Loading video...

Video Failed to Load

There was a problem loading this video. This could be due to a temporary network issue or the video might be unavailable.

Peter Bogdanovich elucidates why expensive movie budgets curtail creative freedom: "Interviewer: You once said, after 'The Last Picture Show' (1971) was released, that you thought of your career in the same terms as that of the older director. You hoped that during your life you could do fifty films... on a wide range of subjects. Considering the state of the business today, have you tempered that view? Bogdanovich: I’ve tempered the view perhaps in the number of films. I don’t know if I can make fifty films today, but one can try. I’ve got about six cheap little films I’d like to do in a row. That ought to keep me busy for a while. Interviewer: But the trend today is expensive films. Bogdanovich: Well, perhaps we’re coming out of that phase. At the moment, bigness is equated with quality. That’s happened before, and it’s a big danger. While I was a sort of half-assed critic, I once wrote that George Cukor had made a pretty good picture out of My Fair Lady, considering the limitations of $15 million. And, from experience, I found, when I had $6 or $9 million, as I did on the last two pictures, that I had been right. It’s a hell of a limitation. The production gets bigger and bigger, and finally you’ve got all these people on the set who don’t essentially do anything because they’re not needed. But you’re carrying them around with you everywhere you go, like a goddamned army. You can’t just say, “Oh, let’s not shoot this today. Let’s go over there,” because it’s like saying, “We’re not going to land at Normandy; we’re going to invade at the Sea of Japan.” You just can’t. Somehow the freedom goes, and at the same time, the fun goes, too. After all, it’s only fun when you feel that what you’re doing is a sort of crime, a caper. Jean Renoir once said that when you’re making a picture you should gather around you not associates but conspirators. It’s not possible to have three hundred loyal conspirators. To half of them it’s just a picture, and that’s when it starts not to be fun. That’s why I love shooting at night. It’s the best time because everybody else is asleep, and you’re really doing this wicked thing nobody knows about. You’ve got to keep that larcenous quality to your work in pictures. That’s the trouble with big pictures— there’s no larceny in them. They’re essentially respectable, and respectability is an insidious enemy." (Peter Bogdanovich, American Film Institute, 1978)show more

DepressedBergman

238,219 subscribers

72,420 views • 7 months ago •via X (Twitter)

Arts Science & Technology

Anya Rossi• Live Now

Private livecam show

0 Comments

No comments available

Comments from the original post will appear here

Related Videos

Rob Reiner on the comparisons between "The Sure Thing" (1985) & "It Happened One Night" (1934): "A lot of people have said 'The Sure Thing' (1985) was like a teenage version of 'It Happened One Night' (1934). It’s hard to believe but at that point I’d never seen that movie. I’ve subsequently seen it and the only thing that’s comparable to me is that it’s on the road and the two people who don’t particularly like each other fall in love. The only thing that I ever shoot for is to try to be as good as I can be at the time. You may look back on something you’ve done ten, twelve years ago and say, “Well, that’s not as good as I can do now.” And it’s really irrelevant. The only thing you can go by is whether this as good as you can do at the time you’re doing it. And I felt when I finished 'The Sure Thing', it was as good as I could do at that time." ("The Directors - Take Two", Robert J. Emery, 2002)

Rob Reiner on the comparisons between "The Sure Thing" (1985) & "It Happened One Night" (1934): "A lot of people have said 'The Sure Thing' (1985) was like a teenage version of 'It Happened One Night' (1934). It’s hard to believe but at that point I’d never seen that movie. I’ve subsequently seen it and the only thing that’s comparable to me is that it’s on the road and the two people who don’t particularly like each other fall in love. The only thing that I ever shoot for is to try to be as good as I can be at the time. You may look back on something you’ve done ten, twelve years ago and say, “Well, that’s not as good as I can do now.” And it’s really irrelevant. The only thing you can go by is whether this as good as you can do at the time you’re doing it. And I felt when I finished 'The Sure Thing', it was as good as I could do at that time." ("The Directors - Take Two", Robert J. Emery, 2002)

DepressedBergman

91,700 views • 2 months ago

jihoon wants us to promise to have more fun at treasure concerts, film with your left hand and have fun with your right hand 🤙🏻 #지훈 🐶 you’re asking how yesterday was? yesterday was seriously so fun. it really was fun, but hmmm you guys need to have even more fun.. 🐶 you guys need to have more fun. teumes can def go harder than this, but you’re holding back. you guys can def do more, seriously, you really can but everyone kind of hesitates a little. just go out there and enjoy the atmosphere, got it? ok~? 🐶 i’m not saying don’t film or anything like that. you can film, it’s fine, i don’t mind it, because i think that’s the fans’ freedom. but i mean… film with one hand, your left hand, and use your right hand to hold your lightstick and have fun 🐶 but when both hands are on your phone like this… and i’m right in front of you… why are you looking at me through a camera filter first? you came to see me, so why… when i’m standing right in front of you, are you still only looking at me through your phone? it’s just a little disappointing to me 🐶 i’m not saying anyone is doing something wrong or anything like that, i’m just saying it feels a bit sad. i’m literally right in front of you, so why are you still looking at me inside your phone even when i’m right here? 🐶 and i know you want to take pictures, it’s okay. you can film it, keep it. it’s fine, because it’s not prohibited. in concerts where filming isn’t banned, ofc you can film. you want to take photos. ofc you want to take photos when your favorite singer is right in front of you, ofc you want to film it. i know that, we all know that. you can film it but film with your left hand and have fun with your right hand. let’s all make that promise. seriously, let’s really do it, film with your left hand and have fun with your right hand 🐶 because… when i’m like this, from up on stage when we look out like this, your gazes, your lightsticks, those kinds of things... when i feel like i’m directly interacting with each and every one of you like that.. i get out of breath like i might die, i get dizzy and everything, and my adrenaline gets pushed to the limit. but then if it’s all just iphone 17 pro maxes everywhere… it feels a bit disappointing 🐶 but i really do like that you film. i just feel a little regretful like if you film with one hand and have fun with the other.. like use your right hand properly to have fun, and use your left hand to film and capture everything… that’s how it should be, i guess. that kind of feeling 🐶 i’m not saying this to hear sorry from you guys. that’s not what i mean. i’m not saying you’re doing anything wrong, i just mean let’s all have fun together like that 💬 but oppa, if you’re playing with your right hand, the video in your left hand does get shaky so i just jump around and go all out 🐶 but even that shaking… i think of it as part of the live feeling

