Загрузка видео...

Не удалось загрузить видео

Возникла проблема при загрузке этого видео. Это может быть связано с временными проблемами сети или видео может быть недоступно.

На главную

Mel Brooks on the only condition George Lucas imposed on Brooks before allowing him to make the satire on "Star Wars" (1977): "Spaceballs" (1987): "The same way I called Alfred Hitchcock to get his blessings on 'High Anxiety' (1977), I sent the 'Spaceballs' script to 'Star Wars' (1977) creator... George Lucas. If not to get his blessing, then certainly to give him a heads-up on what I was doing vis-à-vis Star Wars. He was kind enough to read it and respond. He said he had seen 'Blazing Saddles' (1974) and 'Young Frankenstein' (1974) and was a big fan. He enjoyed the script, and only had one real caveat for me: no action figures. He explained that if I made toys of my Spaceballs characters they would look a lot like Star Wars action figures. And that would be a no-no for his lawyers and his studio’s business affairs department. So he gave his blessing to make my funny satiric takeoff of Star Wars as long as I promised that we would not sell any action figures. I said, “You’re absolutely right.” And that was one of the rules we didn’t break. So even though in the movie itself we have Dark Helmet playing with action figures… we never sold any. The exchange with George Lucas also triggered a beloved comedy scene in which a character that I played, Yogurt, a takeoff on Yoda, responds to Lone Starr’s question of “What is this place? What is it that you do here?” with a whole exposé of the movie business. So even though we didn’t actually do any commercial merchandising, we still had a lot of fun with the scene. And over the years Spaceballs movie fans have sent me more than one mockup of “Spaceballs: The Breakfast Cereal.”" ("Mel Brooks on the Making of Spaceballs", Mel Brooks, Literary Hub, 2021)show more

DepressedBergman

246,194 subscribers

1,765,396 просмотров • 2 месяцев назад •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

Комментарии: 0

Нет доступных комментариев

Здесь появятся комментарии из оригинального поста

Похожие видео

Mel Brooks on the letters he received from fans who thought 'Spaceballs' (1987) was funnier than 'Star Wars' (1977): "'Spaceballs' (1987) went on to become one of the biggest hits in the Mel Brooks cinematic universe. I think I’ve autographed more 'Spaceballs' posters than for any other Mel Brooks film. I’ve even gotten some letters from young fans that saw 'Spaceballs' before they saw 'Star Wars' (1977). They would often ask me why 'Star Wars' wasn’t so funny." (Mel Brooks, 'Mel Brooks on the Making of Spaceballs', Mel Brooks, Literary Hub, 2021)

Mel Brooks on the letters he received from fans who thought 'Spaceballs' (1987) was funnier than 'Star Wars' (1977): "'Spaceballs' (1987) went on to become one of the biggest hits in the Mel Brooks cinematic universe. I think I’ve autographed more 'Spaceballs' posters than for any other Mel Brooks film. I’ve even gotten some letters from young fans that saw 'Spaceballs' before they saw 'Star Wars' (1977). They would often ask me why 'Star Wars' wasn’t so funny." (Mel Brooks, 'Mel Brooks on the Making of Spaceballs', Mel Brooks, Literary Hub, 2021)

DepressedBergman

306,064 просмотров • 9 месяцев назад

Mel Brooks will make a “Spaceballs” sequel and return as Yogurt. The original 1987 Star Wars parody was a classic that even George Lucas praised. But there was a catch: after reading the script, Lucas asked Brooks to not sell merchandise. Brooks agreed and instead made this scene in the film roasting the fact that the Star Wars franchise had basically turned into a vehicle for Lucas to move an insane amount of toys, clothing and anything else that would pay a licensing fee. Worked out perfectly. Brooks didn’t get sued and we got an S-Tier parody film. May the Schwartz be with you.

Mel Brooks will make a “Spaceballs” sequel and return as Yogurt. The original 1987 Star Wars parody was a classic that even George Lucas praised. But there was a catch: after reading the script, Lucas asked Brooks to not sell merchandise. Brooks agreed and instead made this scene in the film roasting the fact that the Star Wars franchise had basically turned into a vehicle for Lucas to move an insane amount of toys, clothing and anything else that would pay a licensing fee. Worked out perfectly. Brooks didn’t get sued and we got an S-Tier parody film. May the Schwartz be with you.

Trung Phan

296,999 просмотров • 1 год назад

Prior to the release of "Star Wars: Episode IV - A New Hope" (1977), George Lucas screened a rough cut of the movie which was "mostly filled with stock footage of old war movies, and all kinds of stuff" to some of his friends in the film industry. Most of them thought it was a disaster. Brian De Palma was especially sarcastic in a good-natured way, teasing Lucas about the “almighty Force” and indicating that the rough cut version of the film was one of the "worst things" he had ever seen. Even Lucas thought the film was not going to be successful. He said, “I figured, well, it’s just a silly movie. It ain’t going to work.”" But Steven Spielberg was among the two who thought otherwise. He said, ‘This is going to be the biggest movie of all time’. Everybody in the room looked up at him and said, ‘Poor Steven.'” Jay cocks was the other one who praised the movie. However, Lucas' filmmaker friends helped him fix up "Star Wars" even though "they didn't have any faith in it." ("Skywalking: The Life and Films of George Lucas", Dale Pollock, 1999 & "George Lucas was convinced 'Star Wars' would flop and refused to believe it was a hit until he got a call telling him to turn on the news", kirsten Acuna, Business Insider, 2021 ) P.S: On this day, 49 years ago, "Star Wars: Episode IV - A New Hope" (1977) was released in the USA.

