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Roger Ebert on why “Entrapment” (1999) worked for him & the audience: "“Entrapment” (1999) is the very embodiment of a star vehicle: a movie with a preposterous plot, exotic locations, absurd action sequences, and so much chemistry between attractive actors that we don’t care. It stars Sean Connery and...

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DepressedBergman

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110,008 次观看 • 2 个月前 •via X (Twitter)

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Shannon Elizabeth on how important "American Pie" (1999) was for her career & on how the Webcam scene was filmed: "If I hadn't done 'American Pie' (1999) and I hadn't done the role of Nadia and the n*d !ty that came along with it, I might not have a career today. I didn't really think about the fact that my character had n*d !ty. I was a struggling actress auditioning for everything I could, so when I got the role I was so excited to get it." On filming the Webcam scene, "It was a closed set and it was just me in this room and the boom guy above me. I was like, ‘This is so weird.’ It was square room they had built in the middle of a warehouse and we made everyone that didn’t need to be there leave set. That’s the main thing I remember, just me and the boom guy, and trying to make jokes with the directors and make light of it because if I wasn’t nervous maybe they wouldn’t be so nervous … I just tried to make it no big deal.” If this had come out after the MeToo movement, there would definitely be a problem. I think that it would have gone down differently.” ["Skin: A History Of N*d !ty In The Movie" (2020) & Shanon Elizabeth's interview with Lindsey Kupfer, Page Six, 2019] P.S: On this day, 27 years ago, "American Pie" (1999) premiered in Universal City, California, USA.
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Shannon Elizabeth on how important "American Pie" (1999) was for her career & on how the Webcam scene was filmed: "If I hadn't done 'American Pie' (1999) and I hadn't done the role of Nadia and the n*d !ty that came along with it, I might not have a career today. I didn't really think about the fact that my character had n*d !ty. I was a struggling actress auditioning for everything I could, so when I got the role I was so excited to get it." On filming the Webcam scene, "It was a closed set and it was just me in this room and the boom guy above me. I was like, ‘This is so weird.’ It was square room they had built in the middle of a warehouse and we made everyone that didn’t need to be there leave set. That’s the main thing I remember, just me and the boom guy, and trying to make jokes with the directors and make light of it because if I wasn’t nervous maybe they wouldn’t be so nervous … I just tried to make it no big deal.” If this had come out after the MeToo movement, there would definitely be a problem. I think that it would have gone down differently.” ["Skin: A History Of N*d !ty In The Movie" (2020) & Shanon Elizabeth's interview with Lindsey Kupfer, Page Six, 2019] P.S: On this day, 27 years ago, "American Pie" (1999) premiered in Universal City, California, USA.

DepressedBergman

2,083,188 次观看 • 12 天前

Sean Connery on the one thing that separates a great James Bond from a forgettable one: Reality. In a rare interview, Connery was asked to compare his portrayal of Bond with Roger Moore's. He didn't dodge the question. "I think it's just a different appetite, that's all," he said. Connery explained that his approach to Bond was always rooted in grounding the character, no matter how outlandish the situation: "I played Bond with the reality, credibility, and hopefully still accomplishing stunts and effects and what have you, but out of it some indigenous humor. Anything that happens is possible." In other words: The audience should never be winking at the screen. They should be believing it. He felt Moore inherited a different direction, one that had already begun drifting toward spectacle over substance by the time Diamonds Are Forever was released: "His is a sort of parody of the character, as it were, in that situation, so that you will go for the laugh or the humor at whatever the cost of the credibility or the reality." Neither approach was wrong. Both found their audiences. But Connery was clear about where the line sat for him. What's remarkable is how that philosophy carried across decades and actors. When Daniel Craig stepped into the role decades later, he returned the character to exactly the edge Connery had always described. Darker. More believable. The danger more real. Connery noticed: "The spectrum of actors, I mean from myself to Daniel Craig, who I thought was fantastic, marvelous." And when told Craig had studied Connery's films extensively before taking the role, his response was characteristically understated: "Well, I'm flattered. Well, I mean, it's there to see, and the danger element, I think he really gets it." Source: The South Bank Show
2:28