jihoon wants us to promise to have more fun at treasure concerts, film with your left hand and have fun with your right hand 🤙🏻 #지훈 🐶 you’re asking how yesterday was? yesterday was seriously so fun. it really was fun, but hmmm you guys need to have even more fun.. 🐶 you guys need to have more fun. teumes can def go harder than this, but you’re holding back. you guys can def do more, seriously, you really can but everyone kind of hesitates a little. just go out there and enjoy the atmosphere, got it? ok~? 🐶 i’m not saying don’t film or anything like that. you can film, it’s fine, i don’t mind it, because i think that’s the fans’ freedom. but i mean… film with one hand, your left hand, and use your right hand to hold your lightstick and have fun 🐶 but when both hands are on your phone like this… and i’m right in front of you… why are you looking at me through a camera filter first? you came to see me, so why… when i’m standing right in front of you, are you still only looking at me through your phone? it’s just a little disappointing to me 🐶 i’m not saying anyone is doing something wrong or anything like that, i’m just saying it feels a bit sad. i’m literally right in front of you, so why are you still looking at me inside your phone even when i’m right here? 🐶 and i know you want to take pictures, it’s okay. you can film it, keep it. it’s fine, because it’s not prohibited. in concerts where filming isn’t banned, ofc you can film. you want to take photos. ofc you want to take photos when your favorite singer is right in front of you, ofc you want to film it. i know that, we all know that. you can film it but film with your left hand and have fun with your right hand. let’s all make that promise. seriously, let’s really do it, film with your left hand and have fun with your right hand 🐶 because… when i’m like this, from up on stage when we look out like this, your gazes, your lightsticks, those kinds of things... when i feel like i’m directly interacting with each and every one of you like that.. i get out of breath like i might die, i get dizzy and everything, and my adrenaline gets pushed to the limit. but then if it’s all just iphone 17 pro maxes everywhere… it feels a bit disappointing 🐶 but i really do like that you film. i just feel a little regretful like if you film with one hand and have fun with the other.. like use your right hand properly to have fun, and use your left hand to film and capture everything… that’s how it should be, i guess. that kind of feeling 🐶 i’m not saying this to hear sorry from you guys. that’s not what i mean. i’m not saying you’re doing anything wrong, i just mean let’s all have fun together like that 💬 but oppa, if you’re playing with your right hand, the video in your left hand does get shaky so i just jump around and go all out 🐶 but even that shaking… i think of it as part of the live feeling

행복지수 314%

23,355 views • 2 months ago

Good morning, towel friends. I annotated my interview with Will The Glarer and I thought this section was interesting. "You couldn’t honeypot me if you fucking wanted to. I’ll reverse-honeypot you, motherfucker. Go ahead—try to honeypot me. See what happens. I’ll get more intel out of your agent than you’re going to get out of me." **Grant:** It’s because he doesn’t think straight when he has a woman in front of him, for some reason. **Will:** Grant, you’re projecting, my friend. Grant (Analysis): I mean, that’s what I was going to say to Will. He doesn’t understand this, and I don’t know... I don’t feel a need to defend myself, but you’re out of your mind if you think I didn’t date people in college. I mean, I lost 130 pounds from September 2007 to May 2008—specifically because I was at Boston College and I wanted to date people. I’ve had plenty of relationships. I’m just very disciplined—not because I necessarily wanted to be, but because I heard the call to be a priest in 2013, in the spring, right before I became disabled. I was praying to the Virgin Mary—the Virgin Mother, who’s the patroness of the Jesuit order—outside of Bapst Library. I think it was Bapst. I was praying outside. They have these little shrines to the Virgin Mother all around Boston College. I hope they’re still there; I really liked them. But anyway, I was praying to the Virgin Mother, and I’ll never forget that when you hear the call, it is not a joke. You may not choose to pursue discernment, but you are not getting away from that. It’s not your choice. If you hear the call, you’ve been called to serve. That’s it. It’s not a pact. You’ve literally been called to serve. Your life’s never going to be the same again. I was praying, and I heard the call. It was very clear. The call is different for everyone, but for me, it was like: “The world is yours to behold if you can abscond from your temporal inclinations.” Okay, I know what that means. It was not a choice. My entire life changed from that moment. From that moment on, I never thought about video games or Fridays or the weekend—or women—ever the same way again. I would like to have a partner, to love someone and take on the world together, but I never thought about the world the same way again. So a lot of people don’t understand me. People chase me all the time. I’m not interested in that. I turn people down all the time. I’m not being rude; I just don’t want that. I live to serve. Okay, imagine what it would come down to if I tried to be in the life of every person who wanted me to be intimate with them. I cannot do that. I’m meant to help people. If I was just in one person’s life, I’d have commitments to them and their family—and to my family—that would inhibit me from serving, and I can’t do that. I’m married to the cause: my cause, my principles, and the work that I do. And so it’s not... It’s just that people misunderstand—and will misunderstand—how disciplined I am. I am extremely disciplined over my own urges, over my brain. Everything is just logic. So no, it’s not the same for me. You couldn’t honeypot me if you fucking wanted to. I’ll reverse-honeypot you, motherfucker. Go ahead—try to honeypot me. See what happens. I’ll get more intel out of your agent than you’re going to get out of me. So don’t even do it. Most people don’t even bother because I’ll fuck with their head, and I will take the intel. You have to use intel to get intel, and if the person you’re targeting knows what you’re doing, you’re going to get nothing—and they’re going to rip intel out of your honeypot, and you’re going to end up in a negative tactical position. So that’s why I’m like, “No, Will, no.” I could be in a strip club and trade stocks, motherfucker. It does not affect me at all—at all, whatsoever. Completely disciplined. Zero impact. You couldn’t honeypot me if you wanted to. I’ve seen them try. They did try multiple times—blonde women, brunette women, whatever. I don’t have a type. Okay? I only like intelligent women, and I screen them, so you’re not getting anyone in my orbit at all, ever. My point is, though: No, we’re not the same. Will totally tactically misread that. I am not the same. You cannot do that to me because I’m not really interested in that—not because I don’t find it pleasurable or interesting, but because I’m smarter than that. I work in a very high-level apparatus of government as to the coverage that I do. You’re not honeypotting me. So no, I’ve suppressed those urges, and I don’t want to be involved with that. And the call to serve helped, by the way. It’s just not as interesting when you realize there are so many people to help. Why would you... Like, 97% of the population is there to procreate. We need that to happen. Three percent of the people are going to mold society. All right? You know what I’m saying?