Prior to the release of "Star Wars: Episode IV - A New Hope" (1977), George Lucas screened a rough cut of the movie which was "mostly filled with stock footage of old war movies, and all kinds of stuff" to some of his friends in the film industry. Most of them thought it was a disaster. Brian De Palma was especially sarcastic in a good-natured way, teasing Lucas about the “almighty Force” and indicating that the rough cut version of the film was one of the "worst things" he had ever seen. Even Lucas thought the film was not going to be successful. He said, “I figured, well, it’s just a silly movie. It ain’t going to work.”" But Steven Spielberg was among the two who thought otherwise. He said, ‘This is going to be the biggest movie of all time’. Everybody in the room looked up at him and said, ‘Poor Steven.'” Jay cocks was the other one who praised the movie. However, Lucas' filmmaker friends helped him fix up "Star Wars" even though "they didn't have any faith in it." ("Skywalking: The Life and Films of George Lucas", Dale Pollock, 1999 & "George Lucas was convinced 'Star Wars' would flop and refused to believe it was a hit until he got a call telling him to turn on the news", kirsten Acuna, Business Insider, 2021 ) P.S: On this day, 49 years ago, "Star Wars: Episode IV - A New Hope" (1977) was released in the USA.

DepressedBergman

68,025 просмотров • 3 месяцев назад

Mel Brooks reminisces how Alfred Hitchcock reacted after seeing the premiere of 'High Anxiety' (1977): "'High Anxiety' (1977) premiered on December 25, 1977. At that premiere screening, Hitch sat right next to me. I had my own high anxiety awaiting his re- action. He didn’t laugh. He just sat and he watched. He only broke up once. When the birds let go and plastered me with their droppings, then I could see his shoulders shaking. When the film was over, he got up and walked out. He didn’t say he liked the picture. He didn’t say he hated the picture. He didn’t say anything. He just left. I was devastated. And really worried. Not long after, when I came into the office, there on my desk was a huge box covered with silver paper and red ribbon. I tore the paper open and underneath was an impressive wooden case with a label that read: CHATEAU HAUT BRION 1961. I opened it to see six big, beautiful magnums of Chateau Haut Brion 1961. A priceless gift of one of the finest wines ever made. There was a note: "My dear Mel, What a splendid entertainment, one that should give you no anxieties of any kind. I thank you most humbly for your dedication and I offer you further thanks on behalf of the Golden Gate Bridge. With kindest regards and again my warmest congratulations. --- Hitch" Needless to say, all my worries disappeared. If there was one person in the world I really wanted to like the picture, it was Alfred Hitchcock, and god bless him, he did. And as a thrilling bonus, I could now refer to him as “Hitch.” Hitch knew something not everyone knew—that I had become a devotee of fine wines and had a wine cellar featuring some really classic vintages. I don’t know a lot, but I do know a lot about wine. (I’m not bragging. It’s just a fact.) ('All About Me - My remarkable life in Show Business", Mel Brooks, 2021)

Mel Brooks reminisces how Alfred Hitchcock reacted after seeing the premiere of 'High Anxiety' (1977): "'High Anxiety' (1977) premiered on December 25, 1977. At that premiere screening, Hitch sat right next to me. I had my own high anxiety awaiting his re- action. He didn’t laugh. He just sat and he watched. He only broke up once. When the birds let go and plastered me with their droppings, then I could see his shoulders shaking. When the film was over, he got up and walked out. He didn’t say he liked the picture. He didn’t say he hated the picture. He didn’t say anything. He just left. I was devastated. And really worried. Not long after, when I came into the office, there on my desk was a huge box covered with silver paper and red ribbon. I tore the paper open and underneath was an impressive wooden case with a label that read: CHATEAU HAUT BRION 1961. I opened it to see six big, beautiful magnums of Chateau Haut Brion 1961. A priceless gift of one of the finest wines ever made. There was a note: "My dear Mel, What a splendid entertainment, one that should give you no anxieties of any kind. I thank you most humbly for your dedication and I offer you further thanks on behalf of the Golden Gate Bridge. With kindest regards and again my warmest congratulations. --- Hitch" Needless to say, all my worries disappeared. If there was one person in the world I really wanted to like the picture, it was Alfred Hitchcock, and god bless him, he did. And as a thrilling bonus, I could now refer to him as “Hitch.” Hitch knew something not everyone knew—that I had become a devotee of fine wines and had a wine cellar featuring some really classic vintages. I don’t know a lot, but I do know a lot about wine. (I’m not bragging. It’s just a fact.) ('All About Me - My remarkable life in Show Business", Mel Brooks, 2021)

DepressedBergman

368,494 просмотров • 8 месяцев назад

Mel Brooks on one of his favourite scenes in "Robin Hood: Men in Tights" (1993): "Sometime in 1992, a talented young writer by the name of J. D. Shapiro came to me with a wonderful new take on the classic Robin Hood story. He was a pleasure to work with and in no time, we had a script worth making. I stole my Robin Hood once again from Rob Reiner, from whom I had earlier stolen Daphne Zuniga for 'Spaceballs' (1987). In Rob’s magical picture 'The Princess Bride' (1987), I found my perfect Robin Hood: Cary Elwes. He had the look, the voice, and the charm. I thought he could possibly be the next Errol Flynn! Cary was a delight to work with; we got along really well on the set and to this day we are still good friends. One scene from the movie I particularly love is the exchange between Cary and Mark Blankfield, who played Blinkin. Upon Robin’s return from the crusades, Blinkin catches him up on what's happened to his family during his absence." ("All About Me!", Mel Brooks, 2021)

Mel Brooks on one of his favourite scenes in "Robin Hood: Men in Tights" (1993): "Sometime in 1992, a talented young writer by the name of J. D. Shapiro came to me with a wonderful new take on the classic Robin Hood story. He was a pleasure to work with and in no time, we had a script worth making. I stole my Robin Hood once again from Rob Reiner, from whom I had earlier stolen Daphne Zuniga for 'Spaceballs' (1987). In Rob’s magical picture 'The Princess Bride' (1987), I found my perfect Robin Hood: Cary Elwes. He had the look, the voice, and the charm. I thought he could possibly be the next Errol Flynn! Cary was a delight to work with; we got along really well on the set and to this day we are still good friends. One scene from the movie I particularly love is the exchange between Cary and Mark Blankfield, who played Blinkin. Upon Robin’s return from the crusades, Blinkin catches him up on what's happened to his family during his absence." ("All About Me!", Mel Brooks, 2021)