Sean Connery on the one thing that separates a great James Bond from a forgettable one: Reality. In a rare interview, Connery was asked to compare his portrayal of Bond with Roger Moore's. He didn't dodge the question. "I think it's just a different appetite, that's all," he said. Connery explained that his approach to Bond was always rooted in grounding the character, no matter how outlandish the situation: "I played Bond with the reality, credibility, and hopefully still accomplishing stunts and effects and what have you, but out of it some indigenous humor. Anything that happens is possible." In other words: The audience should never be winking at the screen. They should be believing it. He felt Moore inherited a different direction, one that had already begun drifting toward spectacle over substance by the time Diamonds Are Forever was released: "His is a sort of parody of the character, as it were, in that situation, so that you will go for the laugh or the humor at whatever the cost of the credibility or the reality." Neither approach was wrong. Both found their audiences. But Connery was clear about where the line sat for him. What's remarkable is how that philosophy carried across decades and actors. When Daniel Craig stepped into the role decades later, he returned the character to exactly the edge Connery had always described. Darker. More believable. The danger more real. Connery noticed: "The spectrum of actors, I mean from myself to Daniel Craig, who I thought was fantastic, marvelous." And when told Craig had studied Connery's films extensively before taking the role, his response was characteristically understated: "Well, I'm flattered. Well, I mean, it's there to see, and the danger element, I think he really gets it." Source: The South Bank Show

History Nerd

251,955 次观看 • 12 天前

Walter Hill on why the absence of big names made a huge difference to 'The Warriors' (1979): "One of the things that I was pleased about doing 'The Warriors' (1979) was that it didn’t lend itself to star casting. That at makes a big difference, especially when it comes to putting movies together timewise. We had free reign in casting the film. I told the studio that I wanted to do a movie with an all-black cast, but they would not go for that, and I think in the end they were right because the film becomes more universalized, more timeless, and a more magical world in that you have gangs who don’t look like what real gangs did. But at the same time there is a hint of social reality, so there’s a mix of social reality and fantasy. I think the interracial casting helped that. We were finding the movie." ('Walter Hill - The Cinema of Hollywood Maverick', Wayne Byrne, 2022) [P.S: On this day, 47 years ago, 'The Warriors' (1979) was released in Australia]
1:44

Walter Hill on why the absence of big names made a huge difference to 'The Warriors' (1979): "One of the things that I was pleased about doing 'The Warriors' (1979) was that it didn’t lend itself to star casting. That at makes a big difference, especially when it comes to putting movies together timewise. We had free reign in casting the film. I told the studio that I wanted to do a movie with an all-black cast, but they would not go for that, and I think in the end they were right because the film becomes more universalized, more timeless, and a more magical world in that you have gangs who don’t look like what real gangs did. But at the same time there is a hint of social reality, so there’s a mix of social reality and fantasy. I think the interracial casting helped that. We were finding the movie." ('Walter Hill - The Cinema of Hollywood Maverick', Wayne Byrne, 2022) [P.S: On this day, 47 years ago, 'The Warriors' (1979) was released in Australia]

DepressedBergman

80,178 次观看 • 5 个月前

🦊 the pictures that you saw actually got leaked, right? 🦊 it got leaked 🦊 i didn’t plan on showing you the pictures like that so when it first got leaked, honestly i felt really bad 🦊 me and the staff really thought so much about things like…we thought a lot about the release schedule and we made the release plan after literally putting our heart and soul into it 🦊 things like the news of me making a solo comeback, the date of the solo album and the pictures being leaked really disrupted our release plans 🦊 it made me feel really bad and uneasy 🦊 but this doesn’t really change the quality of my solo album and what i have to show so that’s really good, the songs are really good and the performances will be really good so this doesn’t cause a major disruption in that aspect but the main poster…the key visual of my album cover…if it hadn’t been disclosed like that, i was actually going to reveal it really late because i didn’t want you to look at those pictures and think…well looking at those pictures, you’ll think “is this yeonjun’s concept this time? is that the concept?” 🦊 i didn’t want to make you judge those things based on the pictures 🦊 like “he’s showing his body so is it a sexy concept? is it this concept?” how does i put this…i didn’t want people to judge it based on that 🦊 but anyway, i’m glad the fans liked it and it was good that it gained a lot of attention
3:34

