so don’t correct my fucking writing, what’s the matter with you Arnold” “And he is so right, because there’s a reason why he wrote it this way, he maybe knew it’s going to be one of those powerful lines, I didn’t know, I didn’t see anything in it, who would know that” “I was amazed when we had the screening of the movie and then kids came up to me and said say the line I’ll be back, and I said I’ll be back, and they said no no no, the way you said it in the movie, so I said I’ll be back, yeah that’s the way, so then we knew that we had a big line here”

Third

786,680 görüntüleme • 2 ay önce

I remember I had asked Brandon Aiyuk in the offseason if he would be down to do a YouTube live interview and he said that it wasn’t a good time and he’d let me know if something worked out. Naturally I just thought he was good off doing the interview which is perfectly fine but right after the 49ers lost to Philly in the NFCCG, he reached out and dm’d me if I wanted to setup an interview. I thought that was so cool that he really reached back out to set up the interview with me like he said he would. We did the interview, he was great, laid back, we talked ball, the chat was absolutely electric. My favorite interview I’ve ever done. I know BA has done a lot of extremely questionable things as of late but I genuinely miss this dude who just chopped it up with me on stream for over an hour and was super generous with his time.

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I remember I had asked Brandon Aiyuk in the offseason if he would be down to do a YouTube live interview and he said that it wasn’t a good time and he’d let me know if something worked out. Naturally I just thought he was good off doing the interview which is perfectly fine but right after the 49ers lost to Philly in the NFCCG, he reached out and dm’d me if I wanted to setup an interview. I thought that was so cool that he really reached back out to set up the interview with me like he said he would. We did the interview, he was great, laid back, we talked ball, the chat was absolutely electric. My favorite interview I’ve ever done. I know BA has done a lot of extremely questionable things as of late but I genuinely miss this dude who just chopped it up with me on stream for over an hour and was super generous with his time.

Brad

661,217 görüntüleme • 7 ay önce

When Robin Williams read the script via Francis Ford Coppola and really liked it, his one question for Coppola was, "Who are these guys?" When Matt Damon was in his fifth year at Harvard, he was in a playwriting class. The culmination of it was to write a one-act play. He started writing a movie, which with the help of Ben Affleck became this movie. Good Will Hunting (1997).

When Robin Williams read the script via Francis Ford Coppola and really liked it, his one question for Coppola was, "Who are these guys?" When Matt Damon was in his fifth year at Harvard, he was in a playwriting class. The culmination of it was to write a one-act play. He started writing a movie, which with the help of Ben Affleck became this movie. Good Will Hunting (1997).

Love Classical Music and Movies 🎺🎻💖🎥🎬

66,961 görüntüleme • 3 ay önce

In "Dead Poets Society" (1989), Peter Weir allowed Robin Williams to improvise on most of the scenes, but remained vigilant so that he didn't erupt beyond the boundaries of the character. Weir said, "Keating’s humor had to be part of the personality, Robin and I agreed at the start that he was not going to be an entertainer in the classroom. That would have been wrong for the film as a whole. It would have been so easy for him to have the kids rolling on the floor, doubled up with laughter. So he had to put the brakes on at times.” According to Robin Williams, as a guide, Peter came up with the name ‘Robin Keating’ to define what he wanted: the scripted character, shaded with an additional 15 percent of Williams’s own off-the-cuff dialogue. After seeing the dailies, Robin Williams felt he had gone over the top. He said, "It was like clown makeup on a Kabuki dancer. It didn’t fit.” Weir did cut Williams loose for what he calls Keating’s “creative radiation bombardment” lectures. For the first time Keating faces the seven young poets in the classroom, Weir asked Williams to read a bit of Shakespeare aloud and wing it from there. “I had two cameras going, obviously, and I just said, ‘Boys, this is not a scripted scene. Treat Robin as your teacher and react accordingly, and don’t forget that it’s 1959.’” Although Weir admitted that at times Williams’s impromptu performances caused shooting delays of precious minutes—as in the dining hall—he let him fly. “When he’s inspired, it would be a terrible thing to interrupt him, And he did keep everybody in a very good frame of mind.” Robin Williams found it tough to verbalize Peter Weir's special charisma. “I rank him up there with the best of people I’ve worked with". He praised Weir’s intuition and “incredible sensitivity about how far to push someone.” All in all, he found Weir an inspiration. “He was, in essence, Keating, for all of us." ("Poetry Man: Dead Poets Society", Nancy Griffin, Premiere Magazine, 1989)