DepressedBergman

61,311 просмотров • 1 месяц назад

Lawrence Kasdan on how George Lucas helped him to make "Body Heat" (1981) & the most important advice George Lucas gave Kasdan before his debut movie: "Interviewer: What was it like making the jump into directing? Kasdan: Part of it had to do with George, because Alan Ladd Jr. said "You have to get a sponsor," because that's what was happening then. So I went to George and he said "I can't put the Lucasfilm name on Body Heat because it's too dirty. But I will sponsor you." So he went to Laddie and said "I'll sponsor Larry to do 'Body Heat'. Here's a quarter of a million dollars, and if he goes over (budget), you can use that to cover his overages," which just astounding! George never came to the set, but when we were editing, George spent one day in the cutting room with me, which was very helpful. But making the jump was not hard, because I had been imagining directing for a long time (laughs). Every movie I had written, I had already directed in my head, so it turned out to be not that big a deal. I was so happy. People don't talk about that too much. We have a way of being cool about our careers. The truth is, I'm happy about it, that I get to (make movies). It was true 20 years ago, and it's true now. (...) Interviewer: Any advice for first-time directors? Kasdan: George Lucas said the most useful thing to me as I was about to do 'Body Heat'. I said "George, I don't know that much about the technical stuff." And keep in mind that George is Mr. Technology, right? He said "Making movies has nothing to do with the technical stuff. It has everything to do with what kind of person you are." It was the most important thing anyone ever said to me about directing. I had a lot of confidence in the sort of person I was. I knew the kind of stories I wanted to tell. I knew the kind of atmosphere I wanted to create on my set. I knew the kind of life I wanted to live and how I wanted my work to embody that life, so the fact that I didn't know anything technically didn't really matter. You can learn the technical stuff like that (snaps fingers). So the fact that it was George who told me this was very comforting. And it turned out to be absolutely true." (Lawrence Kasdan's interview with Alex Simon, Venice Magazine, 2001)

Lawrence Kasdan on how George Lucas helped him to make "Body Heat" (1981) & the most important advice George Lucas gave Kasdan before his debut movie: "Interviewer: What was it like making the jump into directing? Kasdan: Part of it had to do with George, because Alan Ladd Jr. said "You have to get a sponsor," because that's what was happening then. So I went to George and he said "I can't put the Lucasfilm name on Body Heat because it's too dirty. But I will sponsor you." So he went to Laddie and said "I'll sponsor Larry to do 'Body Heat'. Here's a quarter of a million dollars, and if he goes over (budget), you can use that to cover his overages," which just astounding! George never came to the set, but when we were editing, George spent one day in the cutting room with me, which was very helpful. But making the jump was not hard, because I had been imagining directing for a long time (laughs). Every movie I had written, I had already directed in my head, so it turned out to be not that big a deal. I was so happy. People don't talk about that too much. We have a way of being cool about our careers. The truth is, I'm happy about it, that I get to (make movies). It was true 20 years ago, and it's true now. (...) Interviewer: Any advice for first-time directors? Kasdan: George Lucas said the most useful thing to me as I was about to do 'Body Heat'. I said "George, I don't know that much about the technical stuff." And keep in mind that George is Mr. Technology, right? He said "Making movies has nothing to do with the technical stuff. It has everything to do with what kind of person you are." It was the most important thing anyone ever said to me about directing. I had a lot of confidence in the sort of person I was. I knew the kind of stories I wanted to tell. I knew the kind of atmosphere I wanted to create on my set. I knew the kind of life I wanted to live and how I wanted my work to embody that life, so the fact that I didn't know anything technically didn't really matter. You can learn the technical stuff like that (snaps fingers). So the fact that it was George who told me this was very comforting. And it turned out to be absolutely true." (Lawrence Kasdan's interview with Alex Simon, Venice Magazine, 2001)

DepressedBergman

86,932 просмотров • 3 месяцев назад

STAR WARS hit screens on this day in 1977. It was one of the first films I saw in the theater. Because it was in theaters for over a year (like RAIDERS OF THE LOST ARK would be four years later), I can’t be sure if I saw it in 1977 or 1978, but I do know that I was very young. I remember going with my mom, that it was a matinee, and that we sat in the middle. The seats stand out to me because I remember I had to use the restroom in the middle of the climactic battle scene :) I’d see it multiple times in the theater over its run and would see THE EMPIRE STRIKES BACK and RETURN OF THE JEDI on their opening weekends. And yes, I remember the marketing for the third film when it was called REVENGE OF THE JEDI. If you did not live through it, it is hard to describe the STAR WARS mania that gripped the country in 1977 and lasted through RETURN OF THE JEDI in 1983. From lines at the theaters to toys to costumes to books to the infamous 1978 STAR WARS HOLIDAY SPECIAL, it was an amazing time to be a kid and witness the magic of the movies firsthand through a phenomenon you knew was something extremely special. I can’t be 100% sure that STAR WARS was my first movie in the theater, as during that timeframe I also saw WATERSHIP DOWN (traumatic) and THE RESCUERS (dark) as a double feature with my dad (we had to travel to a city and I found a 9mm bullet in the street – a bullet I still have today), CLOSE ENCOUNTERS OF THE THIRD KIND with my grandmother (where I tripped running to the theater with a bowl of popcorn that was almost bigger than I was and spilling it all over the hallway - and I remember how nice the guy was behind the counter who gave us another one for free), and a double feature of ESCAPE TO WITCH MOUNTAIN and THE BLACK HOLE, but in looking at the dates of those two films I think it was after STAR WARS and that the theater paired an older film (ESCAPE TO WITCH MOUNTAIN – 1975) with a new film (THE BLACK HOLE – 1979). I just watched the original three films with my youngest son, and it brings me right back…probably the closest I can get to a time machine.