🦊 the pictures that you saw actually got leaked, right? 🦊 it got leaked 🦊 i didn’t plan on showing you the pictures like that so when it first got leaked, honestly i felt really bad 🦊 me and the staff really thought so much about things like…we thought a lot about the release schedule and we made the release plan after literally putting our heart and soul into it 🦊 things like the news of me making a solo comeback, the date of the solo album and the pictures being leaked really disrupted our release plans 🦊 it made me feel really bad and uneasy 🦊 but this doesn’t really change the quality of my solo album and what i have to show so that’s really good, the songs are really good and the performances will be really good so this doesn’t cause a major disruption in that aspect but the main poster…the key visual of my album cover…if it hadn’t been disclosed like that, i was actually going to reveal it really late because i didn’t want you to look at those pictures and think…well looking at those pictures, you’ll think “is this yeonjun’s concept this time? is that the concept?” 🦊 i didn’t want to make you judge those things based on the pictures 🦊 like “he’s showing his body so is it a sexy concept? is it this concept?” how does i put this…i didn’t want people to judge it based on that 🦊 but anyway, i’m glad the fans liked it and it was good that it gained a lot of attention

💬

151,880 次观看 • 8 个月前

Bernardo Bertolucci on why 'Novecento' (1976) was very personal to him: "'Novecento' (1976) was a sort of monument to contradiction. I’m not afraid to say it. But it was also a communication with the audience. My earlier movies I didn’t care about the audience. I was much more arrogant before. The movie was a celebration of contradictions, there was a change “from contradiction to dialectic...” The audience doesn’t care about dialectic, about those things. They care about emotion. And in the end it’s the emotion that, God bless, cancels all this stuff. I feel abandoned as if the movie has abandoned me. Not me, the movie. I’ve been with it for four years. That’s long enough to be a marriage. And all that time it was so up and down, up and down. In 'Novecento', I faced my whole life in a way. I faced my adolescence, which is really very near me inside. To go straight ahead we must have a look back behind us. That’s why, when I finished 'Novecento' I got sick, I was sick for months, emotionally sick. Nobody knew. Because to me my adolescence used to be the lost paradise and I created again my adolescence, my childhood in 'Novecento' . And I created a copy of the lost paradise. And I lost it for the second time. Now I have really lost it. To let go of the movie was letting go of my childhood." (Bernardo Bertolucci's interview with Sally Quinn, 1977) P.S: On this day, 50 years ago, Novecento' (1976) premiered at the Cannes Film Festival, France.
2:01

Bernardo Bertolucci on why 'Novecento' (1976) was very personal to him: "'Novecento' (1976) was a sort of monument to contradiction. I’m not afraid to say it. But it was also a communication with the audience. My earlier movies I didn’t care about the audience. I was much more arrogant before. The movie was a celebration of contradictions, there was a change “from contradiction to dialectic...” The audience doesn’t care about dialectic, about those things. They care about emotion. And in the end it’s the emotion that, God bless, cancels all this stuff. I feel abandoned as if the movie has abandoned me. Not me, the movie. I’ve been with it for four years. That’s long enough to be a marriage. And all that time it was so up and down, up and down. In 'Novecento', I faced my whole life in a way. I faced my adolescence, which is really very near me inside. To go straight ahead we must have a look back behind us. That’s why, when I finished 'Novecento' I got sick, I was sick for months, emotionally sick. Nobody knew. Because to me my adolescence used to be the lost paradise and I created again my adolescence, my childhood in 'Novecento' . And I created a copy of the lost paradise. And I lost it for the second time. Now I have really lost it. To let go of the movie was letting go of my childhood." (Bernardo Bertolucci's interview with Sally Quinn, 1977) P.S: On this day, 50 years ago, Novecento' (1976) premiered at the Cannes Film Festival, France.