Good morning, towel friends. I annotated my interview with Will The Glarer and I thought this section was interesting. "You couldn’t honeypot me if you fucking wanted to. I’ll reverse-honeypot you, motherfucker. Go ahead—try to honeypot me. See what happens. I’ll get more intel out of your agent than you’re going to get out of me." Grant: It’s because he doesn’t think straight when he has a woman in front of him, for some reason. Will: Grant, you’re projecting, my friend. Grant (Analysis): I mean, that’s what I was going to say to Will. He doesn’t understand this, and I don’t know... I don’t feel a need to defend myself, but you’re out of your mind if you think I didn’t date people in college. I mean, I lost 130 pounds from September 2007 to May 2008—specifically because I was at Boston College and I wanted to date people. I’ve had plenty of relationships. I’m just very disciplined—not because I necessarily wanted to be, but because I heard the call to be a priest in 2013, in the spring, right before I became disabled. I was praying to the Virgin Mary—the Virgin Mother, who’s the patroness of the Jesuit order—outside of Bapst Library. I think it was Bapst. I was praying outside. They have these little shrines to the Virgin Mother all around Boston College. I hope they’re still there; I really liked them. But anyway, I was praying to the Virgin Mother, and I’ll never forget that when you hear the call, it is not a joke. You may not choose to pursue discernment, but you are not getting away from that. It’s not your choice. If you hear the call, you’ve been called to serve. That’s it. It’s not a pact. You’ve literally been called to serve. Your life’s never going to be the same again. I was praying, and I heard the call. It was very clear. The call is different for everyone, but for me, it was like: “The world is yours to behold if you can abscond from your temporal inclinations.” Okay, I know what that means. It was not a choice. My entire life changed from that moment. From that moment on, I never thought about video games or Fridays or the weekend—or women—ever the same way again. I would like to have a partner, to love someone and take on the world together, but I never thought about the world the same way again. So a lot of people don’t understand me. People chase me all the time. I’m not interested in that. I turn people down all the time. I’m not being rude; I just don’t want that. I live to serve. Okay, imagine what it would come down to if I tried to be in the life of every person who wanted me to be intimate with them. I cannot do that. I’m meant to help people. If I was just in one person’s life, I’d have commitments to them and their family—and to my family—that would inhibit me from serving, and I can’t do that. I’m married to the cause: my cause, my principles, and the work that I do. And so it’s not... It’s just that people misunderstand—and will misunderstand—how disciplined I am. I am extremely disciplined over my own urges, over my brain. Everything is just logic. So no, it’s not the same for me. You couldn’t honeypot me if you fucking wanted to. I’ll reverse-honeypot you, motherfucker. Go ahead—try to honeypot me. See what happens. I’ll get more intel out of your agent than you’re going to get out of me. So don’t even do it. Most people don’t even bother because I’ll fuck with their head, and I will take the intel. You have to use intel to get intel, and if the person you’re targeting knows what you’re doing, you’re going to get nothing—and they’re going to rip intel out of your honeypot, and you’re going to end up in a negative tactical position. So that’s why I’m like, “No, Will, no.” I could be in a strip club and trade stocks, motherfucker. It does not affect me at all—at all, whatsoever. Completely disciplined. Zero impact. You couldn’t honeypot me if you wanted to. I’ve seen them try. They did try multiple times—blonde women, brunette women, whatever. I don’t have a type. Okay? I only like intelligent women, and I screen them, so you’re not getting anyone in my orbit at all, ever. My point is, though: No, we’re not the same. Will totally tactically misread that. I am not the same. You cannot do that to me because I’m not really interested in that—not because I don’t find it pleasurable or interesting, but because I’m smarter than that. I work in a very high-level apparatus of government as to the coverage that I do. You’re not honeypotting me. So no, I’ve suppressed those urges, and I don’t want to be involved with that. And the call to serve helped, by the way. It’s just not as interesting when you realize there are so many people to help. Why would you... Like, 97% of the population is there to procreate. We need that to happen. Three percent of the people are going to mold society. All right? You know what I’m saying?

Grant Smith Ellis

19,128 views • 9 months ago

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 views • 6 months ago

This echoes the sentiment of the majority of #CowboysNation and is a candidate for quote of the last quarter century from Zach Wolchuk “It’s disgraceful. And he’s [Jerry Jones] still going to make his money because schmucks like me that don’t love the #Cowboys because of the Joneses, you love the Cowboys because you grew up going to games with your family members and you fall in love with the sport. And I love the #DallasCowboys because of the Dallas Cowboys. Not because of the names on the back of the jerseys or who owns the team, but it’s because of the team. But unfortunately now it’s just depression. That’s what it is being a Cowboys fan. It’s utter depression and anger and where the hell do I go from here… It’s disgraceful, it’s a slap in the face to your fans. It’s like you’re doing a bit. Do you give a damn? The answer is no, you don’t right now. You don’t care about winning a championship. And all you care are about is printing money” - Zach Wolchuk

This echoes the sentiment of the majority of #CowboysNation and is a candidate for quote of the last quarter century from Zach Wolchuk “It’s disgraceful. And he’s [Jerry Jones] still going to make his money because schmucks like me that don’t love the #Cowboys because of the Joneses, you love the Cowboys because you grew up going to games with your family members and you fall in love with the sport. And I love the #DallasCowboys because of the Dallas Cowboys. Not because of the names on the back of the jerseys or who owns the team, but it’s because of the team. But unfortunately now it’s just depression. That’s what it is being a Cowboys fan. It’s utter depression and anger and where the hell do I go from here… It’s disgraceful, it’s a slap in the face to your fans. It’s like you’re doing a bit. Do you give a damn? The answer is no, you don’t right now. You don’t care about winning a championship. And all you care are about is printing money” - Zach Wolchuk

Dominic White

65,242 views • 1 year ago

Cheryl Reeve on knowing the level of leadership from Courtney Williams and Kayla McBride had before the year (This is a long one, but is my favorite Reeve quote to date) “No, I mean you got to do your homework, you can’t just bring anybody in you know? It’s been the Lynx way, the culture, I think people have long said that about us. That you can see it in the way we play, and that it’s real and it’s sustainable, it helps you through hard times… it’s fun for them, and it’s real, you can’t fake that kind of stuff… I have made mistakes along the way, for sure, but it only reinforces… the single most important thing they’re doing is the selection of people, of course the talent is probably what puts you on the radar, but the selection of who the individual is and who they’ll be for your organization because it’s really hard to undue the damage that it causes when you don’t put the time or when you think you can change someone. Coach’s often think we can change someone, and so, I hope I’ve made my last mistake, and we don’t go down that path again. I got some safeguards, guardrails in place to holler at me if I consider such things. It leads to greater quality of life”

Cheryl Reeve on knowing the level of leadership from Courtney Williams and Kayla McBride had before the year (This is a long one, but is my favorite Reeve quote to date) “No, I mean you got to do your homework, you can’t just bring anybody in you know? It’s been the Lynx way, the culture, I think people have long said that about us. That you can see it in the way we play, and that it’s real and it’s sustainable, it helps you through hard times… it’s fun for them, and it’s real, you can’t fake that kind of stuff… I have made mistakes along the way, for sure, but it only reinforces… the single most important thing they’re doing is the selection of people, of course the talent is probably what puts you on the radar, but the selection of who the individual is and who they’ll be for your organization because it’s really hard to undue the damage that it causes when you don’t put the time or when you think you can change someone. Coach’s often think we can change someone, and so, I hope I’ve made my last mistake, and we don’t go down that path again. I got some safeguards, guardrails in place to holler at me if I consider such things. It leads to greater quality of life”

Andrew Dukowitz

32,503 views • 1 month ago

Trump: I think it’s very sad, actually. I’m surprised that it wasn’t—you know—the public wasn’t notified a long time ago, because to get to stage 9, that’s a long time. I just had my physical. You saw that. You saw the results of that particular test. I think that test is standard to pretty much anybody getting a physical—a good physical. We had the doctors at the White House and over at Walter Reed, which is a fantastic hospital, do it. I did a very complete physical, including a cognitive test. I’m proud to announce I aced it. I got them all right. You proud of me? Your husband would be proud of me for getting them all right. It’s a little risk. If I didn’t get them all right, these people would be after me. It would be not a good situation. But I think, frankly, anybody running for president should take a cognitive test. They say it’s unconstitutional, but I would say in that particular case, having a cognitive test wouldn’t be so bad. But when you take tests—medical, as a male—that test is very standard. I don’t know if it’s given to everybody, but it’s given just about. And it takes a long time to get to that situation… to get to a stage 9. I think that if you take a look, it’s the same doctor that said that Joe was cognitively fine, there was nothing wrong with him. If it’s the same doctor, he said there was nothing wrong there. That’s been proven to be a sad situation. And the autopen is becoming a very big deal. You know, the autopen is becoming a big deal because it seems that maybe it was the president—whoever operated the autopen. But when they say that was not good, they also—you have to look and you have to say that the test was not so good either. In other words, there are things going on that the public wasn’t informed [about], and I think somebody is going to have to speak to his doctor—if it’s the same or even if it’s two separate doctors. Why wasn’t the cognitive ability—why wasn’t that discussed? And I think the doctor said he’s just fine, and it’s turned out that’s not so. It’s very dangerous… this is dangerous for our country. Look at the mess we are in. You talk about all these questions on Ukraine and Russia. That would’ve never happened, as an example, if I were president. It would’ve never happened. The other thing—you have to say: Why did it take so long? I mean, this takes a long time. It can take years to get to this level of danger. It’s a very, very sad situation. I feel very badly about it. And I think people should try and find out what happened. Because I’ll tell you, I don’t know if it had anything to do with the hospital. Walter Reed is really good. They’re some of the best doctors I’ve ever seen. I don’t even know if they were involved. But a doctor was involved in each case. Maybe it was the same doctor. And somebody is not telling the facts. That’s a big problem.

