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Pak 1021 has been decrypted and had new voice lines from Pharrell Williams PHARRELL: The robots were the ideators, this was their dream, this is the way that they saw it. I’ve always been like, ok I am going to go in there and once it feels good to...

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🗣️ Eric Collins to those saying he's "too much": "I totally get it. It is what it is. But I've done this the exact same way ever since I started doing it back in the '90s. It's just always been my thing. It's natural, it's organic, it's the way I feel in the moment." "It's just who I am. I could always try to be different and be like everyone else, but why be a bad version of someone else when you can try to be the best version of yourself? And that's just who I am. It's got me this far and I probably can't change, and if someone really wants me to change, I'm just going to have to leave. So it is what it is." Full segment on Wake Up Barstool:
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🗣️ Eric Collins to those saying he's "too much": "I totally get it. It is what it is. But I've done this the exact same way ever since I started doing it back in the '90s. It's just always been my thing. It's natural, it's organic, it's the way I feel in the moment." "It's just who I am. I could always try to be different and be like everyone else, but why be a bad version of someone else when you can try to be the best version of yourself? And that's just who I am. It's got me this far and I probably can't change, and if someone really wants me to change, I'm just going to have to leave. So it is what it is." Full segment on Wake Up Barstool:

r/CharlotteHornets

89,233 görüntüleme • 2 ay önce

Rick Rubin on being addicted to the miracle of creation: “I like the moment of revelation. So we're working on something and it's just okay. It's boring. I'd rather not be there. That's how it feels. But then something happens and it's like magic. Something appears. It's not like we made it. Something comes up in the process. It's conjured in the process. It’s like a miracle and that's the thing that's addictive. That feeling when it's like it's not good, it's not good, it's not good, it's not good. We try something and it doesn't work. Try something else and it doesn't work. But then all of the sudden what we're listening to is really cool. That's the [addictive] feeling, that moment of discovery where it goes from nothing to something really good. And then the whole rest of the process after that is protecting that because it's super delicate. When it happens it's like this miracle happened and this magic thing happened and now we have to protect it through the rest of the process to not ruin it. It's scary because you don't want it to end. You don't want it to stop because we know if it stops, we can't control it. We can't do it again. It's not like that. It's this moment in time where something magical happens. So we spend a lot of time waiting and I can't say that's fun. Waiting is not fun.”
1:44

Rick Rubin on being addicted to the miracle of creation: “I like the moment of revelation. So we're working on something and it's just okay. It's boring. I'd rather not be there. That's how it feels. But then something happens and it's like magic. Something appears. It's not like we made it. Something comes up in the process. It's conjured in the process. It’s like a miracle and that's the thing that's addictive. That feeling when it's like it's not good, it's not good, it's not good, it's not good. We try something and it doesn't work. Try something else and it doesn't work. But then all of the sudden what we're listening to is really cool. That's the [addictive] feeling, that moment of discovery where it goes from nothing to something really good. And then the whole rest of the process after that is protecting that because it's super delicate. When it happens it's like this miracle happened and this magic thing happened and now we have to protect it through the rest of the process to not ruin it. It's scary because you don't want it to end. You don't want it to stop because we know if it stops, we can't control it. We can't do it again. It's not like that. It's this moment in time where something magical happens. So we spend a lot of time waiting and I can't say that's fun. Waiting is not fun.”

David Senra

12,759 görüntüleme • 1 ay önce

NEW: Donald Trump Jr. says the case against Tyler Robinson is "very cut and dry" after attending the preliminary hearing. "I understand a lot of people why they'd be skeptical about anything that they've been told." "The stuff I saw, the videos I saw, the evidence I saw, that's not stuff that's been in the public domain." "In court, we saw the facts laid out very eloquently. It took a long period of time to get it out there, but once you see it, you put the picture together. Let's just say this is, to me, again, [there is] way beyond a reasonable doubt."
2:39

NEW: Donald Trump Jr. says the case against Tyler Robinson is "very cut and dry" after attending the preliminary hearing. "I understand a lot of people why they'd be skeptical about anything that they've been told." "The stuff I saw, the videos I saw, the evidence I saw, that's not stuff that's been in the public domain." "In court, we saw the facts laid out very eloquently. It took a long period of time to get it out there, but once you see it, you put the picture together. Let's just say this is, to me, again, [there is] way beyond a reasonable doubt."