DepressedBergman

12,983 次观看 • 1 个月前

David Cronenberg on why there isn't a sex scene in 'eXistenZ' (1999): "Each movie generates its own little biosphere, and has its own little ecology, and its climate, and you’re attuned to that more than anything else. So when people say, “Is there anything you wouldn’t show on film?” or, “Do you ever draw back?” I’m saying if I do, it’s only because of that biosphere: What is appropriate? What works within the ecology of that movie? So in one movie sex and blood would be very up-front, like 'Crash' (1996), because it’s sort of the subject of the movie, and in another movie, like 'The Dead Zone' (1983), it would not be appropriate. It just doesn’t work somehow; it would be disproportionate. So there’s no sex, really, in 'eXistenZ' (1999), except metaphorically. And there was an opportunity to have sex, to have sex scenes, and we were all willing to do that. But as the film evolved, you know, we just thought that would be wrong. It would take away from the metaphorical sex, which is more interesting, it has more resonance, and if you suddenly threw a real naked sex scene in the middle of it, it would not balance all that, almost invalidate it. So you wait, and the movie gradually tells you what it wants to be, and you have to sort of go along with that." (David Cronenberg's interview with Allen White, Film Threat, 1999)
1:46

David Cronenberg on why there isn't a sex scene in 'eXistenZ' (1999): "Each movie generates its own little biosphere, and has its own little ecology, and its climate, and you’re attuned to that more than anything else. So when people say, “Is there anything you wouldn’t show on film?” or, “Do you ever draw back?” I’m saying if I do, it’s only because of that biosphere: What is appropriate? What works within the ecology of that movie? So in one movie sex and blood would be very up-front, like 'Crash' (1996), because it’s sort of the subject of the movie, and in another movie, like 'The Dead Zone' (1983), it would not be appropriate. It just doesn’t work somehow; it would be disproportionate. So there’s no sex, really, in 'eXistenZ' (1999), except metaphorically. And there was an opportunity to have sex, to have sex scenes, and we were all willing to do that. But as the film evolved, you know, we just thought that would be wrong. It would take away from the metaphorical sex, which is more interesting, it has more resonance, and if you suddenly threw a real naked sex scene in the middle of it, it would not balance all that, almost invalidate it. So you wait, and the movie gradually tells you what it wants to be, and you have to sort of go along with that." (David Cronenberg's interview with Allen White, Film Threat, 1999)

DepressedBergman

96,012 次观看 • 1 年前

Former #Patriots RB Damien Harris says Bill Belichick being “stuck in his ways” caused Mac Jones to fail in New England. “What happened to Mac Jones in New England, was not because of Mac Jones… (it) was because of the fact you took away an offensive coordinator who coached him to be a Pro-Bowler and almost coached us to winning our division. With a rookie quarterback… then you take Matt Patricia who’s coached defense his entire life. Joe Judge who’s been a special teams coach… and then you just throw them in there and say, ‘Hey, coach this kid up. He’s a first round pick, but as long as you teach him what I say, everything gonna be fine.’ S**t wasn’t fine. Now Mac Jones is in Jacksonville… the breath of Mac Jones in New England — it came and went. It shouldn’t have (gone) the way that it went. The only reason that it did was because Bill Belichick, being stuck in his ways, was very much so ‘As long as I am here. As long as I am, along with Robert Kraft, the top dog at this organization… we will have success.’ I think that started kinda was this Cam Newton situation… everybody was like, ‘What the f**ck is this? Why Cam Newton?’ Bill thought that he could make it work. It didn’t really work. Then we drafted Mac. We had a hell of a year… went on to win seven straight. At that time we were kinda looking at ourselves like we might have a Super Bowl run here… then the next year after that you replace… Josh McDaniels with Matt Patricia and Joe Judge and then look at the year we had that year… now Mac Jones is all of a sudden gone. I think that everybody can look at what I just said. And ultimately, just watch it for what it was and kinda say that maybe Bill Belichick did not do right by Mac Jones.” Wow. (🎥 The Athletic Football Show)
2:06

