Video yükleniyor...

Video Yüklenemedi

Bu video yüklenirken bir sorun oluştu. Bu geçici bir ağ sorunundan kaynaklanıyor olabilir veya video kullanılamıyor olabilir.

Ana Sayfaya Dön

Octavia Spencer narrated her experience while working with Will Smith to Michael Rainey Jr. and Gianni Paolo and how Will Smith changed her life after doing a movie with him🥹❤️ “I watched how he interacted with the casts, i watched the subtle changes that he made, it’s like watching... show more

flame

63,640 subscribers

44,462 görüntüleme • 3 ay önce •via X (Twitter)

Müzik Sağlık & İyilik Sanat

Anya Rossi• Live Now

Private livecam show

0 Yorum

Yorum bulunmuyor

Orijinal gönderinin yorumları burada görünecek

Benzer Videolar

Trans Woman Pat Reveals How Moving To Germany Completely Changed Her Life Pat: “I started doing my makeup when I was 13.” Pat: “My life in Thailand was very happy. Everyone accepted me.” Pat: “Then my life changed when I had to move to Germany.” Pat: “I learned what real bullying was. It wasn’t just words, but it was physical too.” Pat: “After that, I realized I had to be stronger.” Pat: “From there, I realized the world was going to be kinder to me when I was more feminine and beautiful.”

Trans Woman Pat Reveals How Moving To Germany Completely Changed Her Life Pat: “I started doing my makeup when I was 13.” Pat: “My life in Thailand was very happy. Everyone accepted me.” Pat: “Then my life changed when I had to move to Germany.” Pat: “I learned what real bullying was. It wasn’t just words, but it was physical too.” Pat: “After that, I realized I had to be stronger.” Pat: “From there, I realized the world was going to be kinder to me when I was more feminine and beautiful.”

Jesse

30,139 görüntüleme • 18 gün önce

The heroic Indian pilot, Captain Smith Machchhar, spoke on the phone with PM Narendra Modi and recounted how despite being stabbed and severely injured, he managed to open the cockpit door from the inside and shout for help. Machchhar described the moments of the attack in the cockpit. "At that moment, I was fighting for my life. It was a moment when I realized that if I didn't act... because I was already injured, I had many wounds... I had to do something." Machchhar continued and described the critical moments: "I said to myself at that moment: If I don't get up... while I was lying on the floor, I could feel the plane diving... the door was right there. Despite taking blows, I managed to open it." Machchhar emphasized that he did not act alone in preventing the disaster. "Everyone took an equal part in it. What I did was to save my life, but at the same time, I knew I couldn't let everyone else die." Machchhar added that he is confident in his full recovery. "I don't look at these injuries just as injuries, because that would make my rehabilitation harder. I see it as a journey that progresses slowly, step by step, and will take time. But I am confident that it will lead to my full recovery, and I will soon achieve full health."

The heroic Indian pilot, Captain Smith Machchhar, spoke on the phone with PM Narendra Modi and recounted how despite being stabbed and severely injured, he managed to open the cockpit door from the inside and shout for help. Machchhar described the moments of the attack in the cockpit. "At that moment, I was fighting for my life. It was a moment when I realized that if I didn't act... because I was already injured, I had many wounds... I had to do something." Machchhar continued and described the critical moments: "I said to myself at that moment: If I don't get up... while I was lying on the floor, I could feel the plane diving... the door was right there. Despite taking blows, I managed to open it." Machchhar emphasized that he did not act alone in preventing the disaster. "Everyone took an equal part in it. What I did was to save my life, but at the same time, I knew I couldn't let everyone else die." Machchhar added that he is confident in his full recovery. "I don't look at these injuries just as injuries, because that would make my rehabilitation harder. I see it as a journey that progresses slowly, step by step, and will take time. But I am confident that it will lead to my full recovery, and I will soon achieve full health."