Collin Rugg

341,619 görüntüleme • 6 gün önce

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.”
0:56

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

34,360 görüntüleme • 6 gün önce

🍀 "how do you overcome times when your willpower drops?" 🐻 "when willpower drops, just live with it dropped. just let it flow. and then, at some point, someday you'll have the strength to do it again. but i think the most important thing at that time is to completely empty your mind of any desire to do something. like, 'i don't want to do it right now. i'm not going to do it.' if you can cleanly say that, that's great. but if there's even a little bit of, 'i should be doing it, so why am i not doing it?' in your mind, then it's better to just go ahead and do it. but in the end, when your willpower is down, you can't do it anyway. so in the end, i think it's good to take care of your own feelings. that's how i overcame it."
0:50

🍀 "how do you overcome times when your willpower drops?" 🐻 "when willpower drops, just live with it dropped. just let it flow. and then, at some point, someday you'll have the strength to do it again. but i think the most important thing at that time is to completely empty your mind of any desire to do something. like, 'i don't want to do it right now. i'm not going to do it.' if you can cleanly say that, that's great. but if there's even a little bit of, 'i should be doing it, so why am i not doing it?' in your mind, then it's better to just go ahead and do it. but in the end, when your willpower is down, you can't do it anyway. so in the end, i think it's good to take care of your own feelings. that's how i overcame it."

dea❀ꕤ

15,922 görüntüleme • 1 yıl önce

Threadguy breaks down the recursive death spiral that could unwind Strategy "I don't fully understand the alchemy in the Strategy ecosystem, but here's what I do know. The only way you get Stretch back to peg, if it doesn't just trade there, is you raise the yield. It's at 11.5% and clearly that's not enough, so he has to push it to 12, 13, 14, 15." "But to pay a bigger dividend you have to raise more cash, which means issuing more MSTR and diluting shareholders, and this whole time Bitcoin has to go up to justify the MNAV. If it doesn't, demand for Stretch drops, so you raise the yield again, dilute again, MSTR goes down again, MNAV gets hurt again. It just eats itself." "I'm not calling the death of anything, people way smarter than me like it. But I'm not touching this thing with a 10 foot pole. For 11%? You're out of your mind."
1:38

Threadguy breaks down the recursive death spiral that could unwind Strategy "I don't fully understand the alchemy in the Strategy ecosystem, but here's what I do know. The only way you get Stretch back to peg, if it doesn't just trade there, is you raise the yield. It's at 11.5% and clearly that's not enough, so he has to push it to 12, 13, 14, 15." "But to pay a bigger dividend you have to raise more cash, which means issuing more MSTR and diluting shareholders, and this whole time Bitcoin has to go up to justify the MNAV. If it doesn't, demand for Stretch drops, so you raise the yield again, dilute again, MSTR goes down again, MNAV gets hurt again. It just eats itself." "I'm not calling the death of anything, people way smarter than me like it. But I'm not touching this thing with a 10 foot pole. For 11%? You're out of your mind."

Kai

15,114 görüntüleme • 28 gün önce

🍀 "please just tell me that i'm doing well." 🐻 "you're doing well enough! but it's not important that i say that, wouldn't it be better if you believed it yourself and lived like that? i've started to live like that too now. i know that's really hard to do, but it turns out to be the best way~ it's just a small difference in thinking, but it isn't really that easy, right~"
0:29

🍀 "please just tell me that i'm doing well." 🐻 "you're doing well enough! but it's not important that i say that, wouldn't it be better if you believed it yourself and lived like that? i've started to live like that too now. i know that's really hard to do, but it turns out to be the best way~ it's just a small difference in thinking, but it isn't really that easy, right~"

dea❀ꕤ

26,423 görüntüleme • 1 yıl önce

Derrick Milano about working with BTS 🙏🧎‍♀️ ‘The biggest part for me working with them is just really like, they really love creating music. It doesn't seem like they're in it for the money. It doesn't seem like they're in it for clout. It seems like they really genuinely and passionately love music. I think we need to see that more because it's a gift from God that we have and we can't take it for granted because at any point in time it can get taken away. So when you do have the opportunity and the luxury and you do have the pleasure to work with amazing people and you're able to put this stuff out, take advantage of it, and I think THEY take advantage of it to the fullest extent, from their music videos to the performance to the recording to the engineering to who they collaborate with. They use it to the fullest extent, and I think that's why it's so receptive and it's performing the way it is, because they go above and beyond for their work and their process and their product.’
0:52

Derrick Milano about working with BTS 🙏🧎‍♀️ ‘The biggest part for me working with them is just really like, they really love creating music. It doesn't seem like they're in it for the money. It doesn't seem like they're in it for clout. It seems like they really genuinely and passionately love music. I think we need to see that more because it's a gift from God that we have and we can't take it for granted because at any point in time it can get taken away. So when you do have the opportunity and the luxury and you do have the pleasure to work with amazing people and you're able to put this stuff out, take advantage of it, and I think THEY take advantage of it to the fullest extent, from their music videos to the performance to the recording to the engineering to who they collaborate with. They use it to the fullest extent, and I think that's why it's so receptive and it's performing the way it is, because they go above and beyond for their work and their process and their product.’

