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Resident Evil Requiem has an insanely complex Easter Egg titled "The Final Puzzle", I have spent countless hours attempting to decode it. These are all my findings: MINOR SPOILERS AHEAD - I recommend reading AFTER you finish the "Rhodes Care Home" section of the game as there are some...

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Synth Potato🥔

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#ต้าห์อู๋ #Daou #Oueiija 🦖: There was a music festival in Pattaya, and I brought my Mama along. Lately, I have been bringing my Mama to work a lot. And I felt like booking the best hotel for her to sleep in, so I did. That day, she kept looking at the view from the hotel, and I saw her reaction. She said, “Mama has never slept in a hotel like this in my whole life. Mama has been working since the age of 14, performing Chinese opera to provide for the family. I never thought I’d have something like this. Never thought I’d have a beautiful home or get to ride in nice cars.” And it resonated with me, especially since Pa passed away. When Mama says things like that, (it is) true. What I had planned was just one (more) year until Pa and Ma could retire… (but) it was too late. Even if it was just one year or one day, it was too late. Success can wait for tomorrow, (but) if they are not there tomorrow, then it is too late. So, I felt like, “Hey, when can I make her happy?” To be honest, the new house that I built for her, where she can do this and that, is finished. The renovations are all done. The cats have moved in. (She?) has a role as the pillar of the house. So, I feel that the car… I had bought one before, but that time, I had to thank the fans. But this time, it came from (my own) hard work. I want it to be something that makes Mama happy. I know that I bought a car, and she can’t drive it, but I want her to see that I am starting… I want her to see that I have succeeded.
1:37

#ต้าห์อู๋ #Daou #Oueiija 🦖: There was a music festival in Pattaya, and I brought my Mama along. Lately, I have been bringing my Mama to work a lot. And I felt like booking the best hotel for her to sleep in, so I did. That day, she kept looking at the view from the hotel, and I saw her reaction. She said, “Mama has never slept in a hotel like this in my whole life. Mama has been working since the age of 14, performing Chinese opera to provide for the family. I never thought I’d have something like this. Never thought I’d have a beautiful home or get to ride in nice cars.” And it resonated with me, especially since Pa passed away. When Mama says things like that, (it is) true. What I had planned was just one (more) year until Pa and Ma could retire… (but) it was too late. Even if it was just one year or one day, it was too late. Success can wait for tomorrow, (but) if they are not there tomorrow, then it is too late. So, I felt like, “Hey, when can I make her happy?” To be honest, the new house that I built for her, where she can do this and that, is finished. The renovations are all done. The cats have moved in. (She?) has a role as the pillar of the house. So, I feel that the car… I had bought one before, but that time, I had to thank the fans. But this time, it came from (my own) hard work. I want it to be something that makes Mama happy. I know that I bought a car, and she can’t drive it, but I want her to see that I am starting… I want her to see that I have succeeded.

𝐟𝐢𝐥𝐦.

22,766 Aufrufe • vor 1 Jahr

This was one of the first songs that was written for the album with Jackson Phillips, who produced a lot of it. At the start, candidly, I'd just write and see what intuitively would come out. I wrote the first verse on my birthday. One of my best friends gave me a painting and it said "Sun behind the sun." I thought that was beautiful, so I based the whole verse around that. We had a few versions of that song in particular and it was missing a part for me. One day, I sat outside and the whole chorus came to me. It became like the conversations that you still have after someone or something has passed. It becomes a form of communicating still. As I get older, it goes all the way back to square one simplicity for me. What do I love? Who do I love? What do I cherish? Who do I cherish? It's that simple for me. This is I Wanted To Stay #ORDERchaosORDER
0:22

This was one of the first songs that was written for the album with Jackson Phillips, who produced a lot of it. At the start, candidly, I'd just write and see what intuitively would come out. I wrote the first verse on my birthday. One of my best friends gave me a painting and it said "Sun behind the sun." I thought that was beautiful, so I based the whole verse around that. We had a few versions of that song in particular and it was missing a part for me. One day, I sat outside and the whole chorus came to me. It became like the conversations that you still have after someone or something has passed. It becomes a form of communicating still. As I get older, it goes all the way back to square one simplicity for me. What do I love? Who do I love? What do I cherish? Who do I cherish? It's that simple for me. This is I Wanted To Stay #ORDERchaosORDER