Ariel Oseran أريئل أوسيران

33,235 görüntüleme • 5 gün önce

John McTiernan on how he learnt moviemaking by watching 'Day for Night' (1972): "I remember when I decided that that's what I was going to do. I went about it like it was reverse engineering. I knew that I had to go and learn what a movie was, not just my experience of going and watching a movie. So I went and sat in Truffaut's Day for Night (1972), watched it for three days straight, eight hours at a time and memorized it shot-for-shot. I got past the story, all the original and secondary experience, so I could study what it was that I was really watching. Film is really sort of a chain that's really linear. Yet when it's all strung together, it just sort of feels like an experience. It takes quite a while to be able to deconstruct that experience to figure out what you really saw." (John McTiernan's interview with Alex Simon, The Hollywood Interview, 1999)

John McTiernan on how he learnt moviemaking by watching 'Day for Night' (1972): "I remember when I decided that that's what I was going to do. I went about it like it was reverse engineering. I knew that I had to go and learn what a movie was, not just my experience of going and watching a movie. So I went and sat in Truffaut's Day for Night (1972), watched it for three days straight, eight hours at a time and memorized it shot-for-shot. I got past the story, all the original and secondary experience, so I could study what it was that I was really watching. Film is really sort of a chain that's really linear. Yet when it's all strung together, it just sort of feels like an experience. It takes quite a while to be able to deconstruct that experience to figure out what you really saw." (John McTiernan's interview with Alex Simon, The Hollywood Interview, 1999)

DepressedBergman

108,847 görüntüleme • 1 yıl önce

Josh Peck narrated to Michael Rainey Jr. and Gianni Paolo the wild experience he had with kid Cudi on a wild night, he says Cudi grabbed his face and screamed the moment he sighted him because he is a huge fan of the drake and josh series, and he told him to call him scott😂❤️ “Within 10ft of him he looks, grabs my face, and goes arghhhhh and he goes i love drake and josh, and i was like i love you kid cudi and he’s like call me scott and i’m like i don’t want to”😂

Josh Peck narrated to Michael Rainey Jr. and Gianni Paolo the wild experience he had with kid Cudi on a wild night, he says Cudi grabbed his face and screamed the moment he sighted him because he is a huge fan of the drake and josh series, and he told him to call him scott😂❤️ “Within 10ft of him he looks, grabs my face, and goes arghhhhh and he goes i love drake and josh, and i was like i love you kid cudi and he’s like call me scott and i’m like i don’t want to”😂

flame⛧

91,558 görüntüleme • 5 ay önce

Q : How do Kim Seon Ho and Go Youn Jung feel about working together for the first time ? 👦 She's changed a lot in my eyes. To be honest before I met her on set when I only saw her on TV she looked so beautiful and perfect that I secretly thought she must be cold and hard to approach. But after actually getting to know her through this project I realized she's one of the kindest and most approachable people I've ever met. 👧 For me, my feelings didn't really change that much because I already saw him as a very talented actor. On top of that his acting style is something I personally really like. I had watched a lot of his previous works before and sometimes I even studied his acting techniques. When we actually got to work together he was just as good as I had imagined and he's also the same type of actor as me someone who prefers to enjoy the work rather than make it overly stressful. #CanThisLoveBeTranslated

Q : How do Kim Seon Ho and Go Youn Jung feel about working together for the first time ? 👦 She's changed a lot in my eyes. To be honest before I met her on set when I only saw her on TV she looked so beautiful and perfect that I secretly thought she must be cold and hard to approach. But after actually getting to know her through this project I realized she's one of the kindest and most approachable people I've ever met. 👧 For me, my feelings didn't really change that much because I already saw him as a very talented actor. On top of that his acting style is something I personally really like. I had watched a lot of his previous works before and sometimes I even studied his acting techniques. When we actually got to work together he was just as good as I had imagined and he's also the same type of actor as me someone who prefers to enjoy the work rather than make it overly stressful. #CanThisLoveBeTranslated

ℳ𝒶𝓂

96,842 görüntüleme • 8 ay önce

#WATCH | Delhi: After watching his film 'The Sabarmati Report' with Prime Minister Narendra Modi, actor Vikrant Massey says, "I watched the film with Prime Minister and all cabinet ministers and many MPs. It was a special experience. I will still not be able to express it in words because I am so happy... This is the highest point of my career, that I got to watch my film with the Prime Minister."