Trump: I think it’s very sad, actually. I’m surprised that it wasn’t—you know—the public wasn’t notified a long time ago, because to get to stage 9, that’s a long time. I just had my physical. You saw that. You saw the results of that particular test. I think that test is standard to pretty much anybody getting a physical—a good physical. We had the doctors at the White House and over at Walter Reed, which is a fantastic hospital, do it. I did a very complete physical, including a cognitive test. I’m proud to announce I aced it. I got them all right. You proud of me? Your husband would be proud of me for getting them all right. It’s a little risk. If I didn’t get them all right, these people would be after me. It would be not a good situation. But I think, frankly, anybody running for president should take a cognitive test. They say it’s unconstitutional, but I would say in that particular case, having a cognitive test wouldn’t be so bad. But when you take tests—medical, as a male—that test is very standard. I don’t know if it’s given to everybody, but it’s given just about. And it takes a long time to get to that situation… to get to a stage 9. I think that if you take a look, it’s the same doctor that said that Joe was cognitively fine, there was nothing wrong with him. If it’s the same doctor, he said there was nothing wrong there. That’s been proven to be a sad situation. And the autopen is becoming a very big deal. You know, the autopen is becoming a big deal because it seems that maybe it was the president—whoever operated the autopen. But when they say that was not good, they also—you have to look and you have to say that the test was not so good either. In other words, there are things going on that the public wasn’t informed [about], and I think somebody is going to have to speak to his doctor—if it’s the same or even if it’s two separate doctors. Why wasn’t the cognitive ability—why wasn’t that discussed? And I think the doctor said he’s just fine, and it’s turned out that’s not so. It’s very dangerous… this is dangerous for our country. Look at the mess we are in. You talk about all these questions on Ukraine and Russia. That would’ve never happened, as an example, if I were president. It would’ve never happened. The other thing—you have to say: Why did it take so long? I mean, this takes a long time. It can take years to get to this level of danger. It’s a very, very sad situation. I feel very badly about it. And I think people should try and find out what happened. Because I’ll tell you, I don’t know if it had anything to do with the hospital. Walter Reed is really good. They’re some of the best doctors I’ve ever seen. I don’t even know if they were involved. But a doctor was involved in each case. Maybe it was the same doctor. And somebody is not telling the facts. That’s a big problem.

Acyn

656,574 views • 1 year ago

Steve Jobs on what separates the successful founders from unsuccessful ones Steve is asked what the factors of success and common pitfalls are for young entrepreneurs. He responds: “I get asked this a lot, and I have a pretty standard answer. A lot of people come to me and say, ‘I want to be an entrepreneur.’ And I go, ‘Oh, that’s great, what’s your idea?’ And they say they don’t have one yet. And I say I think you should go get a job as a busboy or something until you find something you’re really passionate about, because it’s a lot of work.” Steve continues: “I’m convinced that about half of what separates the successful entrepreneurs from the non-successful ones is pure perseverance. It is so hard. You pour so much of your life into this thing, and there are such rough moments in time that most people give up. I don’t blame them. It’s really tough, and it consumes your life. I mean, if you’ve got a family and you’re in the early days of a company, I can’t imagine how one could do it. I’m sure it’s been done, but it’s rough because it’s pretty much an 18-hour-a-day job, 7 days a week for a while. So unless you have a lot of passion about this, you’re not going to survive. You’re going to give it up.” He concludes: “You’ve got to have an idea or a problem or a wrong that you want to right that you’re passionate about. Otherwise, you’re not going to have the perseverance to stick it through. And I think that’s half the battle right there.”

Steve Jobs on what separates the successful founders from unsuccessful ones Steve is asked what the factors of success and common pitfalls are for young entrepreneurs. He responds: “I get asked this a lot, and I have a pretty standard answer. A lot of people come to me and say, ‘I want to be an entrepreneur.’ And I go, ‘Oh, that’s great, what’s your idea?’ And they say they don’t have one yet. And I say I think you should go get a job as a busboy or something until you find something you’re really passionate about, because it’s a lot of work.” Steve continues: “I’m convinced that about half of what separates the successful entrepreneurs from the non-successful ones is pure perseverance. It is so hard. You pour so much of your life into this thing, and there are such rough moments in time that most people give up. I don’t blame them. It’s really tough, and it consumes your life. I mean, if you’ve got a family and you’re in the early days of a company, I can’t imagine how one could do it. I’m sure it’s been done, but it’s rough because it’s pretty much an 18-hour-a-day job, 7 days a week for a while. So unless you have a lot of passion about this, you’re not going to survive. You’re going to give it up.” He concludes: “You’ve got to have an idea or a problem or a wrong that you want to right that you’re passionate about. Otherwise, you’re not going to have the perseverance to stick it through. And I think that’s half the battle right there.”

Startup Archive

80,736 views • 8 months ago

Former Fox News host Geraldo Rivera: “By focusing on the censorship aspect and the First Amendment aspect, it’s losing sight of what should be the lead and that’s that Jimmy Kimmel owes the family of Charlie Kirk and his wife Erika, two small children, an apology. You know, you know, what’s he saying? That if you’re if you’re a member of MAGA and Charlie is a friend of MAG, of MAGA, then he had it coming. It’s just — it’s — it’s in some ways — it’s very — it’s — extremely — extremely insensitive. The country is in a country is in a very tough spot right now. Everyone is walking on eggshells. The First Amendment is not a license to incite hatred and, you know, I think that we can think that we can start the discussion once Jimmy Kimmel apologizes, then they can talk about the business aspects and whether or not he gets whether or not he gets back on the schedule and so forth, but there’s got to there’s got to be a recognition that a terrible thing has happened here, and that millions of Americans are grievously hurt by what happened. You know, there is a — Charlie Kirk was beloved by many. And to just trample over it. He’s not even buried yet for goodness sake. And to make fun of the flags at half staff and so forth. I just half staff and so forth. I just think that we’ve got to look at it with a — with a notion that the country has to be healed, that we have to work to bring people together, that we need to respect each other. You know, we don’t have to agree, but we have to respect. And I think that, you know, the audience has deserted him for a good reason.”