Calum Hood

79,205 Aufrufe • vor 11 Monaten

Collins: Is that common knowledge about Trump trying to assist in the Epstein investigation? Have you seen any evidence of that? Crockett: That's the first time I heard of it. So I'm gonna say, no, I don't have any documentation to that effect. And I was able to sit down during the Barr deposition. And so I would imagine that he would have the information as it relates to who the informants were and that kind of stuff. And I can just tell you point blank that it never came up, that the president somehow was an informant for the FBI.
1:18

Collins: Is that common knowledge about Trump trying to assist in the Epstein investigation? Have you seen any evidence of that? Crockett: That's the first time I heard of it. So I'm gonna say, no, I don't have any documentation to that effect. And I was able to sit down during the Barr deposition. And so I would imagine that he would have the information as it relates to who the informants were and that kind of stuff. And I can just tell you point blank that it never came up, that the president somehow was an informant for the FBI.

Acyn

270,255 Aufrufe • vor 9 Monaten

Ethan Klein addresses the iDubbbz apology "I know why they stopped talking about us..I know we have a really good case in Canada..unironically if he had issued this type of apology like months ago I would have thought it was sincere but to do it right after u get the C&D..how am I supposed to think this is sincere..if I did think it was sincere..I'm the first person to let a grudge go, all u have to say is I'm funny..I'm so quick to forgive" "U know all these regular sh*tbags who say the worst possible things..retweeted by Hasan once or twice a month to feed the machine..I haven't seen the messages but I have seen the name and logo for this snark community..they wear it like a badge of honor..that CPS came to my house, that human skulls were sent to my house..these are the groups of ppl u spent the last year aligning with..and u know..it's hard for me to feel bad" "U sacrificed that peace to the alter of clout when u made that Content Cop..encouraged and applauded the CPS visits..justified and spent time w the community that took joy and pride in it..I mean I have to, it's just a matter of principle" "I don't wanna sue u..but at the end of the day I have made a commitment and I am the ultimate hater..I look bad, I'm ok w that bc for me it's personal..I hope that when u guys have children that ur never put in a position that upsets u as much as that upset me, I don't wish that on anyone..I wish it didn't happen to me, but it did..I know the people that participated in it..maybe they didn't make the call..they shouted them out, said they're great ppl and justified it..and I'm just following through on my promises"
5:36

Ethan Klein addresses the iDubbbz apology "I know why they stopped talking about us..I know we have a really good case in Canada..unironically if he had issued this type of apology like months ago I would have thought it was sincere but to do it right after u get the C&D..how am I supposed to think this is sincere..if I did think it was sincere..I'm the first person to let a grudge go, all u have to say is I'm funny..I'm so quick to forgive" "U know all these regular sh*tbags who say the worst possible things..retweeted by Hasan once or twice a month to feed the machine..I haven't seen the messages but I have seen the name and logo for this snark community..they wear it like a badge of honor..that CPS came to my house, that human skulls were sent to my house..these are the groups of ppl u spent the last year aligning with..and u know..it's hard for me to feel bad" "U sacrificed that peace to the alter of clout when u made that Content Cop..encouraged and applauded the CPS visits..justified and spent time w the community that took joy and pride in it..I mean I have to, it's just a matter of principle" "I don't wanna sue u..but at the end of the day I have made a commitment and I am the ultimate hater..I look bad, I'm ok w that bc for me it's personal..I hope that when u guys have children that ur never put in a position that upsets u as much as that upset me, I don't wish that on anyone..I wish it didn't happen to me, but it did..I know the people that participated in it..maybe they didn't make the call..they shouted them out, said they're great ppl and justified it..and I'm just following through on my promises"

yeet

139,641 Aufrufe • vor 29 Tagen

Zara Larsson accepts the Breakthrough award at the ‘Billboard Women In Music 2026’. #BBWomenInMusic “[…] I’m not new and there are so many years of hard work behind an overnight success or a breakthrough. I’ve been an artist for over a decade now but lately things have really changed for me in my life and my career. So I’ve been trying to figure out what was it that happened? What was it that made the change happen? And when I was younger I wanted to be the best so bad and the annoying part of being the best in any art is that it’s subjective and you just have to, what I learned is that you have to be the most you because only you could be the best of that. And I feel like I become the most me around amazing women. So I didn’t suddenly become a better performer. I just changed who I was around and that was my breakthrough…”
3:12