#WATCH | Delhi: After watching his film 'The Sabarmati Report' with Prime Minister Narendra Modi, actor Vikrant Massey says, "I watched the film with Prime Minister and all cabinet ministers and many MPs. It was a special experience. I will still not be able to express it in words because I am so happy... This is the highest point of my career, that I got to watch my film with the Prime Minister."

ANI

1,489,032 görüntüleme • 1 yıl önce

Friends! I looked after Baby Dog when he came to live with us. Then I looked after Ralphy when he was a Kitten, and taught him many things. I may be older now, but I will always be a Teacher and a Carer - it’s just my nature. Mum says that watching me take care of the Kittens fills her heart with warmth - it might do the same for you too ❤️ #CatsofX

Friends! I looked after Baby Dog when he came to live with us. Then I looked after Ralphy when he was a Kitten, and taught him many things. I may be older now, but I will always be a Teacher and a Carer - it’s just my nature. Mum says that watching me take care of the Kittens fills her heart with warmth - it might do the same for you too ❤️ #CatsofX

Malcolm & Baby Dog

40,648 görüntüleme • 1 yıl önce

#JasonSanjay Recent - First, I narrated my #Sigma story to #DulquerSalmaan sir when he was in Chennai. I got the opportunity to meet him, and at that time, I wasn’t sure whether he knew me or whether he would have dates available to shoot the film. - I really like his films and admire his choice of scripts. I narrated the story to him for almost two hours. After that, we had a great conversation, and he gave me a lot of valuable feedback. He was interested in doing the film, but unfortunately, he didn’t have the dates at that time. I’m confident that I will work with him in the future.

#JasonSanjay Recent - First, I narrated my #Sigma story to #DulquerSalmaan sir when he was in Chennai. I got the opportunity to meet him, and at that time, I wasn’t sure whether he knew me or whether he would have dates available to shoot the film. - I really like his films and admire his choice of scripts. I narrated the story to him for almost two hours. After that, we had a great conversation, and he gave me a lot of valuable feedback. He was interested in doing the film, but unfortunately, he didn’t have the dates at that time. I’m confident that I will work with him in the future.

Movie Tamil

115,462 görüntüleme • 14 gün önce

I changed my TED Talk in less than 12 hours because God would not let me stay silent. There was a part of my life I was meant to share. Not my beginning, but the season where survival and purpose met. The moment I was given 21 days to live and learned that I was still here not by accident, that God had kept me in this world, and the purpose he had for me will not let me leave. That season did not just save my life. It taught me how to see. How to live. How to always begin with the end in mind. If you would like to watch the full talk when it drops, comment YES and I will share it with you. #TolaniAlli #Storyteller #TheHat #TedexAbuja

I changed my TED Talk in less than 12 hours because God would not let me stay silent. There was a part of my life I was meant to share. Not my beginning, but the season where survival and purpose met. The moment I was given 21 days to live and learned that I was still here not by accident, that God had kept me in this world, and the purpose he had for me will not let me leave. That season did not just save my life. It taught me how to see. How to live. How to always begin with the end in mind. If you would like to watch the full talk when it drops, comment YES and I will share it with you. #TolaniAlli #Storyteller #TheHat #TedexAbuja