Lore ⊙⊝⊜ ᴀʀɪʀᴀɴɢ

27,070 görüntüleme • 3 ay önce

Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”
4:48

Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”

neandrewthal

41,422 görüntüleme • 1 yıl önce

Nia Long reveals her relationship with her children’s fathers is in a good place, saying she’s past the hump and has forgiven because she didn’t want to go to the dark side of separation. She also says the Ime Udoka scandal was the best thing that ever happened to her because it allowed her to reflect on all the wonderful things she had done throughout the relationship. “It was the best thing that ever happened to me because it allowed me to pause. It allowed me to pause and look at all the wonderful things that I had done throughout the time that I was in that relationship. But now I can pour everything back into myself. So it's not about him. It wasn't about the headlines. It wasn't about the opinions. It wasn't about the trash ass assistant. It wasn't about any of that. It was about how do I preserve what's left and the new way my family is now Like, who are we now? Cos I could just walk away and never talk to you ever again and how does that affect my son? No, I'm not going to do that. But I'm going to also be forgiving and be your friend. And that's good. That's healthy.”
3:50

Nia Long reveals her relationship with her children’s fathers is in a good place, saying she’s past the hump and has forgiven because she didn’t want to go to the dark side of separation. She also says the Ime Udoka scandal was the best thing that ever happened to her because it allowed her to reflect on all the wonderful things she had done throughout the relationship. “It was the best thing that ever happened to me because it allowed me to pause. It allowed me to pause and look at all the wonderful things that I had done throughout the time that I was in that relationship. But now I can pour everything back into myself. So it's not about him. It wasn't about the headlines. It wasn't about the opinions. It wasn't about the trash ass assistant. It wasn't about any of that. It was about how do I preserve what's left and the new way my family is now Like, who are we now? Cos I could just walk away and never talk to you ever again and how does that affect my son? No, I'm not going to do that. But I'm going to also be forgiving and be your friend. And that's good. That's healthy.”

Heron

219,585 görüntüleme • 16 gün önce

C: “I know I’ve been in situations like this before. It never had to be played out publicly but I understand how she feels” S: “There’s never been a camera on the huddles the way there is now. I have stories on stories for moments like this, but the camera was never on me”
0:46

C: “I know I’ve been in situations like this before. It never had to be played out publicly but I understand how she feels” S: “There’s never been a camera on the huddles the way there is now. I have stories on stories for moments like this, but the camera was never on me”

allison

55,892 görüntüleme • 1 ay önce

When making The Departed, Jack Nicholson told Matt Damon, “I never would've made it this far in my career if I wasn't a great fucking writer.” Meaning, he would contribute great ideas to a story through his performance and improvisation. Damon recalls a perfect example of this: “And I'll give you one story - it was my favorite thing that happened on The Departed, was this story about a scene that I was not in, but he (Nicholson) was - it was 1 eighth of a page, and it said Costello - which is the name of his character - ‘Costello executes man kneeling in the marshes.’ Now, most people look at that, and they'll go, ‘All right, it's gonna be one shot - that's gonna be an hour of work, and that's all I'm doing that day, or whatever.’ He looked at that, and he goes, ‘Okay, I can do that, but I think I can make it better.’ And so he's telling me this story. He goes, (in Jack Nicholson’s voice) ‘So what I do is,’… he goes, ‘I come from the Roger Corman School, so I'm not gonna add any time, and I'm not gonna add to your budget. But instead of a man kneeling in the marshes, I make it a woman.’ ...And he goes, ‘So I'm gonna execute a woman, but I'm not gonna be alone. I put Ray (Winston) in the scene with me - and I shoot her in the back of the head like it says in the script. But if you leave the camera rolling, after she falls, I turn to Ray and I say, geez, she fell funny. Now that's a really sinister thing to say. Because it means I do this a lot, and there's a way people fall. And she didn't fall that way.’ And I go, ‘oh yeah, I get it man, I get it.’ ‘Now you could end the scene there, but if you leave the camera rolling, Ray steps forward, and he reveals that he's holding an axe. She's gonna chop her up. Now you could end the scene there.’ He goes, ‘But if you leave the camera rolling, I turn to Ray and say, “wait, I think I wanna fuck her again.”’ And he goes, ‘Now that's a very sinister line.’ I get it, I get it, it's really, really, really disturbing. And he says, Now you could end the scene there, but if you keep the camera rolling, Ray stops and looks at me, and there's a pause. And I go….ah! He goes, ‘And that's a sinister thing to do, “'cause we're making a joke out of this whole thing.” And I go, yeah, I get it, I get it. ‘Now you could end the scene there, but if you leave the camera rolling, Ray says, “Francis, you really oughta see someone.” And so that's what they did. He took this one eighth of a page scene, and he did all of that, and they had two cameras on it, so it could cut back and forth. And what Marty ended up cutting was he shoots her, she falls, he says, “Geez, she fell funny.” And Ray looks at him and says, “Francis, you really oughta see someone.” But he just gave him all of these options, as dark and as sick as you wanna go.” Quote comes from Matt Damon's appearance on the What A Joke Show with Papa and Fortune
0:28