STAR WARS hit screens on this day in 1977. It was one of the first films I saw in the theater. Because it was in theaters for over a year (like RAIDERS OF THE LOST ARK would be four years later), I can’t be sure if I saw it in 1977 or 1978, but I do know that I was very young. I remember going with my mom, that it was a matinee, and that we sat in the middle. The seats stand out to me because I remember I had to use the restroom in the middle of the climactic battle scene :) I’d see it multiple times in the theater over its run and would see THE EMPIRE STRIKES BACK and RETURN OF THE JEDI on their opening weekends. And yes, I remember the marketing for the third film when it was called REVENGE OF THE JEDI. If you did not live through it, it is hard to describe the STAR WARS mania that gripped the country in 1977 and lasted through RETURN OF THE JEDI in 1983. From lines at the theaters to toys to costumes to books to the infamous 1978 STAR WARS HOLIDAY SPECIAL, it was an amazing time to be a kid and witness the magic of the movies firsthand through a phenomenon you knew was something extremely special. I can’t be 100% sure that STAR WARS was my first movie in the theater, as during that timeframe I also saw WATERSHIP DOWN (traumatic) and THE RESCUERS (dark) as a double feature with my dad (we had to travel to a city and I found a 9mm bullet in the street – a bullet I still have today), CLOSE ENCOUNTERS OF THE THIRD KIND with my grandmother (where I tripped running to the theater with a bowl of popcorn that was almost bigger than I was and spilling it all over the hallway - and I remember how nice the guy was behind the counter who gave us another one for free), and a double feature of ESCAPE TO WITCH MOUNTAIN and THE BLACK HOLE, but in looking at the dates of those two films I think it was after STAR WARS and that the theater paired an older film (ESCAPE TO WITCH MOUNTAIN – 1975) with a new film (THE BLACK HOLE – 1979). I just watched the original three films with my youngest son, and it brings me right back…probably the closest I can get to a time machine.

Jack Carr

27,005 просмотров • 1 год назад

Mel Brooks on how he approached writing the screenplay for 'Blazing Saddles' (1974) & why this movie is 1st, 2nd, 3rd & 4th best comedy of all time: "Interviewer: 'Blazing Saddles' (1974) epitomized what became known as a "Mel Brooks Movie," an irreverent romp that broke all the rules. What led you to this type of wacky satire? Brooks: I just wanted to exorcise both my angels and demons. I said to all the writers, "Look, fellas, don't worry, this movie will never get released. Never. [Warner Bros.] will see it and they'll say, 'Let's bury it.' So let's go nuts. Let's write things that we never would dare write." And we did. There's a few guys doing that now — Tarantino's doing that. He's not being politically correct or in any way correct. Getting Goering and Hitler and Goebbels and all of those guys into a movie house in Paris and setting it on fire ['Inglorious Basterds' (2009)]. [Laughs] I mean, that's so crazy. So I think I just let it all go. I said, "I'm not gonna f—ing worry about what they're going to like or not like. It's what I like and what I don't like." (...) Interviewer: Pound for pound, minute for minute, there are probably more laughs in Saddles than in any other movie ever made. Brooks: I think the AFI number one all-time comedy is 'Some Like It Hot' (1959), which I like. I thought it was really terrific. But it's certainly not half as funny as Blazing Saddles. I mean, it can't compare. When you limit your lists to comedies, Blazing Saddles should be first, second, third, and fourth. And then maybe Young Frankenstein should be fifth. That's the way it should roll. Between me and you — you can print it — that's why I didn't do the AFI Man of the Year thing for a long time." ("'Blazing Saddles' at 40: A conversation with Mel Brooks", Jeff Labrecque, Entertainment Weekly, 2014)

Mel Brooks on how he approached writing the screenplay for 'Blazing Saddles' (1974) & why this movie is 1st, 2nd, 3rd & 4th best comedy of all time: "Interviewer: 'Blazing Saddles' (1974) epitomized what became known as a "Mel Brooks Movie," an irreverent romp that broke all the rules. What led you to this type of wacky satire? Brooks: I just wanted to exorcise both my angels and demons. I said to all the writers, "Look, fellas, don't worry, this movie will never get released. Never. [Warner Bros.] will see it and they'll say, 'Let's bury it.' So let's go nuts. Let's write things that we never would dare write." And we did. There's a few guys doing that now — Tarantino's doing that. He's not being politically correct or in any way correct. Getting Goering and Hitler and Goebbels and all of those guys into a movie house in Paris and setting it on fire ['Inglorious Basterds' (2009)]. [Laughs] I mean, that's so crazy. So I think I just let it all go. I said, "I'm not gonna f—ing worry about what they're going to like or not like. It's what I like and what I don't like." (...) Interviewer: Pound for pound, minute for minute, there are probably more laughs in Saddles than in any other movie ever made. Brooks: I think the AFI number one all-time comedy is 'Some Like It Hot' (1959), which I like. I thought it was really terrific. But it's certainly not half as funny as Blazing Saddles. I mean, it can't compare. When you limit your lists to comedies, Blazing Saddles should be first, second, third, and fourth. And then maybe Young Frankenstein should be fifth. That's the way it should roll. Between me and you — you can print it — that's why I didn't do the AFI Man of the Year thing for a long time." ("'Blazing Saddles' at 40: A conversation with Mel Brooks", Jeff Labrecque, Entertainment Weekly, 2014)

DepressedBergman

43,053 просмотров • 6 месяцев назад

VIDEO | Actor Saif Ali Khan says producer Shah Rukh Khan gave the team of "Kartavya" a free hand to make the film the way they wanted. In fact, Shah Rukh was the one who called Saif to inform about the script that they were developing at Red Chillies. "He said, ‘There’s a lovely script, and I would like you to hear it, and do it’. Then I listened to it and met the director. Once the film was complete, he said, ‘It has come out as a lovely movie’. He was very happy,” Saif said. “Sometimes the presence (of Shah Rukh) can be overwhelming on sets and I think he understands that. He gave us room to make the film on our own. I felt I was working for his production with his kind of sensibility,” the actor added. Directed by Pulkit of "Bhakshak" fame, the film stars Rasika Dugal opposite Saif and the actor said he is a huge fan of the "Mirzapur" star. #ShahRukhKhan

VIDEO | Actor Saif Ali Khan says producer Shah Rukh Khan gave the team of "Kartavya" a free hand to make the film the way they wanted. In fact, Shah Rukh was the one who called Saif to inform about the script that they were developing at Red Chillies. "He said, ‘There’s a lovely script, and I would like you to hear it, and do it’. Then I listened to it and met the director. Once the film was complete, he said, ‘It has come out as a lovely movie’. He was very happy,” Saif said. “Sometimes the presence (of Shah Rukh) can be overwhelming on sets and I think he understands that. He gave us room to make the film on our own. I felt I was working for his production with his kind of sensibility,” the actor added. Directed by Pulkit of "Bhakshak" fame, the film stars Rasika Dugal opposite Saif and the actor said he is a huge fan of the "Mirzapur" star. #ShahRukhKhan