Tolani Alli

14,385 görüntüleme • 9 ay önce

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

DepressedBergman

49,522 görüntüleme • 8 ay önce

Denzel Washington’s epic monologue towards the end of Training Day was largely improvised on set. Director Antoine Fuqua was so blown away by his performance, he says he thinks he "forgot to yell cut”. He explains… “That’s Denzel. He was just in his zone. I mean, that was one of those moment...people talk about AI. Those are the moments where you go...it's a great tool. It's gonna be a great tool, I think...but the emotion, and the moment that an actor can bring - you can't predict that. That's something that's just inside of Denzel. And when that came out, I was just like - I hope I got it. I just turned to my operator - who was shaking- I looked over at the guy - I was like, “please tell me you got that.” Because that was the take. That was it. There was no other take - I mean, how do you tell an actor like that, that that wasn't good enough? …He walked over to me, and he just had this look in his eyes. I was like, “you good?” He said, “you good?” I said, “Yeah…” Some of that was in the script, but he flipped it the way he did it. "Putting cases on all you." He kind of added some things in there. And then he just went into a whole other zone with the whole King Kong thing- with Pelican Bay - Denzel started that. That was Denzel. That was him, man. He just kind of lit up, and I think I forgot to yell cut. I was just watching it, because everybody started walking away, and I'm just watching him, and then he lights a cigarette - and he's talking - and I'm just watching him. I think at some point he probably looked at me like, you going to cut? And I'm like, “oh yeah, yeah, cut.” He was still in it. That's the thing with Denzel. He was so Alonso…I'm just watching him for a while because I didn't know what else he was going to do. It was just so magical. And then I think he looked up at me and I was like, “Okay, cut, cut.”

Denzel Washington’s epic monologue towards the end of Training Day was largely improvised on set. Director Antoine Fuqua was so blown away by his performance, he says he thinks he "forgot to yell cut”. He explains… “That’s Denzel. He was just in his zone. I mean, that was one of those moment...people talk about AI. Those are the moments where you go...it's a great tool. It's gonna be a great tool, I think...but the emotion, and the moment that an actor can bring - you can't predict that. That's something that's just inside of Denzel. And when that came out, I was just like - I hope I got it. I just turned to my operator - who was shaking- I looked over at the guy - I was like, “please tell me you got that.” Because that was the take. That was it. There was no other take - I mean, how do you tell an actor like that, that that wasn't good enough? …He walked over to me, and he just had this look in his eyes. I was like, “you good?” He said, “you good?” I said, “Yeah…” Some of that was in the script, but he flipped it the way he did it. "Putting cases on all you." He kind of added some things in there. And then he just went into a whole other zone with the whole King Kong thing- with Pelican Bay - Denzel started that. That was Denzel. That was him, man. He just kind of lit up, and I think I forgot to yell cut. I was just watching it, because everybody started walking away, and I'm just watching him, and then he lights a cigarette - and he's talking - and I'm just watching him. I think at some point he probably looked at me like, you going to cut? And I'm like, “oh yeah, yeah, cut.” He was still in it. That's the thing with Denzel. He was so Alonso…I'm just watching him for a while because I didn't know what else he was going to do. It was just so magical. And then I think he looked up at me and I was like, “Okay, cut, cut.”

Gangster Cinema Central

42,262 görüntüleme • 3 ay önce

Drew Brees says Sean Payton betting his career on him changed how he approached every day in an effort to prove him right “I credit him and Mickey being the two guys that were the decision-makers that brought me to New Orleans. But truly Sean being the one that said... Man, this is the guy. This is the guy that I am entrusting my career, his career, with.’” “Given the fact… ‘I’m an offensive guy.’ ‘I’m a play caller.’ ‘It all runs through the guy that I select and I develop.’ ‘And I’m choosing you.’ And so every day I woke up saying… ‘How do I make this guy right?’” “‘How do I make him feel like he always made the right decision?’ And that’s not just the way that I played on the field. But it was the type of teammate that I tried to be. And just the way that I tried to approach everything. Because I felt like I was a representation of him in a lot of ways.”

Drew Brees says Sean Payton betting his career on him changed how he approached every day in an effort to prove him right “I credit him and Mickey being the two guys that were the decision-makers that brought me to New Orleans. But truly Sean being the one that said... Man, this is the guy. This is the guy that I am entrusting my career, his career, with.’” “Given the fact… ‘I’m an offensive guy.’ ‘I’m a play caller.’ ‘It all runs through the guy that I select and I develop.’ ‘And I’m choosing you.’ And so every day I woke up saying… ‘How do I make this guy right?’” “‘How do I make him feel like he always made the right decision?’ And that’s not just the way that I played on the field. But it was the type of teammate that I tried to be. And just the way that I tried to approach everything. Because I felt like I was a representation of him in a lot of ways.”