Former Fox News host Geraldo Rivera: “By focusing on the censorship aspect and the First Amendment aspect, it’s losing sight of what should be the lead and that’s that Jimmy Kimmel owes the family of Charlie Kirk and his wife Erika, two small children, an apology. You know, you know, what’s he saying? That if you’re if you’re a member of MAGA and Charlie is a friend of MAG, of MAGA, then he had it coming. It’s just — it’s — it’s in some ways — it’s very — it’s — extremely — extremely insensitive. The country is in a country is in a very tough spot right now. Everyone is walking on eggshells. The First Amendment is not a license to incite hatred and, you know, I think that we can think that we can start the discussion once Jimmy Kimmel apologizes, then they can talk about the business aspects and whether or not he gets whether or not he gets back on the schedule and so forth, but there’s got to there’s got to be a recognition that a terrible thing has happened here, and that millions of Americans are grievously hurt by what happened. You know, there is a — Charlie Kirk was beloved by many. And to just trample over it. He’s not even buried yet for goodness sake. And to make fun of the flags at half staff and so forth. I just half staff and so forth. I just think that we’ve got to look at it with a — with a notion that the country has to be healed, that we have to work to bring people together, that we need to respect each other. You know, we don’t have to agree, but we have to respect. And I think that, you know, the audience has deserted him for a good reason.”

Curtis Houck

825,225 views • 10 months ago

"Whenever 'The Lady from Shanghai' (1947) was mentioned, people would clear their throats & change the subject very quickly out of consideration for my feelings. I only found out it was considered a good picture when I got to Europe." --- Orson Welles Full Excerpt: "Bogdanovich: But what was the Hollywood reaction generally to it? Welles: Friends avoided me. Whenever it was mentioned, people would clear their throats and change the subject very quickly out of consideration for my feelings. I only found out it was considered a good picture when I got to Europe. The first nice thing I ever heard about it from an American was from Truman Capote. One night in Sicily, he quoted whole pages of dialogue word for word. Bogdanovich: I guess that’s called being ahead of your time. Welles: It’s called being in trouble. Bogdanovich: How’d you come to make the movie? Welles: I was working on 'Around the World in 80 Days' and we found ourselves in Boston on the day of the premiere, unable to get the costumes from the station because $50,000 was due and our producer, Mr. Todd, had gone broke. Without that money we couldn’t open. I called Harry Cohn in Hollywood and I said, “I have a great story for you if you send me $50,000 by telegram in one hour. I'll sign a contract to make it.” “What story?” Cohn said. I was calling from a pay phone, and next to it was a display of paperbacks and I gave him the title of one of them, Lady from Shanghai. I said, “Buy the novel and I'll make the film.” An hour later, we got the money. Bogdanovich: There’s a quote from Peter Noble’s book: “Lady from Shanghai" cost a fortune, lost a fortune, and finished Welles’ career at any of the big Hollywood studios.” Welles: The truth is that it cost about the same as any other Rita Hayworth picture in that period, and if it didn’t do as well at the box office as some of the others, I don’t think it did either of us any real harm. I went to Europe after that and stayed there, but I wasn't run out of town. Harry Cohn told me, “I’m never going to make a picture like this again.” He had a good point. His reasons were: “Not because of the script, you understand—it’s the script I approved-and I liked it and I don’t care what anybody says. It’s just because nobody should be the director and producer and also the leading actor in any picture. There's no way that he can be fired. Somebody has a deal like that—what’s the use of me owning my own studio? | might as well be janitor.”" ('This is Orson Welles', Orson Welles & Peter Bogdanovich, 1993)

"Whenever 'The Lady from Shanghai' (1947) was mentioned, people would clear their throats & change the subject very quickly out of consideration for my feelings. I only found out it was considered a good picture when I got to Europe." --- Orson Welles Full Excerpt: "Bogdanovich: But what was the Hollywood reaction generally to it? Welles: Friends avoided me. Whenever it was mentioned, people would clear their throats and change the subject very quickly out of consideration for my feelings. I only found out it was considered a good picture when I got to Europe. The first nice thing I ever heard about it from an American was from Truman Capote. One night in Sicily, he quoted whole pages of dialogue word for word. Bogdanovich: I guess that’s called being ahead of your time. Welles: It’s called being in trouble. Bogdanovich: How’d you come to make the movie? Welles: I was working on 'Around the World in 80 Days' and we found ourselves in Boston on the day of the premiere, unable to get the costumes from the station because $50,000 was due and our producer, Mr. Todd, had gone broke. Without that money we couldn’t open. I called Harry Cohn in Hollywood and I said, “I have a great story for you if you send me $50,000 by telegram in one hour. I'll sign a contract to make it.” “What story?” Cohn said. I was calling from a pay phone, and next to it was a display of paperbacks and I gave him the title of one of them, Lady from Shanghai. I said, “Buy the novel and I'll make the film.” An hour later, we got the money. Bogdanovich: There’s a quote from Peter Noble’s book: “Lady from Shanghai" cost a fortune, lost a fortune, and finished Welles’ career at any of the big Hollywood studios.” Welles: The truth is that it cost about the same as any other Rita Hayworth picture in that period, and if it didn’t do as well at the box office as some of the others, I don’t think it did either of us any real harm. I went to Europe after that and stayed there, but I wasn't run out of town. Harry Cohn told me, “I’m never going to make a picture like this again.” He had a good point. His reasons were: “Not because of the script, you understand—it’s the script I approved-and I liked it and I don’t care what anybody says. It’s just because nobody should be the director and producer and also the leading actor in any picture. There's no way that he can be fired. Somebody has a deal like that—what’s the use of me owning my own studio? | might as well be janitor.”" ('This is Orson Welles', Orson Welles & Peter Bogdanovich, 1993)

DepressedBergman

21,038 views • 5 months ago

Richard Fleischer on how he directs a movie: "Interviewer: How do you work once you’re on the set? Do you have a specific approach? Fleischer: When you’re a director, you’re not only dealing with the actors, but everything needs your full attention at the same time, and that’s what I do for a living: I give a hundred and ten percent of my time and energy and have thought about the things that I am working on, and hopefully, there’s a way to cope with every element you have to deal with. After coming home from the studio in the evening, I plan the next day’s work and layout a plan of action for the blocking of the scenes. I try to block them in my mind before I get to the stage, the position of the actors and where will the camera be. However, when I get to the set, I try not to let the actors know that I have already planned it, I let them feel their way around, and by making slight suggestions, it comes out the way I want it to come out. But the actors feel they have contributed to the direction of the scene, which is what I want. So I am helping them find their way, that’s one of the things. Suppose you’re working on a scene that has already been blocked, or partly shot or well-rehearsed, then I have to figure out the order of shooting: what do I shoot first, second, third… and make a list of every setup I have to make in the order of shooting, not necessarily in the order of continuity. You try to find the most economical way to shoot a picture; for instance, if you got a scene where people are making a lot of entrances and exits through a door, but they’re separated in different parts of the film, you work it out so you shoot all of those doorway scenes one after the other and you save a lot of time. You don’t have to take down the lighting and everything else. However, if it interrupts the flow, if the actors kind of get lost in the scene they’re doing, then I stop that, and I’d have to do it the other way. But mostly, it’s a matter of deciding what you want to shoot the next day and in what order." (Richard Fleischer: “Orson Welles changed everything for everybody”, Film Talk, 2003) Clip from: See No Evil (1971) Director: Richard Fleischer