Press Trust of India

252,302 просмотров • 3 месяцев назад

Stephen A. Smith on the beef with LeBron James: “LeBron and I have never rocked with one another. You understand? And. We never, never you know, and I’m fine with it. And so is he. We good. But the point is this. His wife is the First Lady of the NBA. Class personified. Beautiful human being. I’ve known his mother for years. I haven’t seen in a long time. Always, always wonderful to me. Mav, Rich Paul, Randy good people, good brothers. I’ve never had any issues with any of them. So my point was is that if you had a problem, all you had to do was get Rich Paul or Maverick or somebody else. Stephen A. LeBron pretty upset. He pissed. He want to see you. And I said to them, what would I have done? They said, you’d have been on the first plane to LA. I would have came and saw him that night when he rolled up on me. I said, yo man, we can go to the back. He’s like, “Fu*k that. I’m like, we can go to the back.” We go to the back and talk about it after the game. I’ll wait. He was like, No. And I said, go ahead, man. All right, man. No problem. Because I’m not going to make a scene court side in the middle of the game. So then after that wasn’t bad. That wasn’t enough this dude goes on ESPN. He went on there just to insult me. Now you done messed up.” (Via Out The Mud Podcast)

Stephen A. Smith on the beef with LeBron James: “LeBron and I have never rocked with one another. You understand? And. We never, never you know, and I’m fine with it. And so is he. We good. But the point is this. His wife is the First Lady of the NBA. Class personified. Beautiful human being. I’ve known his mother for years. I haven’t seen in a long time. Always, always wonderful to me. Mav, Rich Paul, Randy good people, good brothers. I’ve never had any issues with any of them. So my point was is that if you had a problem, all you had to do was get Rich Paul or Maverick or somebody else. Stephen A. LeBron pretty upset. He pissed. He want to see you. And I said to them, what would I have done? They said, you’d have been on the first plane to LA. I would have came and saw him that night when he rolled up on me. I said, yo man, we can go to the back. He’s like, “Fu*k that. I’m like, we can go to the back.” We go to the back and talk about it after the game. I’ll wait. He was like, No. And I said, go ahead, man. All right, man. No problem. Because I’m not going to make a scene court side in the middle of the game. So then after that wasn’t bad. That wasn’t enough this dude goes on ESPN. He went on there just to insult me. Now you done messed up.” (Via Out The Mud Podcast)

NBA Courtside

551,348 просмотров • 3 месяцев назад

In 1977, before anyone knew what Star Wars would become, Alec Guinness sat down to explain how a knighted Shakespearean actor ended up in a science fiction film he almost turned down. The script arrived while Guinness was finishing a picture in Hollywood. The name attached to it impressed him. "I heard it had been delivered by George Lucas, and I thought that was impressive because he was a respected young director." Then he learned what kind of film it was, and his enthusiasm collapsed: "When I found out it was science fiction, I thought, 'oh crumbs,' and felt it simply wasn't for me. But then I started reading." What kept him going wasn't the writing. By his own account, the writing was a problem: "It seemed to me the dialogue was pretty ropey, but I had to keep turning the page. That is an essential quality in a script. You have to want to know what happens next." That instinct, the inability to put the pages down, was enough. He met Lucas, the two got on well, and Guinness found himself signing on. Then comes the part of the interview that has since become legend, told here in 1977 with no idea of how the numbers would balloon. Guinness recounts the percentage deal: "My agent asked for 2% because we didn't think it would make any money. I'd never had a percentage on a film before." The story of how it grew is almost comic in its modesty: "The day before the film opened in San Francisco, George Lucas phoned me. He's very diffident and shy, and said he thought the movie was going to be all right. He said they were grateful for the little alterations I suggested and offered me another half percent, making it two and a half. A few weeks later, I asked the producer for something in writing, and he mentioned a quarter percent, so it ended up being 2 1/4%." A modest slice of a film nobody expected to earn anything. Asked what fascinated him about it, Guinness reached past the genre and landed on something simpler: "I think it has a marvelous healthy innocence. It has great pace, it's wonderful to look at, and it's full of guts. There are no horrors and no sex at all." He described the strange aftereffect of watching it: "It had a sort of wonderful freshness about it. It was like fresh air. When I came out of the cinema into London, I thought the city looked gritty and full of rubbish because the film had been so invigorating. It's simple stuff for all ages." And already, before the franchise existed, people were reading more into it than Guinness ever intended. Asked if he was becoming a kind of guru figure, he answered with characteristic dryness: "I am getting some pretty strange letters. One said, 'my wife and I have got problems, would you come over and live with us for a few months?'"

In 1977, before anyone knew what Star Wars would become, Alec Guinness sat down to explain how a knighted Shakespearean actor ended up in a science fiction film he almost turned down. The script arrived while Guinness was finishing a picture in Hollywood. The name attached to it impressed him. "I heard it had been delivered by George Lucas, and I thought that was impressive because he was a respected young director." Then he learned what kind of film it was, and his enthusiasm collapsed: "When I found out it was science fiction, I thought, 'oh crumbs,' and felt it simply wasn't for me. But then I started reading." What kept him going wasn't the writing. By his own account, the writing was a problem: "It seemed to me the dialogue was pretty ropey, but I had to keep turning the page. That is an essential quality in a script. You have to want to know what happens next." That instinct, the inability to put the pages down, was enough. He met Lucas, the two got on well, and Guinness found himself signing on. Then comes the part of the interview that has since become legend, told here in 1977 with no idea of how the numbers would balloon. Guinness recounts the percentage deal: "My agent asked for 2% because we didn't think it would make any money. I'd never had a percentage on a film before." The story of how it grew is almost comic in its modesty: "The day before the film opened in San Francisco, George Lucas phoned me. He's very diffident and shy, and said he thought the movie was going to be all right. He said they were grateful for the little alterations I suggested and offered me another half percent, making it two and a half. A few weeks later, I asked the producer for something in writing, and he mentioned a quarter percent, so it ended up being 2 1/4%." A modest slice of a film nobody expected to earn anything. Asked what fascinated him about it, Guinness reached past the genre and landed on something simpler: "I think it has a marvelous healthy innocence. It has great pace, it's wonderful to look at, and it's full of guts. There are no horrors and no sex at all." He described the strange aftereffect of watching it: "It had a sort of wonderful freshness about it. It was like fresh air. When I came out of the cinema into London, I thought the city looked gritty and full of rubbish because the film had been so invigorating. It's simple stuff for all ages." And already, before the franchise existed, people were reading more into it than Guinness ever intended. Asked if he was becoming a kind of guru figure, he answered with characteristic dryness: "I am getting some pretty strange letters. One said, 'my wife and I have got problems, would you come over and live with us for a few months?'"