Former #Patriots RB Damien Harris says Bill Belichick being “stuck in his ways” caused Mac Jones to fail in New England. “What happened to Mac Jones in New England, was not because of Mac Jones… (it) was because of the fact you took away an offensive coordinator who coached him to be a Pro-Bowler and almost coached us to winning our division. With a rookie quarterback… then you take Matt Patricia who’s coached defense his entire life. Joe Judge who’s been a special teams coach… and then you just throw them in there and say, ‘Hey, coach this kid up. He’s a first round pick, but as long as you teach him what I say, everything gonna be fine.’ S**t wasn’t fine. Now Mac Jones is in Jacksonville… the breath of Mac Jones in New England — it came and went. It shouldn’t have (gone) the way that it went. The only reason that it did was because Bill Belichick, being stuck in his ways, was very much so ‘As long as I am here. As long as I am, along with Robert Kraft, the top dog at this organization… we will have success.’ I think that started kinda was this Cam Newton situation… everybody was like, ‘What the f**ck is this? Why Cam Newton?’ Bill thought that he could make it work. It didn’t really work. Then we drafted Mac. We had a hell of a year… went on to win seven straight. At that time we were kinda looking at ourselves like we might have a Super Bowl run here… then the next year after that you replace… Josh McDaniels with Matt Patricia and Joe Judge and then look at the year we had that year… now Mac Jones is all of a sudden gone. I think that everybody can look at what I just said. And ultimately, just watch it for what it was and kinda say that maybe Bill Belichick did not do right by Mac Jones.” Wow. (🎥 The Athletic Football Show)

Carlos A. Lopez

582,438 次观看 • 2 年前

Blake Edwards on the conditions he laid out before accepting to direct "A Shot in the Dark" (1964): "'A Shot in the Dark' (1964) is nothing like Marcel Archard’s play, that’s for a start. I was asked to save the situation. They had quite a bit of money involved in this project. Peter Sellers was threatening to pull out because he didn’t like the screenplay. He said that the only way he would continue with the project would be if I took it over. I said that the only way I could possibly take it over, under such emergency conditions, would be that I would not be obliged to do anything like Archard’s play because a) I didn’t like it, b) I thought it was not a motion picture and c) I wasn’t ready to make a movie at that point. So they asked me what I wanted to do because the picture had to start in something like four weeks. I said that if they wanted me to save them, I’d have to take something with which I was familiar to begin with. I was familiar with the character of Clouseau. I needed a detective, somebody to solve a murder. I couldn’t throw the whole thing out. I had to use the idea that the maid was accused of killing the chaffeur and this had to be solved. So I thought that Peter Sellers was just the natural thing and that now I was going to try to be as broad with the character as I could be. “How far can I go now in terms of Inspector Clouseau?” I wrote the screenplay and was on the stage in four weeks with it. Fortunately, it turned out to be a reasonably funny movie. It proved something for me—that if a gag is well-designed you can pull it off." (Blake Edwards' interview with Jean-Francois Hauduroy, Cahiers du cinéma, 1966) P.S: On this 62 years ago, "A Shot in the Dark" (1964) premiered in New York City, USA.
1:23

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

DepressedBergman

20,299 次观看 • 25 天前

"One of the biggest regrets of my career is the 1999 Gonzaga Elite Eight run, and people are like, 'How can you regret that?' The reason why I regret it is because it happened in my 2nd year as a head coach and I was naive thinking that this was normal... 25 years later I have a different perspective... I absolutely soaked up every minute today and I'm going to remember it for a lifetime. I just hope it's a long time I've got left to remember it."- Dan Monson
0:57

"One of the biggest regrets of my career is the 1999 Gonzaga Elite Eight run, and people are like, 'How can you regret that?' The reason why I regret it is because it happened in my 2nd year as a head coach and I was naive thinking that this was normal... 25 years later I have a different perspective... I absolutely soaked up every minute today and I'm going to remember it for a lifetime. I just hope it's a long time I've got left to remember it."- Dan Monson