Zara Larsson accepts the Breakthrough award at the ‘Billboard Women In Music 2026’. #BBWomenInMusic “[…] I’m not new and there are so many years of hard work behind an overnight success or a breakthrough. I’ve been an artist for over a decade now but lately things have really changed for me in my life and my career. So I’ve been trying to figure out what was it that happened? What was it that made the change happen? And when I was younger I wanted to be the best so bad and the annoying part of being the best in any art is that it’s subjective and you just have to, what I learned is that you have to be the most you because only you could be the best of that. And I feel like I become the most me around amazing women. So I didn’t suddenly become a better performer. I just changed who I was around and that was my breakthrough…”

Updates Zara Larsson

209,892 Aufrufe • vor 1 Monat

OK SO FINALLY I have a means to show you what I have been saying for a while.......Watch this clip, share it, so people understand what we are saying here!!! In this Clip, JLR© is having a discussion with Watching the World , and we get to see that front door lock!! Here is what I have been saying.....The Front door is a material called EXPANDED METAL, YOU CAN SEE THROUGH IT. The Door IS a Security Door, that you would have to cut through with two locks. A Lock that can be unlocked via a key on the handle, and a DEADbolt lock that would be locked on the inside of the door. This PREVENTS someone from being able to attack you when you OPEN the HOUSE door that is inside it, and behind this screen door. That door only opens when that deadbolt is unlocked from inside! ALso notice we see NO damage to the door or frame in this video!!
2:59

OK SO FINALLY I have a means to show you what I have been saying for a while.......Watch this clip, share it, so people understand what we are saying here!!! In this Clip, JLR© is having a discussion with Watching the World , and we get to see that front door lock!! Here is what I have been saying.....The Front door is a material called EXPANDED METAL, YOU CAN SEE THROUGH IT. The Door IS a Security Door, that you would have to cut through with two locks. A Lock that can be unlocked via a key on the handle, and a DEADbolt lock that would be locked on the inside of the door. This PREVENTS someone from being able to attack you when you OPEN the HOUSE door that is inside it, and behind this screen door. That door only opens when that deadbolt is unlocked from inside! ALso notice we see NO damage to the door or frame in this video!!

Capt KEVman!!!

46,086 Aufrufe • vor 3 Monaten

I explain why the accusation that Israel is committing "genocide" is blood libel. Me: The application of the word genocide to refer to tens of thousands of war deaths is, I mean, I think it is a kind of blood libel. It's trying to import the moral opprobrium that we associate with genocide to a designated enemy, in this case, Israel. I think because I alluded to my side bias, the sides in this case being the sides that a lot of hard left critical theory has defined, namely white oppressors against everyone else's victims. Moynihan: It's pretty strong to say this is like a blood libel. Me: Well, it is a blood libel in the sense that it is an accusation of deliberate murder, ill-founded in that the, and one could disagree with Israel's campaign against Gaza, one could say that this is not justifiable, it's not a just war. It's still different from deliberately murdering as many people as possible, as in, and we know there have been genocides. I think it really is a terrible blood libel, and it's a sign of how people's moralizing in the service of demonizing and dichotomizing, dividing the world into good and evil can just flatten their ability to analyze and to think clearly.
1:22

I explain why the accusation that Israel is committing "genocide" is blood libel. Me: The application of the word genocide to refer to tens of thousands of war deaths is, I mean, I think it is a kind of blood libel. It's trying to import the moral opprobrium that we associate with genocide to a designated enemy, in this case, Israel. I think because I alluded to my side bias, the sides in this case being the sides that a lot of hard left critical theory has defined, namely white oppressors against everyone else's victims. Moynihan: It's pretty strong to say this is like a blood libel. Me: Well, it is a blood libel in the sense that it is an accusation of deliberate murder, ill-founded in that the, and one could disagree with Israel's campaign against Gaza, one could say that this is not justifiable, it's not a just war. It's still different from deliberately murdering as many people as possible, as in, and we know there have been genocides. I think it really is a terrible blood libel, and it's a sign of how people's moralizing in the service of demonizing and dichotomizing, dividing the world into good and evil can just flatten their ability to analyze and to think clearly.