Richard Fleischer on how he directs a movie: "Interviewer: How do you work once you’re on the set? Do you have a specific approach? Fleischer: When you’re a director, you’re not only dealing with the actors, but everything needs your full attention at the same time, and that’s what I do for a living: I give a hundred and ten percent of my time and energy and have thought about the things that I am working on, and hopefully, there’s a way to cope with every element you have to deal with. After coming home from the studio in the evening, I plan the next day’s work and layout a plan of action for the blocking of the scenes. I try to block them in my mind before I get to the stage, the position of the actors and where will the camera be. However, when I get to the set, I try not to let the actors know that I have already planned it, I let them feel their way around, and by making slight suggestions, it comes out the way I want it to come out. But the actors feel they have contributed to the direction of the scene, which is what I want. So I am helping them find their way, that’s one of the things. Suppose you’re working on a scene that has already been blocked, or partly shot or well-rehearsed, then I have to figure out the order of shooting: what do I shoot first, second, third… and make a list of every setup I have to make in the order of shooting, not necessarily in the order of continuity. You try to find the most economical way to shoot a picture; for instance, if you got a scene where people are making a lot of entrances and exits through a door, but they’re separated in different parts of the film, you work it out so you shoot all of those doorway scenes one after the other and you save a lot of time. You don’t have to take down the lighting and everything else. However, if it interrupts the flow, if the actors kind of get lost in the scene they’re doing, then I stop that, and I’d have to do it the other way. But mostly, it’s a matter of deciding what you want to shoot the next day and in what order." (Richard Fleischer: “Orson Welles changed everything for everybody”, Film Talk, 2003) Clip from: See No Evil (1971) Director: Richard Fleischer

DepressedBergman

142,398 views • 7 months ago

250715 #ATEEZ #Mingi TOKTOQ pop live (rough translation): 🐥 I’ve never injured my toenail… It was my toe that got hurt. 💬 How’s your toe? 🐥Well, it probably healed on its own. I’ve been treating it while taking care of it. But it seems like it’s getting better. 💬 How do you run like that? (at the concerts) 🐥 Well, you just get through it. There’s something like that, you know. The ticket prices are expensive. The ticket prices are obviously expensive, and my body, just like everyone else’s, is the most important thing, and my body is the most important to me too. But, anyway, even though my toe hurts a bit or something else hurts, I can’t rest. So, I just have to do my best within what I can do. But if I think like, ‘Oh, my toe hurts, so I’ll skip this show, or skip this city,’ it’s not like I’ve never thought like that. But when you’re too realistic, you only focus on the things you want to do, and instead of putting your best into every moment, you think more about having fun and enjoying it. So, for every performance, no matter what, I have to perform with the same energy, with the same intensity, even if it’s not about working hard or doing my best. When I look at the fans, I don’t want to feel embarrassed. That’s what’s important, I think. Yeah, I have to take good care of myself because I can’t afford to get hurt. But this isn’t like using a phone. It’s not like paying 1,000 won or 500 won. That’s still expensive, but it’s not like that. It’s 100,000, 200,000, 300,000, 400,000, 1,000,000 won - big amounts of money. It’s not something I can just do. Of course, there are people who come with a lot of difficulty. Why are you suddenly talking about insurance? (in the comments). Of course, I have health insurance.

250715 #ATEEZ #Mingi TOKTOQ pop live (rough translation): 🐥 I’ve never injured my toenail… It was my toe that got hurt. 💬 How’s your toe? 🐥Well, it probably healed on its own. I’ve been treating it while taking care of it. But it seems like it’s getting better. 💬 How do you run like that? (at the concerts) 🐥 Well, you just get through it. There’s something like that, you know. The ticket prices are expensive. The ticket prices are obviously expensive, and my body, just like everyone else’s, is the most important thing, and my body is the most important to me too. But, anyway, even though my toe hurts a bit or something else hurts, I can’t rest. So, I just have to do my best within what I can do. But if I think like, ‘Oh, my toe hurts, so I’ll skip this show, or skip this city,’ it’s not like I’ve never thought like that. But when you’re too realistic, you only focus on the things you want to do, and instead of putting your best into every moment, you think more about having fun and enjoying it. So, for every performance, no matter what, I have to perform with the same energy, with the same intensity, even if it’s not about working hard or doing my best. When I look at the fans, I don’t want to feel embarrassed. That’s what’s important, I think. Yeah, I have to take good care of myself because I can’t afford to get hurt. But this isn’t like using a phone. It’s not like paying 1,000 won or 500 won. That’s still expensive, but it’s not like that. It’s 100,000, 200,000, 300,000, 400,000, 1,000,000 won - big amounts of money. It’s not something I can just do. Of course, there are people who come with a lot of difficulty. Why are you suddenly talking about insurance? (in the comments). Of course, I have health insurance.

Irene | AhgaTiny

18,605 views • 1 year ago

Peter Bogdanovich on how a Comedy scene should be structured: "Interviewer: When you are doing comedy and pacing a joke, do you work at a series of payoffs—at a topper? Bogdanovich: You’ve usually got to have three jokes and then a fourth on the same subject that’s funnier than the other three. If you don’t give the audience the topper, they slightly resent you. I think the best one I did was in 'What’s Up, Doc?' (1972) Obviously, the pane of glass scene is a great joke; Buck Henry wrote that, based on an idea of Benton and Newman’s. That was like ten jokes building to the guy going through the glass. The glass had to break. If it hadn’t broken I would have been shot, and the people would have stormed out of the theater in fury. But one day, while we were going through San Francisco looking for locations—we were about twenty in a bus driving around—I had an idea. I said, “Wouldn’t it be funny if we had a Volkswagen bus, and the first car hits it and smashes it up, and then the second car hits it and smashes it some more, and then a third car hits it, and then finally the guy who owns it runs out, and the whole thing falls over?” Everybody laughed, so I said, “Let’s do that.” It’s just a very satisfying joke because the audience laughs every time the cars hit, and then on the last one, when the thing falls over, they’re thrilled that we went all the way with it. It’s not even laughter—it’s relief. “Thank God he went all the way.” But, there’s another scene in What’s Up, Doc? that didn’t go all the way, and I’ll always regret it. It’s when all the cars go in the water, and then the police cars pull up. I should have had one of those police cars go in. I knew in preview the audience wanted that to happen, but I didn’t have it. I should have had one of the police cars tear out to the edge of the pier and teeter over the edge, halfway. I should have had two cops jump out, and as they’re hanging on above the water, their car topples in. Once it falls, they fall in. That would have been terrific." (Peter Bogdanovich, AFI, 1978)