Brenna Greene

1,575,957 次观看 • 2 年前

Arteta on his role to re-energise the Arsenal team. 💪 “Certainly, when you lose a game, you have a lot of feelings because, especially, this group of players are so competitive and they seek for excellence and when you don't reach it, you ask yourself questions, and we did that. “But I think my role there as well is to bring optimism and reality about where we are, and yeah, our club has a long history. And to find a moment where, in February, we're in the position that we are, is very difficult to find. So guys, we are doing so many things so well, and let's focus mainly on that. And for sure, we want to improve, we want to be better in every area, but with that sense as well of self-confidence and conviction that we are in the right path. Anyone need to lift Arteta? “No, in these moments, no. Normally, I'm the opposite and when we are doing so well, I'm there with a stick to say, 'This is not good enough,' 'This is not good enough.' The other day, no, because I know how much they wanted the amount of games and the demands that we put on those players every day. “In those moments, they need to understand and feel that we are right behind them. I'm mainly responsible for that and they keep playing with that freedom, with that enjoyment, as I discussed the other day, and I make sure that that journey is beautiful because what is ahead is great and everybody has to be part of that but in a good sense and with good humor and with good optimism and looking forward to it.”
1:58

Arteta on his role to re-energise the Arsenal team. 💪 “Certainly, when you lose a game, you have a lot of feelings because, especially, this group of players are so competitive and they seek for excellence and when you don't reach it, you ask yourself questions, and we did that. “But I think my role there as well is to bring optimism and reality about where we are, and yeah, our club has a long history. And to find a moment where, in February, we're in the position that we are, is very difficult to find. So guys, we are doing so many things so well, and let's focus mainly on that. And for sure, we want to improve, we want to be better in every area, but with that sense as well of self-confidence and conviction that we are in the right path. Anyone need to lift Arteta? “No, in these moments, no. Normally, I'm the opposite and when we are doing so well, I'm there with a stick to say, 'This is not good enough,' 'This is not good enough.' The other day, no, because I know how much they wanted the amount of games and the demands that we put on those players every day. “In those moments, they need to understand and feel that we are right behind them. I'm mainly responsible for that and they keep playing with that freedom, with that enjoyment, as I discussed the other day, and I make sure that that journey is beautiful because what is ahead is great and everybody has to be part of that but in a good sense and with good humor and with good optimism and looking forward to it.”

Connor Humm

17,767 次观看 • 5 个月前

I didn’t think The King of Queens was going to be a big hit! Not because I didn’t love Kevin James or think he was great — we had instant chemistry. And not because I didn’t think the writers were great; they were amazing. But by the time I got cast in The King of Queens, I had filmed a ton of pilots and been cast in a bunch of TV shows that ultimately got canceled. So I had become cynical and just assumed it wouldn’t work out. It’s been 27 years since The King of Queens premiered, and it’s still one of the top-rated shows in syndication. We are so grateful for all of you.
1:13

I didn’t think The King of Queens was going to be a big hit! Not because I didn’t love Kevin James or think he was great — we had instant chemistry. And not because I didn’t think the writers were great; they were amazing. But by the time I got cast in The King of Queens, I had filmed a ton of pilots and been cast in a bunch of TV shows that ultimately got canceled. So I had become cynical and just assumed it wouldn’t work out. It’s been 27 years since The King of Queens premiered, and it’s still one of the top-rated shows in syndication. We are so grateful for all of you.