In "Dead Poets Society" (1989), Peter Weir allowed Robin Williams to improvise on most of the scenes, but remained vigilant so that he didn't erupt beyond the boundaries of the character. Weir said, "Keating’s humor had to be part of the personality, Robin and I agreed at the start that he was not going to be an entertainer in the classroom. That would have been wrong for the film as a whole. It would have been so easy for him to have the kids rolling on the floor, doubled up with laughter. So he had to put the brakes on at times.” According to Robin Williams, as a guide, Peter came up with the name ‘Robin Keating’ to define what he wanted: the scripted character, shaded with an additional 15 percent of Williams’s own off-the-cuff dialogue. After seeing the dailies, Robin Williams felt he had gone over the top. He said, "It was like clown makeup on a Kabuki dancer. It didn’t fit.” Weir did cut Williams loose for what he calls Keating’s “creative radiation bombardment” lectures. For the first time Keating faces the seven young poets in the classroom, Weir asked Williams to read a bit of Shakespeare aloud and wing it from there. “I had two cameras going, obviously, and I just said, ‘Boys, this is not a scripted scene. Treat Robin as your teacher and react accordingly, and don’t forget that it’s 1959.’” Although Weir admitted that at times Williams’s impromptu performances caused shooting delays of precious minutes—as in the dining hall—he let him fly. “When he’s inspired, it would be a terrible thing to interrupt him, And he did keep everybody in a very good frame of mind.” Robin Williams found it tough to verbalize Peter Weir's special charisma. “I rank him up there with the best of people I’ve worked with". He praised Weir’s intuition and “incredible sensitivity about how far to push someone.” All in all, he found Weir an inspiration. “He was, in essence, Keating, for all of us." ("Poetry Man: Dead Poets Society", Nancy Griffin, Premiere Magazine, 1989)

DepressedBergman

24,146 görüntüleme • 3 ay önce

Matt Damon says Saving Private Ryan passed on his audition tape until Robin Williams introduced him to Spielberg "Robin took Ben and me to meet Steven cause he knew it was never a bad thing to meet the greatest filmmaker of all time" "I had put myself on tape and I had read for Private Ryan and I hadn't been cast" "Spielberg said, that's the exact type of person I'd want to play Private Ryan, it was only because Robin introduced me to him that he went, oh okay, you're the kind of guy I'm looking for"

Matt Damon says Saving Private Ryan passed on his audition tape until Robin Williams introduced him to Spielberg "Robin took Ben and me to meet Steven cause he knew it was never a bad thing to meet the greatest filmmaker of all time" "I had put myself on tape and I had read for Private Ryan and I hadn't been cast" "Spielberg said, that's the exact type of person I'd want to play Private Ryan, it was only because Robin introduced me to him that he went, oh okay, you're the kind of guy I'm looking for"

Yonan

1,967,768 görüntüleme • 3 ay önce

It’s a busy day at the charging station for the electric cars. There’s a decent line forming already and this gentleman just realized he was at a faulty charger. Right as he was ready to move to another charger, another customer decides to skip the line and immediately take a charger before anyone else who was already waiting could use it. The man confronts her and she claims she didn’t know there was a line though it was clearly visible. The man asks if he could use it before her since he was already there. She declines saying she got there before he did. Is it possible that maybe she didn’t see the line but after he informed her should she have let him use it first, or does he have to wait in line again because he already was at a charger and it’s not anyone else’s fault it wasn’t working properly?

It’s a busy day at the charging station for the electric cars. There’s a decent line forming already and this gentleman just realized he was at a faulty charger. Right as he was ready to move to another charger, another customer decides to skip the line and immediately take a charger before anyone else who was already waiting could use it. The man confronts her and she claims she didn’t know there was a line though it was clearly visible. The man asks if he could use it before her since he was already there. She declines saying she got there before he did. Is it possible that maybe she didn’t see the line but after he informed her should she have let him use it first, or does he have to wait in line again because he already was at a charger and it’s not anyone else’s fault it wasn’t working properly?