History Nerd

94,762 просмотров • 2 месяцев назад

today would have been Oliver Tree birthday . he brought me so much joy just to know a creator that loved and breathed his art 1000% every time I see him I felt like I wasn’t doing enough .. but it wasn’t just the work as a musician it was life . he lived it every moment to the fullest - he gave everything in his bones to making the world a better place with his music . a lot of people might have just been turned on to him that wasn’t familiar . and he would be so happy to see the impact he had .. at a great time with everyone looksmaxing, faking their way to the algorithm and making music for the money - he tried to steer humanity into a greater place where being the best version yourself is the greatest gift you can give... this is one of the demos we had - in retrospect it makes me cry to listen back to.. what a big heart this man had

today would have been Oliver Tree birthday . he brought me so much joy just to know a creator that loved and breathed his art 1000% every time I see him I felt like I wasn’t doing enough .. but it wasn’t just the work as a musician it was life . he lived it every moment to the fullest - he gave everything in his bones to making the world a better place with his music . a lot of people might have just been turned on to him that wasn’t familiar . and he would be so happy to see the impact he had .. at a great time with everyone looksmaxing, faking their way to the algorithm and making music for the money - he tried to steer humanity into a greater place where being the best version yourself is the greatest gift you can give... this is one of the demos we had - in retrospect it makes me cry to listen back to.. what a big heart this man had

diplo

179,946 просмотров • 1 месяц назад

Where are the Blazing Saddles fans? I never watched Blazing Saddles all the way through until last summer. I had only seen clips, so I always thought it was absurd and found a lot of the scenes offensive. Once I understood what Mel Brooks was doing, the whole movie clicked. He did not hold back, it was satire aimed at exposing how ridiculous racism really is. Did it take you a while to get that too, or was I just late to appreciating the movie?

Where are the Blazing Saddles fans? I never watched Blazing Saddles all the way through until last summer. I had only seen clips, so I always thought it was absurd and found a lot of the scenes offensive. Once I understood what Mel Brooks was doing, the whole movie clicked. He did not hold back, it was satire aimed at exposing how ridiculous racism really is. Did it take you a while to get that too, or was I just late to appreciating the movie?

🇺🇸Hot Pepper

47,408 просмотров • 5 месяцев назад

On this day, 61 years ago, Sidney J. Furie's "The Ipcress File" (1965) was released in the U.K. On the first day of shooting, director Sidney J. Furie gathered the cast and said, "This is what I think of the script." He then set it on fire. Michael Caine on the incident: "The driver picked me up for the first day of shooting and asked me if I was an actor in the movie, and if I had read Len Deighton’s book. When I told him I was the lead in it, he told me, ‘The whole thing is a load of rubbish, isn’t it?’ Then, when I arrived on set, Sidney had everyone gather around. He asked if anyone had any matches, and I smoked at that time, so I handed mine over. Sidney took the script, lit the match, looked at everyone and said, ‘Here’s what I think of this script’ and set the match to it. That was his copy of the script, so he asked if anyone had another copy to consult after he had burned his own, so I gave him mine. But it was a gesture, an illustration. It was a hell of a way to be christened into being the lead in a film." Sidney J. Furie on the reason for the movie's peculiar style: "I was very depressed always when we started shooting, thinking that it was going to be really lousy and I didn’t know what to do, so I told myself I would come up with a style of shooting that is different. I put shoulders across the screen, I shot up at things, I shot down, just to make it different, to give it ambiance. It was done out of insecurity, with a little cognac spiked in my morning coffee to give me courage." ("Sidney J. Furie: Life and Films", Daniel Kremer, 2015)

On this day, 61 years ago, Sidney J. Furie's "The Ipcress File" (1965) was released in the U.K. On the first day of shooting, director Sidney J. Furie gathered the cast and said, "This is what I think of the script." He then set it on fire. Michael Caine on the incident: "The driver picked me up for the first day of shooting and asked me if I was an actor in the movie, and if I had read Len Deighton’s book. When I told him I was the lead in it, he told me, ‘The whole thing is a load of rubbish, isn’t it?’ Then, when I arrived on set, Sidney had everyone gather around. He asked if anyone had any matches, and I smoked at that time, so I handed mine over. Sidney took the script, lit the match, looked at everyone and said, ‘Here’s what I think of this script’ and set the match to it. That was his copy of the script, so he asked if anyone had another copy to consult after he had burned his own, so I gave him mine. But it was a gesture, an illustration. It was a hell of a way to be christened into being the lead in a film." Sidney J. Furie on the reason for the movie's peculiar style: "I was very depressed always when we started shooting, thinking that it was going to be really lousy and I didn’t know what to do, so I told myself I would come up with a style of shooting that is different. I put shoulders across the screen, I shot up at things, I shot down, just to make it different, to give it ambiance. It was done out of insecurity, with a little cognac spiked in my morning coffee to give me courage." ("Sidney J. Furie: Life and Films", Daniel Kremer, 2015)