Leah Remini

954,433 次观看 • 9 个月前

Daniel Craig on how Mike Myers's "Austin Powers" movies f**ked the James Bond franchise: "Interviewer: How much of 'Skyfall' (2012) was a reaction to 'Quantum of Solace' (2008) or 'Casino Royale' (2006)? Craig: I am very, very keen that you can't make films in a reactionary way. You can't do it! There has been a lot of talk, from the beginning from 'Casino' into 'Quantum' because everyone has gone, "Where's the 'Bondness'? Where's all the old stuff?" I was given this chance by Barbara and Michael, which is the first of the books, and the conceit is we began again, but I couldn't come in and pretend to be James Bond, because everyone knows Bond as Pierce or Roger or Timothy or Sean. I couldn't come in and go, "Hmm, Martini," or whatever. It's not who I am, and how I kind of approach things. The truth of it is that I always had this plan in my head is that we got to make them and begin them again and bring all that back in, but it had to happen the way it did. I can't see it happening any other way. We had to destroy the myth because Mike Myers f**ked us - I am a huge Mike Myers fan, so don't get me wrong - but he kind of f**ked us; made it impossible to do the gags. What I am proudest of in 'Skyfall' is the lightness of touch we've been able to bring to back into it but not lose the drama and the action." (Daniel Craig's interview to MI6, 2014) P.S: On this day, 29 years ago, "Austin Powers: International Man of Mystery" (1999) premiered in Los Angeles, USA.
1:21

Daniel Craig on how Mike Myers's "Austin Powers" movies f**ked the James Bond franchise: "Interviewer: How much of 'Skyfall' (2012) was a reaction to 'Quantum of Solace' (2008) or 'Casino Royale' (2006)? Craig: I am very, very keen that you can't make films in a reactionary way. You can't do it! There has been a lot of talk, from the beginning from 'Casino' into 'Quantum' because everyone has gone, "Where's the 'Bondness'? Where's all the old stuff?" I was given this chance by Barbara and Michael, which is the first of the books, and the conceit is we began again, but I couldn't come in and pretend to be James Bond, because everyone knows Bond as Pierce or Roger or Timothy or Sean. I couldn't come in and go, "Hmm, Martini," or whatever. It's not who I am, and how I kind of approach things. The truth of it is that I always had this plan in my head is that we got to make them and begin them again and bring all that back in, but it had to happen the way it did. I can't see it happening any other way. We had to destroy the myth because Mike Myers f**ked us - I am a huge Mike Myers fan, so don't get me wrong - but he kind of f**ked us; made it impossible to do the gags. What I am proudest of in 'Skyfall' is the lightness of touch we've been able to bring to back into it but not lose the drama and the action." (Daniel Craig's interview to MI6, 2014) P.S: On this day, 29 years ago, "Austin Powers: International Man of Mystery" (1999) premiered in Los Angeles, USA.

DepressedBergman

914,660 次观看 • 2 个月前

Emily Blunt talks about working with Steven Spielberg in "Disclosure Day": "I got a call from my agent saying Steven Spielberg wanted to meet me for his next movie. And I literally screamed. I met him in his office in Tribeca, and he pitched me a little bit of it. [...]. So, I mean, the big idea of it is that question that has sparked the fires of human imagination for years: Are we alone, or are we not alone? And if we aren't, why are the people in power hiding the truth from us? The movie is like a life-or-death race against time for those who believe the truth belongs to 8 billion people and those who believe that it doesn't and want to keep it secret. I'm sure you are now getting asked a lot about your own personal belief as to whether there are aliens or not. I think it would be arrogant for me to assume that we are alone."
2:57

Emily Blunt talks about working with Steven Spielberg in "Disclosure Day": "I got a call from my agent saying Steven Spielberg wanted to meet me for his next movie. And I literally screamed. I met him in his office in Tribeca, and he pitched me a little bit of it. [...]. So, I mean, the big idea of it is that question that has sparked the fires of human imagination for years: Are we alone, or are we not alone? And if we aren't, why are the people in power hiding the truth from us? The movie is like a life-or-death race against time for those who believe the truth belongs to 8 billion people and those who believe that it doesn't and want to keep it secret. I'm sure you are now getting asked a lot about your own personal belief as to whether there are aliens or not. I think it would be arrogant for me to assume that we are alone."