SonnyBoy🇺🇸

54,238 görüntüleme • 7 ay önce

As he was struggling to break into Hollywood, Matt Damon read about how Quentin Tarantino did it: Essentially, he got a big-name actor (Harvey Keitel) to want to star in Tarantino’s first movie (Reservoir Dogs) then leveraged that to get the movie funded. “And so,” Damon said, “We wrote ‘Good Will Hunting’ and that part that Robin [Williams] eventually took—we called it ‘the Harvey Keitel part.’” “Ben [Affleck] and I wrote the movie specifically because we wanted the parts as actors…But we knew [we needed] a big-name actor who could get us some money because Ben and I were worth nothing. And so we wrote ‘the Harvey Keitel part’ really open-ended. So we could adjust it: if Morgan Freeman or Denzel Washington wanted to come in and play it—we could make that character from Roxbury [a neighborhood in Boston], and we could explore the historic racial tension in Boston. If Meryl Streep took the part—instead of a father-son relationship, we could make it a mother-son relationship. So we really left it open-ended because we wanted to cast as wide a net as possible because we were just trying to get the movie made.” “And then once we got Robin to sign up to do it, that’s really what got us a green light to make it…He changed our lives.” Takeaway 1: In one of my favorite talks, "Runnin' Down A Dream," the venture capitalist Bill Gurley explains that while studying the career trajectories of three of his heroes—the restauranteur Danny Meyer, the coach Bobby Knight, and the musician Bob Dylan—he noticed a pattern: They studied the career trajectories of the icons in their respective industries. Like Damon, they studied how others successfully got their foot in the door then climbed to top of their profession. And then, they took similar steps towards doing the same. Coincidentally, Tarantino did this too. He made scrap books for each of his favorite filmmakers: Brian De Palma, Howard Hawks, Douglas Sirk, and Martin Scorsese. "I was like a film historian," Tarantino said. "I was obsessed with studying how they did it, the evolution of their careers." "Greatness isn't random," as Gurley puts it. Instead, it's usually a predictable step along a studied path of strategically modified emulation and, of course, determination. Takeaway 2: In the clip above, Damon goes on to explain that, not only did Robin Williams sign on to be in "Good Will Hunting," he also went off script and improvised one of the most iconic lines ("Son of a bitch, he stole my line") in the movie. It reminded me of something Pixar co-founder Ed Catmull writes in his book, Creativity. Inc.: "Getting the right people is more important than getting the right idea…If you give a good idea to a mediocre team, they will screw it up. If you give a mediocre idea to a brilliant team, they will either fix it or throw it away and come up with something better." - - - “Bob Dylan said, 'I'm a musical expeditionary.' I looked up 'expeditionary'—it's to travel for scientific research or exploration. And that's what Dylan did...For hours upon hours upon hours, he studied what other artists did. He was a mimic. He was studying, studying, studying.” — Bill Gurley Follow Billy Oppenheimer for more content like this!

As he was struggling to break into Hollywood, Matt Damon read about how Quentin Tarantino did it: Essentially, he got a big-name actor (Harvey Keitel) to want to star in Tarantino’s first movie (Reservoir Dogs) then leveraged that to get the movie funded. “And so,” Damon said, “We wrote ‘Good Will Hunting’ and that part that Robin [Williams] eventually took—we called it ‘the Harvey Keitel part.’” “Ben [Affleck] and I wrote the movie specifically because we wanted the parts as actors…But we knew [we needed] a big-name actor who could get us some money because Ben and I were worth nothing. And so we wrote ‘the Harvey Keitel part’ really open-ended. So we could adjust it: if Morgan Freeman or Denzel Washington wanted to come in and play it—we could make that character from Roxbury [a neighborhood in Boston], and we could explore the historic racial tension in Boston. If Meryl Streep took the part—instead of a father-son relationship, we could make it a mother-son relationship. So we really left it open-ended because we wanted to cast as wide a net as possible because we were just trying to get the movie made.” “And then once we got Robin to sign up to do it, that’s really what got us a green light to make it…He changed our lives.” Takeaway 1: In one of my favorite talks, "Runnin' Down A Dream," the venture capitalist Bill Gurley explains that while studying the career trajectories of three of his heroes—the restauranteur Danny Meyer, the coach Bobby Knight, and the musician Bob Dylan—he noticed a pattern: They studied the career trajectories of the icons in their respective industries. Like Damon, they studied how others successfully got their foot in the door then climbed to top of their profession. And then, they took similar steps towards doing the same. Coincidentally, Tarantino did this too. He made scrap books for each of his favorite filmmakers: Brian De Palma, Howard Hawks, Douglas Sirk, and Martin Scorsese. "I was like a film historian," Tarantino said. "I was obsessed with studying how they did it, the evolution of their careers." "Greatness isn't random," as Gurley puts it. Instead, it's usually a predictable step along a studied path of strategically modified emulation and, of course, determination. Takeaway 2: In the clip above, Damon goes on to explain that, not only did Robin Williams sign on to be in "Good Will Hunting," he also went off script and improvised one of the most iconic lines ("Son of a bitch, he stole my line") in the movie. It reminded me of something Pixar co-founder Ed Catmull writes in his book, Creativity. Inc.: "Getting the right people is more important than getting the right idea…If you give a good idea to a mediocre team, they will screw it up. If you give a mediocre idea to a brilliant team, they will either fix it or throw it away and come up with something better." - - - “Bob Dylan said, 'I'm a musical expeditionary.' I looked up 'expeditionary'—it's to travel for scientific research or exploration. And that's what Dylan did...For hours upon hours upon hours, he studied what other artists did. He was a mimic. He was studying, studying, studying.” — Bill Gurley Follow Billy Oppenheimer for more content like this!

Billy Oppenheimer

8,483,157 görüntüleme • 2 yıl önce