When making The Departed, Jack Nicholson told Matt Damon, “I never would've made it this far in my career if I wasn't a great fucking writer.” Meaning, he would contribute great ideas to a story through his performance and improvisation. Damon recalls a perfect example of this: “And I'll give you one story - it was my favorite thing that happened on The Departed, was this story about a scene that I was not in, but he (Nicholson) was - it was 1 eighth of a page, and it said Costello - which is the name of his character - ‘Costello executes man kneeling in the marshes.’ Now, most people look at that, and they'll go, ‘All right, it's gonna be one shot - that's gonna be an hour of work, and that's all I'm doing that day, or whatever.’ He looked at that, and he goes, ‘Okay, I can do that, but I think I can make it better.’ And so he's telling me this story. He goes, (in Jack Nicholson’s voice) ‘So what I do is,’… he goes, ‘I come from the Roger Corman School, so I'm not gonna add any time, and I'm not gonna add to your budget. But instead of a man kneeling in the marshes, I make it a woman.’ ...And he goes, ‘So I'm gonna execute a woman, but I'm not gonna be alone. I put Ray (Winston) in the scene with me - and I shoot her in the back of the head like it says in the script. But if you leave the camera rolling, after she falls, I turn to Ray and I say, geez, she fell funny. Now that's a really sinister thing to say. Because it means I do this a lot, and there's a way people fall. And she didn't fall that way.’ And I go, ‘oh yeah, I get it man, I get it.’ ‘Now you could end the scene there, but if you leave the camera rolling, Ray steps forward, and he reveals that he's holding an axe. She's gonna chop her up. Now you could end the scene there.’ He goes, ‘But if you leave the camera rolling, I turn to Ray and say, “wait, I think I wanna fuck her again.”’ And he goes, ‘Now that's a very sinister line.’ I get it, I get it, it's really, really, really disturbing. And he says, Now you could end the scene there, but if you keep the camera rolling, Ray stops and looks at me, and there's a pause. And I go….ah! He goes, ‘And that's a sinister thing to do, “'cause we're making a joke out of this whole thing.” And I go, yeah, I get it, I get it. ‘Now you could end the scene there, but if you leave the camera rolling, Ray says, “Francis, you really oughta see someone.” And so that's what they did. He took this one eighth of a page scene, and he did all of that, and they had two cameras on it, so it could cut back and forth. And what Marty ended up cutting was he shoots her, she falls, he says, “Geez, she fell funny.” And Ray looks at him and says, “Francis, you really oughta see someone.” But he just gave him all of these options, as dark and as sick as you wanna go.” Quote comes from Matt Damon's appearance on the What A Joke Show with Papa and Fortune