Peter Bogdanovich on how a Comedy scene should be structured: "Interviewer: When you are doing comedy and pacing a joke, do you work at a series of payoffs—at a topper? Bogdanovich: You’ve usually got to have three jokes and then a fourth on the same subject that’s funnier than the other three. If you don’t give the audience the topper, they slightly resent you. I think the best one I did was in 'What’s Up, Doc?' (1972) Obviously, the pane of glass scene is a great joke; Buck Henry wrote that, based on an idea of Benton and Newman’s. That was like ten jokes building to the guy going through the glass. The glass had to break. If it hadn’t broken I would have been shot, and the people would have stormed out of the theater in fury. But one day, while we were going through San Francisco looking for locations—we were about twenty in a bus driving around—I had an idea. I said, “Wouldn’t it be funny if we had a Volkswagen bus, and the first car hits it and smashes it up, and then the second car hits it and smashes it some more, and then a third car hits it, and then finally the guy who owns it runs out, and the whole thing falls over?” Everybody laughed, so I said, “Let’s do that.” It’s just a very satisfying joke because the audience laughs every time the cars hit, and then on the last one, when the thing falls over, they’re thrilled that we went all the way with it. It’s not even laughter—it’s relief. “Thank God he went all the way.” But, there’s another scene in What’s Up, Doc? that didn’t go all the way, and I’ll always regret it. It’s when all the cars go in the water, and then the police cars pull up. I should have had one of those police cars go in. I knew in preview the audience wanted that to happen, but I didn’t have it. I should have had one of the police cars tear out to the edge of the pier and teeter over the edge, halfway. I should have had two cops jump out, and as they’re hanging on above the water, their car topples in. Once it falls, they fall in. That would have been terrific." (Peter Bogdanovich, AFI, 1978)

DepressedBergman

734,592 views • 8 months ago

Rep. Anna Paulina Luna says Jeffrey Epstein was a 'DEMON' When Asked About the Spiritual Nature of his Crimes Against Children. "I think that he was absolutely a demon." "This type of stuff exists when people refuse to believe in God. I think that this type of harm to children specifically is done because there’s a spiritual element of how pure children can be... and I think that it’s demonic and I don’t think that there’s any way that you can chalk it up. But I pray every day and I prayed before going into look at the files in and are still praying." "I just think that we all didn’t need to remember that... You can’t get complicit in this. If you say well, that’s it like this is just you know, gonna throw our hands up and not do anything... that’s part of the spiritual battle and that’s an attack you have to get involved in. You have to make sure that you’re always backing and on the right side of justice... and that is standing for children."

Rep. Anna Paulina Luna says Jeffrey Epstein was a 'DEMON' When Asked About the Spiritual Nature of his Crimes Against Children. "I think that he was absolutely a demon." "This type of stuff exists when people refuse to believe in God. I think that this type of harm to children specifically is done because there’s a spiritual element of how pure children can be... and I think that it’s demonic and I don’t think that there’s any way that you can chalk it up. But I pray every day and I prayed before going into look at the files in and are still praying." "I just think that we all didn’t need to remember that... You can’t get complicit in this. If you say well, that’s it like this is just you know, gonna throw our hands up and not do anything... that’s part of the spiritual battle and that’s an attack you have to get involved in. You have to make sure that you’re always backing and on the right side of justice... and that is standing for children."

Benny Johnson

148,414 views • 5 months ago

Chris Camillo explains why investing is the only real path to generational wealth for regular people “I know what it’s like to have a regular job and to be capped. Don’t get me wrong at my regular job I was making a ton of money, like $250,000 a year but that was not enough for me. I was still capped” “I was like I either gotta go get some other random job and maybe it’s better or maybe it’s worse but I’m not going any higher in this job” “A lot of people are in that scenario but they’re capped at like $50K, $80K, $90K or $100K and they will never make more money than that, ever, for the rest of their life” “There’s only one way out” “If you’re a regular person with a regular job, the only crack that you have of building generational wealth is to come to terms with the fact that you can be a great investor” “By the way, you can just do it on the side and you can have fun with it. You don’t have to work with technicals. You don’t have to be this pedigreed Wharton grad. You don’t have to understand finance at all, especially in the day of AI” “All you have to do is figure out how to observe the world around you and connect the dots of change to companies that are either benefiting or being harmed by the change you see happening in the world around you”

Chris Camillo explains why investing is the only real path to generational wealth for regular people “I know what it’s like to have a regular job and to be capped. Don’t get me wrong at my regular job I was making a ton of money, like $250,000 a year but that was not enough for me. I was still capped” “I was like I either gotta go get some other random job and maybe it’s better or maybe it’s worse but I’m not going any higher in this job” “A lot of people are in that scenario but they’re capped at like $50K, $80K, $90K or $100K and they will never make more money than that, ever, for the rest of their life” “There’s only one way out” “If you’re a regular person with a regular job, the only crack that you have of building generational wealth is to come to terms with the fact that you can be a great investor” “By the way, you can just do it on the side and you can have fun with it. You don’t have to work with technicals. You don’t have to be this pedigreed Wharton grad. You don’t have to understand finance at all, especially in the day of AI” “All you have to do is figure out how to observe the world around you and connect the dots of change to companies that are either benefiting or being harmed by the change you see happening in the world around you”

Jack

60,785 views • 2 months ago

Jayson Tatum spoke at length about his reaction to the Jaylen Brown trade today: “The NBA is an incredible business; it’s an incredible job, but there are some downsides to the business and moments like this, where you just kind of feel like you’re going to be on the team with somebody, because that’s all you know. And then it’s just like, one day you find out that they’re no longer on your team anymore. And, we’re all humans. We feel all those emotions. Going into the facility, and knowing that you have different teammates, and somebody that you’ve been to war with, essentially, is on a different team…”

Jayson Tatum spoke at length about his reaction to the Jaylen Brown trade today: “The NBA is an incredible business; it’s an incredible job, but there are some downsides to the business and moments like this, where you just kind of feel like you’re going to be on the team with somebody, because that’s all you know. And then it’s just like, one day you find out that they’re no longer on your team anymore. And, we’re all humans. We feel all those emotions. Going into the facility, and knowing that you have different teammates, and somebody that you’ve been to war with, essentially, is on a different team…”

Noa Dalzell 🏀

396,317 views • 12 days ago

Magic Johnson says Dwyane Wade is the greatest, most unselfish superstar in NBA history after the Heat won in 2013: Magic: You are now one of the greatest winners and champions, but to me you’re the greatest, most unselfish superstar that’s ever played in this game. How do you decide when you recruit LeBron as the face of the franchise, you’re one of the two best players in the league. You and Kobe were dominating the league at that time. Then you take a step back and say ‘it’s your team.’ how did you do that? Wade: One of the hardest things I had to do. I remember watching the finals in 2010, Lakers vs Celtics. I remember watching Kobe running after the ball for his 5th championship. I said ‘I want that! I want that again!’ I’m a hater because I was mad that he had 5… I knew I’d have to take a step back. It’s not easy but I wanted to win.

Magic Johnson says Dwyane Wade is the greatest, most unselfish superstar in NBA history after the Heat won in 2013: Magic: You are now one of the greatest winners and champions, but to me you’re the greatest, most unselfish superstar that’s ever played in this game. How do you decide when you recruit LeBron as the face of the franchise, you’re one of the two best players in the league. You and Kobe were dominating the league at that time. Then you take a step back and say ‘it’s your team.’ how did you do that? Wade: One of the hardest things I had to do. I remember watching the finals in 2010, Lakers vs Celtics. I remember watching Kobe running after the ball for his 5th championship. I said ‘I want that! I want that again!’ I’m a hater because I was mad that he had 5… I knew I’d have to take a step back. It’s not easy but I wanted to win.