Steven Pinker

392,109 Aufrufe • vor 8 Monaten

George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)
1:46

George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)

DepressedBergman

56,916 Aufrufe • vor 5 Monaten

TiK ToK was the first single that I put into this world that had my voice AND my name credited!!!! I remember making it fun and happy because that’s how I felt and wanted others to feel. What I’m so proud of is that’s how this song STILL makes me feel, through it all, and those are emotions I want all of us to connect to. 15 (!!!!!!) years later, I see this song as a snapshot into the way I saw the world at the time. That girl was naive and wild and playful. This song eternalizes a side of myself that I love very much, and now see I have to protect fiercely. The world has changed so much and so have I. I absolutely love the new lyric change. (Shout out to RMJ) Yes it is permanent. I will re-record it when I have legal rights to! Now, my first baby stands for so much. It stands for fiercely protecting my fun and unadulterated joy, in myself and in others. The whole ride has been absolute insanity, but the JOY✨ is still riding. I hope you all can find 3 1/2 minutes of play in this song and connect with your wild child-like joy❤️
0:20

TiK ToK was the first single that I put into this world that had my voice AND my name credited!!!! I remember making it fun and happy because that’s how I felt and wanted others to feel. What I’m so proud of is that’s how this song STILL makes me feel, through it all, and those are emotions I want all of us to connect to. 15 (!!!!!!) years later, I see this song as a snapshot into the way I saw the world at the time. That girl was naive and wild and playful. This song eternalizes a side of myself that I love very much, and now see I have to protect fiercely. The world has changed so much and so have I. I absolutely love the new lyric change. (Shout out to RMJ) Yes it is permanent. I will re-record it when I have legal rights to! Now, my first baby stands for so much. It stands for fiercely protecting my fun and unadulterated joy, in myself and in others. The whole ride has been absolute insanity, but the JOY✨ is still riding. I hope you all can find 3 1/2 minutes of play in this song and connect with your wild child-like joy❤️

kesha

1,275,872 Aufrufe • vor 1 Jahr

Garry Nolan discussing the UAP material he’s analyzed. “I have another material, the so-called Bismuth magnesium material supposedly claimed to be from Roswell.” “we have done all the most advanced analyses you could imagine on them. No idea how anybody would make it.” “That piece is about as close to technology as anything I have. The other pieces are kinda like something that was left over. This is not” Source -Robinson Erhardt 🔗 in comments Transcript 👇🏼 Garry -“I have a material from Ubatuba Brazil, a fisherman who saw an object that dropped something in partway of it dropping. It exploded all over the beach. He collected some of it, chunks of it, and I have pieces of it from two chains of evidence that, and I did something called atomic probe tomography on it, which is basically, you can see literally the positions of the atoms in it. It's 99.99% silicon. 99.999% silicon, 1950, something who makes silicon at that level of purity explodes it over a beach in Brazil. Who makes that level of purity? Silicon Valley makes that level of purity, but only in the last 20 or 30 years. Okay. So, and one of the two chains of evidence had magnesium isotope ratios that are way off Earth normal. I have no idea what it means, but what I do know, what it means is that it's was engineered and made by somebody or something. Right. And it's just a fact. So I don't have an explanation for what it is, but I have the material right and anybody else can use this, that the material is in several people's hands. I have another material, the so-called Bismuth magnesium material from supposedly claimed to be from Roswell. I've had students who shall go unnamed, who will, who are, have been analyzing this stuff. It's engineered at with a level of precision and made of things that we just wouldn't put together. Layered magnesium oxide with Bismuth, interlaces, i, I have in the material, you know, we have done all the most advanced analyses you could imagine on them. No idea how anybody would make it. That piece is about as close to technology as anything I have. The other pieces are kinda like something that was left over. This is not, this is, I mean, we have chunks of this stuff.”
2:31