Gangster Cinema Central

1,052,844 görüntüleme • 1 ay önce

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'
3:56

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder Film

22,952 görüntüleme • 6 ay önce

Johnny Depp on the difference between art and product: In 1989, a 25-year-old Johnny Depp is asked about returning for another season of 21 Jump Street. His answer was not what you'd expect. "It put me on the map," he acknowledges. "In the first two seasons, I think there was a lot of good stuff going on... there were important messages." But then something shifted. "Towards the third season it started to get a little showboy... it just started to become false. It started to become like this action-packed — you know, it's like a can of soup. You just market it and send it out there." He pauses, then adds the line that cuts deepest: "Now it's a product." On being labelled a teen idol, he's equally honest: "The sex symbol, teen idol stuff — that's not my goal. If it happens in the interim, that's fine. It's nice. I'm glad people see me that way. I don't really see myself that way." And on fame itself: "Being recognisable is part of the territory. It just comes with it. Whether it's pleasant at times or unpleasant at times, it's just something that comes along with it." But it's when he talks about filming Cry-Baby that the real Johnny Depp comes through. "This is the best vacation I could have ever had. I would have done this movie for free had I known what it was going to be like, like a really strange dream." He then draws the contrast that explains everything: "In film you do two, maybe three pages a day. In television you do 10 to 12. It's constant. Quick. You've got to get it out, get it out. It's product. It's fast food."
4:00

Johnny Depp on the difference between art and product: In 1989, a 25-year-old Johnny Depp is asked about returning for another season of 21 Jump Street. His answer was not what you'd expect. "It put me on the map," he acknowledges. "In the first two seasons, I think there was a lot of good stuff going on... there were important messages." But then something shifted. "Towards the third season it started to get a little showboy... it just started to become false. It started to become like this action-packed — you know, it's like a can of soup. You just market it and send it out there." He pauses, then adds the line that cuts deepest: "Now it's a product." On being labelled a teen idol, he's equally honest: "The sex symbol, teen idol stuff — that's not my goal. If it happens in the interim, that's fine. It's nice. I'm glad people see me that way. I don't really see myself that way." And on fame itself: "Being recognisable is part of the territory. It just comes with it. Whether it's pleasant at times or unpleasant at times, it's just something that comes along with it." But it's when he talks about filming Cry-Baby that the real Johnny Depp comes through. "This is the best vacation I could have ever had. I would have done this movie for free had I known what it was going to be like, like a really strange dream." He then draws the contrast that explains everything: "In film you do two, maybe three pages a day. In television you do 10 to 12. It's constant. Quick. You've got to get it out, get it out. It's product. It's fast food."

History Nerd

18,072 görüntüleme • 19 gün önce

Jayson Tatum: “It might not seem like it, cause I’m back playing, but it was a very, very long time for me not to be doing what I love to do. “So, I can’t stress it enough, the fact that I get to put my uniform on and run out there with the team is a win for me...The amount of joy I’ve been able to find just being back out there and being out there with my teammates is all I think about.”
1:08

Jayson Tatum: “It might not seem like it, cause I’m back playing, but it was a very, very long time for me not to be doing what I love to do. “So, I can’t stress it enough, the fact that I get to put my uniform on and run out there with the team is a win for me...The amount of joy I’ve been able to find just being back out there and being out there with my teammates is all I think about.”

Bobby Krivitsky

113,287 görüntüleme • 2 ay önce

I will be one of the last few people to see The Furious and that's ok.... I've come to terms with that (I haven't 😔) but that doesn't mean YOU shouldn't see it right now especially if it's available BIG, LOUD and with a COOL CROWD, go out there and get bruised ! 👊🏹🔪🙌
0:53

I will be one of the last few people to see The Furious and that's ok.... I've come to terms with that (I haven't 😔) but that doesn't mean YOU shouldn't see it right now especially if it's available BIG, LOUD and with a COOL CROWD, go out there and get bruised ! 👊🏹🔪🙌

Derek "The FURIOUS Shiller" Brocks

11,930 görüntüleme • 1 ay önce

taegunv customize behind! 🧸 this is just a story but before i went to record the demo for customize, i actually asked taerae hyung to come with me. i felt like we needed taerae hyung for this demo to really bring out the right vibe. and the song is quite high too. so i asked him "i'm going to record a demo now can you come and do it with me?" and when taerae hyung asked "what will you give me?" i said "i'll buy you a meal" and he said "okay i'll be in touch," but he didn't contact me. so i went and did it by myself. that's why i ended up doing it alone.
1:08

taegunv customize behind! 🧸 this is just a story but before i went to record the demo for customize, i actually asked taerae hyung to come with me. i felt like we needed taerae hyung for this demo to really bring out the right vibe. and the song is quite high too. so i asked him "i'm going to record a demo now can you come and do it with me?" and when taerae hyung asked "what will you give me?" i said "i'll buy you a meal" and he said "okay i'll be in touch," but he didn't contact me. so i went and did it by myself. that's why i ended up doing it alone.