DepressedBergman

55,961 просмотров • 5 месяцев назад

Blake Edwards on the conditions he laid out before accepting to direct "A Shot in the Dark" (1964): "'A Shot in the Dark' (1964) is nothing like Marcel Archard’s play, that’s for a start. I was asked to save the situation. They had quite a bit of money involved in this project. Peter Sellers was threatening to pull out because he didn’t like the screenplay. He said that the only way he would continue with the project would be if I took it over. I said that the only way I could possibly take it over, under such emergency conditions, would be that I would not be obliged to do anything like Archard’s play because a) I didn’t like it, b) I thought it was not a motion picture and c) I wasn’t ready to make a movie at that point. So they asked me what I wanted to do because the picture had to start in something like four weeks. I said that if they wanted me to save them, I’d have to take something with which I was familiar to begin with. I was familiar with the character of Clouseau. I needed a detective, somebody to solve a murder. I couldn’t throw the whole thing out. I had to use the idea that the maid was accused of killing the chaffeur and this had to be solved. So I thought that Peter Sellers was just the natural thing and that now I was going to try to be as broad with the character as I could be. “How far can I go now in terms of Inspector Clouseau?” I wrote the screenplay and was on the stage in four weeks with it. Fortunately, it turned out to be a reasonably funny movie. It proved something for me—that if a gag is well-designed you can pull it off." (Blake Edwards' interview with Jean-Francois Hauduroy, Cahiers du cinéma, 1966) P.S: On this 62 years ago, "A Shot in the Dark" (1964) premiered in New York City, USA.

Blake Edwards on the conditions he laid out before accepting to direct "A Shot in the Dark" (1964): "'A Shot in the Dark' (1964) is nothing like Marcel Archard’s play, that’s for a start. I was asked to save the situation. They had quite a bit of money involved in this project. Peter Sellers was threatening to pull out because he didn’t like the screenplay. He said that the only way he would continue with the project would be if I took it over. I said that the only way I could possibly take it over, under such emergency conditions, would be that I would not be obliged to do anything like Archard’s play because a) I didn’t like it, b) I thought it was not a motion picture and c) I wasn’t ready to make a movie at that point. So they asked me what I wanted to do because the picture had to start in something like four weeks. I said that if they wanted me to save them, I’d have to take something with which I was familiar to begin with. I was familiar with the character of Clouseau. I needed a detective, somebody to solve a murder. I couldn’t throw the whole thing out. I had to use the idea that the maid was accused of killing the chaffeur and this had to be solved. So I thought that Peter Sellers was just the natural thing and that now I was going to try to be as broad with the character as I could be. “How far can I go now in terms of Inspector Clouseau?” I wrote the screenplay and was on the stage in four weeks with it. Fortunately, it turned out to be a reasonably funny movie. It proved something for me—that if a gag is well-designed you can pull it off." (Blake Edwards' interview with Jean-Francois Hauduroy, Cahiers du cinéma, 1966) P.S: On this 62 years ago, "A Shot in the Dark" (1964) premiered in New York City, USA.

DepressedBergman

20,460 просмотров • 2 месяцев назад

STAR WARS: A NEW HOPE was released 49 years ago today. George Lucas was so convinced the film would be a failure that instead of attending the premiere, he went on vacation to Hawaii with Steven Spielberg, who had predicted it would be a blockbuster.

STAR WARS: A NEW HOPE was released 49 years ago today. George Lucas was so convinced the film would be a failure that instead of attending the premiere, he went on vacation to Hawaii with Steven Spielberg, who had predicted it would be a blockbuster.

cinesthetic.

28,767 просмотров • 3 месяцев назад

Gary Oldman's "EVERYONE!!" scream in Léon: The Professional is so iconic people yell it at him in the street. Turns out it started as a joke between him and Luc Besson. He explains: “What's strange is that it's become this sort of iconic line, and it was all done as a joke. And that was the thing, I played the scene…. And I had a relationship with Luc. Luc Besson was kind of mad in a way — I mean, we were shooting on film. He would say to me, "OK, do the scene again, but now do it as Robert De Niro." Or do it as... And he would shoot it for kicks, and his archive. So we had a fun kind of relationship… I said to Luke, "I just want to do one more, let me do one more." And I went to the sound guy and I said, "I'm going to be really loud, so be careful." And said “bring me everyone" — you know, EVERYONE like that. I just did it as a joke to make Luc laugh. I was a little shocked when I saw it in the film, yeah. It was just me fooling around — with intensity, with feeling — and yet it's become this line now.”

Gary Oldman's "EVERYONE!!" scream in Léon: The Professional is so iconic people yell it at him in the street. Turns out it started as a joke between him and Luc Besson. He explains: “What's strange is that it's become this sort of iconic line, and it was all done as a joke. And that was the thing, I played the scene…. And I had a relationship with Luc. Luc Besson was kind of mad in a way — I mean, we were shooting on film. He would say to me, "OK, do the scene again, but now do it as Robert De Niro." Or do it as... And he would shoot it for kicks, and his archive. So we had a fun kind of relationship… I said to Luke, "I just want to do one more, let me do one more." And I went to the sound guy and I said, "I'm going to be really loud, so be careful." And said “bring me everyone" — you know, EVERYONE like that. I just did it as a joke to make Luc laugh. I was a little shocked when I saw it in the film, yeah. It was just me fooling around — with intensity, with feeling — and yet it's become this line now.”

Gangster Cinema Central

35,141 просмотров • 1 месяц назад

Charlie Sheen reveals Oliver Stone gave the Born on the Fourth of July role they had agreed on to Tom Cruise and confronted him drunk in a bar about it years later “The thing that was weird is he said, you know, I want you to do Born on the Fourth and we had meetings about it and we had a dinner with Ron Kovic, and then he just I stopped hearing from him.” “I love that Emilio thought I needed to be seated to get news he thought was going to make me faint. I mean, what are we doing here? It's a movie.” “It was also the betrayal factor of it, you know.” “I was like, Well, we didn't see you. How do you know how much passion I lost if we never talked about it again? He was like, Yeah, you know, my instincts told me.”

Charlie Sheen reveals Oliver Stone gave the Born on the Fourth of July role they had agreed on to Tom Cruise and confronted him drunk in a bar about it years later “The thing that was weird is he said, you know, I want you to do Born on the Fourth and we had meetings about it and we had a dinner with Ron Kovic, and then he just I stopped hearing from him.” “I love that Emilio thought I needed to be seated to get news he thought was going to make me faint. I mean, what are we doing here? It's a movie.” “It was also the betrayal factor of it, you know.” “I was like, Well, we didn't see you. How do you know how much passion I lost if we never talked about it again? He was like, Yeah, you know, my instincts told me.”