Garry Nolan discussing the UAP material he’s analyzed. “I have another material, the so-called Bismuth magnesium material supposedly claimed to be from Roswell.” “we have done all the most advanced analyses you could imagine on them. No idea how anybody would make it.” “That piece is about as close to technology as anything I have. The other pieces are kinda like something that was left over. This is not” Source -Robinson Erhardt 🔗 in comments Transcript 👇🏼 Garry -“I have a material from Ubatuba Brazil, a fisherman who saw an object that dropped something in partway of it dropping. It exploded all over the beach. He collected some of it, chunks of it, and I have pieces of it from two chains of evidence that, and I did something called atomic probe tomography on it, which is basically, you can see literally the positions of the atoms in it. It's 99.99% silicon. 99.999% silicon, 1950, something who makes silicon at that level of purity explodes it over a beach in Brazil. Who makes that level of purity? Silicon Valley makes that level of purity, but only in the last 20 or 30 years. Okay. So, and one of the two chains of evidence had magnesium isotope ratios that are way off Earth normal. I have no idea what it means, but what I do know, what it means is that it's was engineered and made by somebody or something. Right. And it's just a fact. So I don't have an explanation for what it is, but I have the material right and anybody else can use this, that the material is in several people's hands. I have another material, the so-called Bismuth magnesium material from supposedly claimed to be from Roswell. I've had students who shall go unnamed, who will, who are, have been analyzing this stuff. It's engineered at with a level of precision and made of things that we just wouldn't put together. Layered magnesium oxide with Bismuth, interlaces, i, I have in the material, you know, we have done all the most advanced analyses you could imagine on them. No idea how anybody would make it. That piece is about as close to technology as anything I have. The other pieces are kinda like something that was left over. This is not, this is, I mean, we have chunks of this stuff.”

neandrewthal

41,948 Aufrufe • vor 1 Jahr

Dear Mr. President, Greetings in the Lord. Thank you for your service to our country. As I have noted the various comments you have made about Heaven, I have felt burdened to write to you. I decided on an open letter and there are two reasons I can give for this. In the first place, you have been very open about your questions. This has been a matter of public discussion, and so I don’t feel it is out of place to address them in this way. Second, you are our president, and in this role you are in many ways our representative. I believe there are many Americans who have exactly the same questions that you do. As I write to you, I am writing also to them. And to these reasons, I might also tag on a third, which is that approaching the task this way stands a better chance of actually getting to you, which is actually the central point. I write because I am a minister of the kingdom of Heaven, and when I hear someone talking about Heaven as you have been doing, the only thing that comes to my mind is how I might possibly set out the message of Christ to you in a way that fits. How might I faithfully address the questions that you have been raising about this issue? We should want to do more than just insert the buckle into the seat belt . . . we also need to hear the click.
16:08

Dear Mr. President, Greetings in the Lord. Thank you for your service to our country. As I have noted the various comments you have made about Heaven, I have felt burdened to write to you. I decided on an open letter and there are two reasons I can give for this. In the first place, you have been very open about your questions. This has been a matter of public discussion, and so I don’t feel it is out of place to address them in this way. Second, you are our president, and in this role you are in many ways our representative. I believe there are many Americans who have exactly the same questions that you do. As I write to you, I am writing also to them. And to these reasons, I might also tag on a third, which is that approaching the task this way stands a better chance of actually getting to you, which is actually the central point. I write because I am a minister of the kingdom of Heaven, and when I hear someone talking about Heaven as you have been doing, the only thing that comes to my mind is how I might possibly set out the message of Christ to you in a way that fits. How might I faithfully address the questions that you have been raising about this issue? We should want to do more than just insert the buckle into the seat belt . . . we also need to hear the click.

Douglas Wilson

135,122 Aufrufe • vor 8 Monaten

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)
1:23

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 Aufrufe • vor 5 Monaten

q. is there a moment that stands out though as as far as like a song coming together that was good for you? 🐰: well, I worked a lot on this song called “hooligan” and that song itself is… I don’t know when I first heard the track, I came up with the flow immediately 🐰: *sings hooligan* 🐰: I just thought of it so I got to work, and the track is so unique, so I might have just lucked into this, but hitman bang and the rest of the members thought it was so fresh and they all loved it! that felt awesome! and I didn’t know if this song would make it but it got picked, and that rocked! 😆😆
1:07