Josh Chambers

19,793 görüntüleme • 1 ay önce

Guiseppe Tornatore on why he chose Monica Belluci for "Malena" (2000): "I chose Monica because. when I met her I had known about this story for five years. I never thought I was going to make a film out of it. But when I met her, she made me think about this story. So, I started thinking about it, maybe just subconsciously. I started to see that it could be possible- to see the character. And this is a story that, until you start to envision the character you don’t think that the character could actually exist. So when I met her I started to think about it- to elaborate on the story in my mind. And after a while I decided to make the film. When I wrote the film, I wrote it for her- I knew that Monica Bellucci would be Malena. That was extraordinary. I love writing knowing in advance who the actors are going to be. It’s happened a few other times. It’s always been a stronger experience." (Guiseppe Tornatore's interview with Rob Larsen, 2000)

Guiseppe Tornatore on why he chose Monica Belluci for "Malena" (2000): "I chose Monica because. when I met her I had known about this story for five years. I never thought I was going to make a film out of it. But when I met her, she made me think about this story. So, I started thinking about it, maybe just subconsciously. I started to see that it could be possible- to see the character. And this is a story that, until you start to envision the character you don’t think that the character could actually exist. So when I met her I started to think about it- to elaborate on the story in my mind. And after a while I decided to make the film. When I wrote the film, I wrote it for her- I knew that Monica Bellucci would be Malena. That was extraordinary. I love writing knowing in advance who the actors are going to be. It’s happened a few other times. It’s always been a stronger experience." (Guiseppe Tornatore's interview with Rob Larsen, 2000)

DepressedBergman

159,808 görüntüleme • 1 yıl önce

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

DepressedBergman

36,391 görüntüleme • 8 ay önce

Sooyoung: i heard from the director and staff, they said those who used to be on stage is different.. they said we prepared differently! To be honest, when I first heard it i kind of disliked it, because i also feel comfortable and free at the site… at that moment ì focus on what i would do on a scene because i really like doing that.. i have lived a life where i always had to prepare for something, so i will always looking at my script, thinking how should i move during a scene, of course the others actors did this too, so we continue to prepare like this! (how idol turned actress/actors had this compulsion where they had to prepare perfectly)

Sooyoung: i heard from the director and staff, they said those who used to be on stage is different.. they said we prepared differently! To be honest, when I first heard it i kind of disliked it, because i also feel comfortable and free at the site… at that moment ì focus on what i would do on a scene because i really like doing that.. i have lived a life where i always had to prepare for something, so i will always looking at my script, thinking how should i move during a scene, of course the others actors did this too, so we continue to prepare like this! (how idol turned actress/actors had this compulsion where they had to prepare perfectly)

for Sooyoung Choi

24,449 görüntüleme • 2 yıl önce

A few years ago Jessi asked me if I would be interested in being her next co-host for the Bardown Beauties Podcast. People have always asked me how that came to be and this is how. I knew of Jessi when I started working with the Wild, and interacted with her initially when I was a guest on the podcast and then she and Alexis were guests on the show I hosted for the Wild at the time. But, the first summer I spent working for DaBeauty League was where I went from knowing Jessi as a professional and got to know Jessi on an incredibly personal level. This was the stuff we did that summer. We talked about life, we had fun, and she signed herself up to get some of her hair shaved off. This is one of the videos I’ve watched over and over these last few days because this is where it really all started and I’m forever grateful for it.

A few years ago Jessi asked me if I would be interested in being her next co-host for the Bardown Beauties Podcast. People have always asked me how that came to be and this is how. I knew of Jessi when I started working with the Wild, and interacted with her initially when I was a guest on the podcast and then she and Alexis were guests on the show I hosted for the Wild at the time. But, the first summer I spent working for DaBeauty League was where I went from knowing Jessi as a professional and got to know Jessi on an incredibly personal level. This was the stuff we did that summer. We talked about life, we had fun, and she signed herself up to get some of her hair shaved off. This is one of the videos I’ve watched over and over these last few days because this is where it really all started and I’m forever grateful for it.

Kirsten Krull

76,067 görüntüleme • 6 ay önce