Heat Central

154,274 views • 29 days ago

When it comes to dating, there’s always this debate—drinks versus dinner versus coffee, all of that. My view is pretty simple: if you’re going to go out for drinks, especially at a cocktail bar, you might as well just get dinner. By the time you’ve had two or three rounds, you’ve basically spent the same amount of time and money you would have on a main course and a drink anyway. I think part of the hesitation—especially for guys—is not wanting to invest in a full dinner. There’s this feeling of, “Do I really want to spend two or three hours with this person if I’m not even sure I’ll like them?” And that’s fair. But at the same time, there’s some interesting research suggesting that people actually feel closer to each other when they share a meal. So if you do like the person, dinner can be a better starting point for building something real. The way around that initial uncertainty is simple. If you don’t know the person—say you met on an app—just do a quick FaceTime call first. Five or ten minutes. It’s basically a vibe check. You get a sense of the chemistry, and you can see if they actually look like their pictures. I was in an Uber a couple weeks ago in Austin, and my driver—she was probably in her fifties, recently divorced—was telling me about going on dates. She said half the time the guy’s photos show him with hair, and then she meets him and he’s bald. And she was like, “I’m not trying to date a bald man. If he goes bald while we’re together, fine, but I’m not starting there.” And I told her the same thing: just do a quick FaceTime call beforehand. It solves a lot of that. So my basic recommendation is: quick FaceTime call, then dinner. Skip the whole “let’s just grab drinks and feel it out” approach. If you’re going to meet, just have a normal date.

When it comes to dating, there’s always this debate—drinks versus dinner versus coffee, all of that. My view is pretty simple: if you’re going to go out for drinks, especially at a cocktail bar, you might as well just get dinner. By the time you’ve had two or three rounds, you’ve basically spent the same amount of time and money you would have on a main course and a drink anyway. I think part of the hesitation—especially for guys—is not wanting to invest in a full dinner. There’s this feeling of, “Do I really want to spend two or three hours with this person if I’m not even sure I’ll like them?” And that’s fair. But at the same time, there’s some interesting research suggesting that people actually feel closer to each other when they share a meal. So if you do like the person, dinner can be a better starting point for building something real. The way around that initial uncertainty is simple. If you don’t know the person—say you met on an app—just do a quick FaceTime call first. Five or ten minutes. It’s basically a vibe check. You get a sense of the chemistry, and you can see if they actually look like their pictures. I was in an Uber a couple weeks ago in Austin, and my driver—she was probably in her fifties, recently divorced—was telling me about going on dates. She said half the time the guy’s photos show him with hair, and then she meets him and he’s bald. And she was like, “I’m not trying to date a bald man. If he goes bald while we’re together, fine, but I’m not starting there.” And I told her the same thing: just do a quick FaceTime call beforehand. It solves a lot of that. So my basic recommendation is: quick FaceTime call, then dinner. Skip the whole “let’s just grab drinks and feel it out” approach. If you’re going to meet, just have a normal date.

Rob Henderson

65,361 views • 3 months ago

"One of the challenging things about the really important stuff in life is that they’re endless battles. If you do a good job focusing today and prioritizing today, if you pick the right thing to focus on, it earns you no bonus points for tomorrow. Tomorrow you show up, and if you spend all that time on YouTube or getting distracted or whatever, that day is gone. Other things are like that, too. Just because you worked out two weeks ago doesn’t mean you don’t need to do it today. Or just because you were a good spouse yesterday, that earns you no bonus points for today. You still need to show up for them. And so I’m trying to get comfortable with the endless nature of those things. A lot of the time we try to resist the endless nature of that stuff. “Oh, I wish it wasn’t that way.” We try to convince ourselves that it’s like a finish line. “If I just do this 21-day cleanse, then I’ll be a healthy person and I won’t have to think about it anymore. If I just buy her something nice for her anniversary, then I can stop worrying about it and I don’t have to [do other things].” No, it’s not like that. It’s endless. As soon as you accept the endless nature, you start looking at it differently. You say, “Okay, it’s not about getting to a particular finish line; it’s about living a daily life that feels sustainable and that I like and that I’m fully engaged in. So it’s about liking my days." James Clear on The Knowledge Project

"One of the challenging things about the really important stuff in life is that they’re endless battles. If you do a good job focusing today and prioritizing today, if you pick the right thing to focus on, it earns you no bonus points for tomorrow. Tomorrow you show up, and if you spend all that time on YouTube or getting distracted or whatever, that day is gone. Other things are like that, too. Just because you worked out two weeks ago doesn’t mean you don’t need to do it today. Or just because you were a good spouse yesterday, that earns you no bonus points for today. You still need to show up for them. And so I’m trying to get comfortable with the endless nature of those things. A lot of the time we try to resist the endless nature of that stuff. “Oh, I wish it wasn’t that way.” We try to convince ourselves that it’s like a finish line. “If I just do this 21-day cleanse, then I’ll be a healthy person and I won’t have to think about it anymore. If I just buy her something nice for her anniversary, then I can stop worrying about it and I don’t have to [do other things].” No, it’s not like that. It’s endless. As soon as you accept the endless nature, you start looking at it differently. You say, “Okay, it’s not about getting to a particular finish line; it’s about living a daily life that feels sustainable and that I like and that I’m fully engaged in. So it’s about liking my days." James Clear on The Knowledge Project

Shane Parrish

85,858 views • 6 months ago

Lynch has what I think is my favorite cameo of all time. Not just because of how perfect his brief performance is but because of how surreal it is that one of the greatest directors of all time is playing another of the greatest directors of all time in a movie by one of the greatest directors of all time. And also because he only request for doing the cameo was Cheetos. If I didn’t always understand him as a director, more than anything, I understood him as a Cheeto fiend and loved him as an actor and for being a genuine weirdo. Interviewer: Tony Kushner said that your only request was to have Cheetos in your dressing room. Is that a staple part of your diet? What specifically about Cheetos gets you through the day? Lynch: Well, Cheetos, number one, I love them. And any chance I can, I get them. But I know that they’re not exactly health food. So when I do leave the house and I get a chance to... But I don’t get them that often, honestly. If I do get them, I want a *big* bag. Because once you start... you need to have a lot before you could slow down and actually stop. Otherwise, with a small bag, then you’d be prowling for days to find more. Yeah, it’s pretty addictive stuff It really is, it really is. It’s *incredible* flavor.

Lynch has what I think is my favorite cameo of all time. Not just because of how perfect his brief performance is but because of how surreal it is that one of the greatest directors of all time is playing another of the greatest directors of all time in a movie by one of the greatest directors of all time. And also because he only request for doing the cameo was Cheetos. If I didn’t always understand him as a director, more than anything, I understood him as a Cheeto fiend and loved him as an actor and for being a genuine weirdo. Interviewer: Tony Kushner said that your only request was to have Cheetos in your dressing room. Is that a staple part of your diet? What specifically about Cheetos gets you through the day? Lynch: Well, Cheetos, number one, I love them. And any chance I can, I get them. But I know that they’re not exactly health food. So when I do leave the house and I get a chance to... But I don’t get them that often, honestly. If I do get them, I want a big bag. Because once you start... you need to have a lot before you could slow down and actually stop. Otherwise, with a small bag, then you’d be prowling for days to find more. Yeah, it’s pretty addictive stuff It really is, it really is. It’s incredible flavor.

Kristi Yamaguccimane

63,783 views • 1 year ago