q. is there a moment that stands out though as as far as like a song coming together that was good for you? 🐰: well, I worked a lot on this song called “hooligan” and that song itself is… I don’t know when I first heard the track, I came up with the flow immediately 🐰: *sings hooligan* 🐰: I just thought of it so I got to work, and the track is so unique, so I might have just lucked into this, but hitman bang and the rest of the members thought it was so fresh and they all loved it! that felt awesome! and I didn’t know if this song would make it but it got picked, and that rocked! 😆😆

ajk ⋆

17,236 Aufrufe • vor 1 Monat

lando: “dementia is not something that just people have as they get older. you can be born with it, young people can have it. and it affects over 50 million people around the world. so it's something that none of us want to have. and i'm a guy that my whole life is about memories. it's about creating those pictures in your mind. and the last thing i ever want to do is lose that as i get older. that's what everything in my life is about. so it's cool that i can go out and track. i can have my fun. i can go and race. but there's a kind of second meaning behind it all. and at the same time, i get to do something good for the world. and that's something that i love” ❤️❤️
0:54

lando: “dementia is not something that just people have as they get older. you can be born with it, young people can have it. and it affects over 50 million people around the world. so it's something that none of us want to have. and i'm a guy that my whole life is about memories. it's about creating those pictures in your mind. and the last thing i ever want to do is lose that as i get older. that's what everything in my life is about. so it's cool that i can go out and track. i can have my fun. i can go and race. but there's a kind of second meaning behind it all. and at the same time, i get to do something good for the world. and that's something that i love” ❤️❤️

ray

58,258 Aufrufe • vor 22 Tagen

I continue to share my progress in my recovery after this massive stroke and the coma and pneumonia that kept me in the hospital for over three months in the beginning of the year I hope that by sharing my experience strength and hope, I can help others who’ve been through something similar. That you are not alone!!! I admit it is an absolute miracle that I am here with you. So I am smiling and willing to do whatever it takes to improve my health. And As in every day I have to thank you for the prayers and support that helped carry me through and this far.
0:28

I continue to share my progress in my recovery after this massive stroke and the coma and pneumonia that kept me in the hospital for over three months in the beginning of the year I hope that by sharing my experience strength and hope, I can help others who’ve been through something similar. That you are not alone!!! I admit it is an absolute miracle that I am here with you. So I am smiling and willing to do whatever it takes to improve my health. And As in every day I have to thank you for the prayers and support that helped carry me through and this far.

Matt Pinfield

19,424 Aufrufe • vor 1 Jahr

Arteta on Lewis-Skelly: “I've been tough on him. He had a spectacular season last year when he jumped into the first team. He had some difficult moments after that, but he stayed very humble, very focused, aligned when we wanted to do and I knew he was ready. “He's been showing in training every day the opportunities that he had to play, he's done it and today he really stepped up and I thought he had an incredible performance. Reporter: What was the sort of thinking behind that and why do you think it's taken this long to play him there? Arteta: “Because probably I don't have a clue. Maybe I should have done it earlier, I don't know. But I have to do things when I believe that the player is ready, the team is ready and the opponent is the right one to play with him in that position. “We've done it today, it's the first time, it was a big risk because I knew what was going to happen. If it works, it's great. would have lost the game, what would have happened, how do you play a kid at this age in this scenario in a position he hasn't played all season. I knew that but I had the feeling it was the right game for him.”
1:09

Arteta on Lewis-Skelly: “I've been tough on him. He had a spectacular season last year when he jumped into the first team. He had some difficult moments after that, but he stayed very humble, very focused, aligned when we wanted to do and I knew he was ready. “He's been showing in training every day the opportunities that he had to play, he's done it and today he really stepped up and I thought he had an incredible performance. Reporter: What was the sort of thinking behind that and why do you think it's taken this long to play him there? Arteta: “Because probably I don't have a clue. Maybe I should have done it earlier, I don't know. But I have to do things when I believe that the player is ready, the team is ready and the opponent is the right one to play with him in that position. “We've done it today, it's the first time, it was a big risk because I knew what was going to happen. If it works, it's great. would have lost the game, what would have happened, how do you play a kid at this age in this scenario in a position he hasn't played all season. I knew that but I had the feeling it was the right game for him.”

Connor Humm

384,388 Aufrufe • vor 1 Monat

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast
2:54

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast

Gangster Cinema Central

649,140 Aufrufe • vor 10 Tagen