Hribi

219,120 просмотров • 2 месяцев назад

Like a lot of people my age my first adventures in storytelling was playing with Star Wars figures as a kid. So when I did this quick test of kinetix video I tested it out with a Star Wars theme. What you’re seeing on the left is the driving video and staring frame. Then you chose a camera action (Dolly in etc) and write a prompt. Then kinetix aimates your character and moves the camera. It’s great to see performance controled generations coming to AI video and the team have more control coming on the roadmap. I am looking forward to testing out with some original footage and images when I get sometime soon.

Like a lot of people my age my first adventures in storytelling was playing with Star Wars figures as a kid. So when I did this quick test of kinetix video I tested it out with a Star Wars theme. What you’re seeing on the left is the driving video and staring frame. Then you chose a camera action (Dolly in etc) and write a prompt. Then kinetix aimates your character and moves the camera. It’s great to see performance controled generations coming to AI video and the team have more control coming on the roadmap. I am looking forward to testing out with some original footage and images when I get sometime soon.

Uncanny Harry AI

45,447 просмотров • 11 месяцев назад

Coppola had to fight to cast Marlon Brando as Vito Corleone in The Godfather. At the time, the studio saw Brando as “box office poison.” What finally sold them was his legendary screen test, where he transformed into the Don right in front of their eyes. Coppola explains: "I remember in one meeting, I was told by the then president of Paramount - "As president of Paramount Pictures, I am telling you that Marlon Brando will not appear in this motion picture." So I continued talking and arguing, and finally, they agreed to let me discuss the idea of Marlon Brando being in the movie if I honored three stipulations. A - he would do a screen test. B - he would do the film for free. (he would get a back-end deal) And C - he would put up a bond so that if any of his shenanigans or any trouble came from him being on the set, that it would guarantee the losses. So I said, - "Okay, I accept” - What could I do? I accepted these three things from Marlon. So I then called up Marlon Brando and suggested, "Maybe it’d be nice if I did like a little makeup test or something? I could come over your house." - he said to me, "All right."… We got to his house very early, and we set up our little lights. And I had brought a bunch of provolone cheese and a little Italian cigars and little props just to kind of put around - sure enough, he wakes up, and he comes out of his bedroom; and he's this great-looking, I don't know, he must have been 47, and in a Japanese robe. He looked very impressive, and I looked at him with this ponytail and I'm like, "God, how's he ever going to play a mafia chieftain?"… And he walked on. He put on a jacket, and he started mumbling - I remember, he went through great effort to bend the tip of his collar - he said, "So, like, there's a time guys always have the collar bent like that." And he picked up a cigar, and he started to gesture with it and use it as a prop, and he nibbled on a little bit of provolone cheese - and he rolled up the ponytail, and he kind of pinned it up, and he took some shoe polish, and he darkened it, and while he's doing this, we're photographing… He took some tissue paper, and he said, "He should have the face of a bulldog."...He stuffed the tissue paper in his jaw, and then he said, "Well, if he's shot in the throat, he ought to have to talk like that a little bit." It really was a transformation of this nice looking young man with a blonde ponytail, into this kind of mafia guy… I took it to New York, and I went to Mr. Bluthorn's office (head of Paramount Pictures), and I said, "Oh, Charlie, Charlie, I want to show you something." - I flick the video, and sure enough, there's Marlon Brando coming out in a robe with a blonde ponytail, and he looks, and he says, "Never! Marlon Brando, never! Never!" And as he's doing that, he's watching Brando turn himself into this guy, and Charlie just looks astounded, and he says, "That's incredible! That's incredible!" And once he was sold on the idea that Marlon could do it on his authority, they allowed us to do it."

Coppola had to fight to cast Marlon Brando as Vito Corleone in The Godfather. At the time, the studio saw Brando as “box office poison.” What finally sold them was his legendary screen test, where he transformed into the Don right in front of their eyes. Coppola explains: "I remember in one meeting, I was told by the then president of Paramount - "As president of Paramount Pictures, I am telling you that Marlon Brando will not appear in this motion picture." So I continued talking and arguing, and finally, they agreed to let me discuss the idea of Marlon Brando being in the movie if I honored three stipulations. A - he would do a screen test. B - he would do the film for free. (he would get a back-end deal) And C - he would put up a bond so that if any of his shenanigans or any trouble came from him being on the set, that it would guarantee the losses. So I said, - "Okay, I accept” - What could I do? I accepted these three things from Marlon. So I then called up Marlon Brando and suggested, "Maybe it’d be nice if I did like a little makeup test or something? I could come over your house." - he said to me, "All right."… We got to his house very early, and we set up our little lights. And I had brought a bunch of provolone cheese and a little Italian cigars and little props just to kind of put around - sure enough, he wakes up, and he comes out of his bedroom; and he's this great-looking, I don't know, he must have been 47, and in a Japanese robe. He looked very impressive, and I looked at him with this ponytail and I'm like, "God, how's he ever going to play a mafia chieftain?"… And he walked on. He put on a jacket, and he started mumbling - I remember, he went through great effort to bend the tip of his collar - he said, "So, like, there's a time guys always have the collar bent like that." And he picked up a cigar, and he started to gesture with it and use it as a prop, and he nibbled on a little bit of provolone cheese - and he rolled up the ponytail, and he kind of pinned it up, and he took some shoe polish, and he darkened it, and while he's doing this, we're photographing… He took some tissue paper, and he said, "He should have the face of a bulldog."...He stuffed the tissue paper in his jaw, and then he said, "Well, if he's shot in the throat, he ought to have to talk like that a little bit." It really was a transformation of this nice looking young man with a blonde ponytail, into this kind of mafia guy… I took it to New York, and I went to Mr. Bluthorn's office (head of Paramount Pictures), and I said, "Oh, Charlie, Charlie, I want to show you something." - I flick the video, and sure enough, there's Marlon Brando coming out in a robe with a blonde ponytail, and he looks, and he says, "Never! Marlon Brando, never! Never!" And as he's doing that, he's watching Brando turn himself into this guy, and Charlie just looks astounded, and he says, "That's incredible! That's incredible!" And once he was sold on the idea that Marlon could do it on his authority, they allowed us to do it."

Gangster Cinema Central

29,897 просмотров • 3 месяцев назад