꾸 🍎

40,328 görüntüleme • 2 ay önce

Knapp: "We've been hearing about this video for a while. Jeremy Kenyon Lockyer Corbell and I talked about it on the air a while ago. We hadn't seen it yet, but now that it's been released? Awesome. Somebody had to leak that and put it out and put it in the right hands. A member of Congress had showed it to us in advance of the hearing, and it was pretty spectacular. I mean, a Hellfire missile hitting an unknown object, it bounces off and the object keeps going. That's some really interesting technology, whatever the hell it is."
0:27

Knapp: "We've been hearing about this video for a while. Jeremy Kenyon Lockyer Corbell and I talked about it on the air a while ago. We hadn't seen it yet, but now that it's been released? Awesome. Somebody had to leak that and put it out and put it in the right hands. A member of Congress had showed it to us in advance of the hearing, and it was pretty spectacular. I mean, a Hellfire missile hitting an unknown object, it bounces off and the object keeps going. That's some really interesting technology, whatever the hell it is."

Joe Murgia

51,117 görüntüleme • 10 ay önce

🚨 DONALD TRUMP REVEALS IRAN MUST SAY 'WE GIVE UP' AND IT'S OVER "Now they have to CRY UNCLE! That's all they have to do just say 'we give up. We give up.' But their economy is really in trouble. It's a dead economy." "The blockade is GENIUS, OK? The blockade has been a hundred percent foolproof!" "It shows how good our Navy is. I can tell you that nobody's gonna play games." "We have the greatest military in the world and I built much of it during my first term and we've been building it since and the greatest anywhere in the world, nobody even close and and you see that everything whether it's Venezuela which and they have a good military in Venezuela, but it was over in one day." "It was actually over in about 48 minutes. Iran the same thing." "Militarily we've wiped them out. They have no military left it there. It's all the Navy's at the bottom of the sea." "The Air Force is never gonna fly again. We've got an amazing military." Rapid Response 47
0:58

🚨 DONALD TRUMP REVEALS IRAN MUST SAY 'WE GIVE UP' AND IT'S OVER "Now they have to CRY UNCLE! That's all they have to do just say 'we give up. We give up.' But their economy is really in trouble. It's a dead economy." "The blockade is GENIUS, OK? The blockade has been a hundred percent foolproof!" "It shows how good our Navy is. I can tell you that nobody's gonna play games." "We have the greatest military in the world and I built much of it during my first term and we've been building it since and the greatest anywhere in the world, nobody even close and and you see that everything whether it's Venezuela which and they have a good military in Venezuela, but it was over in one day." "It was actually over in about 48 minutes. Iran the same thing." "Militarily we've wiped them out. They have no military left it there. It's all the Navy's at the bottom of the sea." "The Air Force is never gonna fly again. We've got an amazing military." Rapid Response 47

Eric Daugherty

173,185 görüntüleme • 2 ay önce

Lamar Jackson on potentially winning the MVP race: "If it do happen, it happens. That would be dope [to win it] three times." "But I'm not really focused on that. That's never been my goal - even the first and second one. I always want to finish with the championship, but I've been falling short. I still feel like the MVP is a team thing because my teammates help me get that award. I'm not the one catching the passes, blocking ... "I'm trying to win a championship. That's been my goal since I was a little kid. But MVP in the national football league? That's dope. That's dope." Does he hear all the chatter about the race being between him and Josh Allen? "I have no choice but to hear it. They tag me in it. You don't have to tag me. You can talk about it all you want, but you want to tag me for click bate. Sometimes I'm gonna say something back, like, 'That was stupid.' I really don't care about the talk tho. I'm trying to win."
1:12

Lamar Jackson on potentially winning the MVP race: "If it do happen, it happens. That would be dope [to win it] three times." "But I'm not really focused on that. That's never been my goal - even the first and second one. I always want to finish with the championship, but I've been falling short. I still feel like the MVP is a team thing because my teammates help me get that award. I'm not the one catching the passes, blocking ... "I'm trying to win a championship. That's been my goal since I was a little kid. But MVP in the national football league? That's dope. That's dope." Does he hear all the chatter about the race being between him and Josh Allen? "I have no choice but to hear it. They tag me in it. You don't have to tag me. You can talk about it all you want, but you want to tag me for click bate. Sometimes I'm gonna say something back, like, 'That was stupid.' I really don't care about the talk tho. I'm trying to win."

Sarah Ellison

493,116 görüntüleme • 1 yıl önce