Emily Blunt Files 👽

306,221 次观看 • 1 个月前

John Travolta explains why "A Man and a Woman" (1966) is one of his favourite movies of all time: "All my favorite movies are French. 'A Man and a Woman' (1966) and 'Going Places' (1974) are my two favorite movies. My two favorite American movies? I don't know, they've changed over the years. But I think 'A Man and a Woman' (1966) is the most romantic movie ever made. Just because it captured the real feelings of two people falling in love, and it had music that matched those feelings and images that matched those feelings. It was a marriage of all three. To me, every image of that movie looks like a work of art." (John Travolta's interview with Paul Chutkow, Cigaraficionado, 1999) P.S: On this day, 60 years ago, Claude Lelouch's "A Man and a Woman" (1966) premiered at the Cannes Film Festival, France.
1:28

John Travolta explains why "A Man and a Woman" (1966) is one of his favourite movies of all time: "All my favorite movies are French. 'A Man and a Woman' (1966) and 'Going Places' (1974) are my two favorite movies. My two favorite American movies? I don't know, they've changed over the years. But I think 'A Man and a Woman' (1966) is the most romantic movie ever made. Just because it captured the real feelings of two people falling in love, and it had music that matched those feelings and images that matched those feelings. It was a marriage of all three. To me, every image of that movie looks like a work of art." (John Travolta's interview with Paul Chutkow, Cigaraficionado, 1999) P.S: On this day, 60 years ago, Claude Lelouch's "A Man and a Woman" (1966) premiered at the Cannes Film Festival, France.

DepressedBergman

104,507 次观看 • 2 个月前

“On the day of swearing in of Obasanjo we didn’t have a copy of the constitution. I didn’t know who was printing it, and my ministry was supposed to pay for the printing. Obasanjo was sworn in on a constitution that has not been read by anybody. Abdulsalami Gave Us 1999 Constitution Overnight – No Debate, No Draft.”
1:43

“On the day of swearing in of Obasanjo we didn’t have a copy of the constitution. I didn’t know who was printing it, and my ministry was supposed to pay for the printing. Obasanjo was sworn in on a constitution that has not been read by anybody. Abdulsalami Gave Us 1999 Constitution Overnight – No Debate, No Draft.”

Ozor Ndi Ozor

59,987 次观看 • 7 个月前

Matt Damon says he and Ben Affleck voted for The Matrix for Best Picture in 1999 while people scoffed at them “When that movie came out in 1999, people were like, ‘Oh, it’s a revolutionary action movie,’ and talking about the new camera technique. We both voted for it for Best Picture at the Oscars” “I remember people kind of scoffing, like, ‘The Matrix?’” “It foresaw a whole notion of the future and of existence. It has become more relevant with each passing year. That movie gets better. It’s one of the most seminal films ever made, without a doubt”
0:31

Matt Damon says he and Ben Affleck voted for The Matrix for Best Picture in 1999 while people scoffed at them “When that movie came out in 1999, people were like, ‘Oh, it’s a revolutionary action movie,’ and talking about the new camera technique. We both voted for it for Best Picture at the Oscars” “I remember people kind of scoffing, like, ‘The Matrix?’” “It foresaw a whole notion of the future and of existence. It has become more relevant with each passing year. That movie gets better. It’s one of the most seminal films ever made, without a doubt”

Yonan

1,497,680 次观看 • 10 天前

Charlie Evans revealed in a recent interview with MarieClaire that the chair pull was improvised “We needed to be closer for that and I didn’t really feel like leaning that far, so we just kind of did it in the moment,” Evans tells marie claire Australia exclusively. “It looked right and it felt great and it didn’t interfere with the shot, so we just kept it in.” “Mika is so funny and so open and willing to try things out and play a scene a million different ways. She’s so good at saying yes and exploring things, which we did,” he recalls. “We kind of just went through that scene instinctually and that was sort of the final product, was whatever we felt in the moment. It didn’t really need much adjusting, which was nice.”
0:39

Charlie Evans revealed in a recent interview with MarieClaire that the chair pull was improvised “We needed to be closer for that and I didn’t really feel like leaning that far, so we just kind of did it in the moment,” Evans tells marie claire Australia exclusively. “It looked right and it felt great and it didn’t interfere with the shot, so we just kept it in.” “Mika is so funny and so open and willing to try things out and play a scene a million different ways. She’s so good at saying yes and exploring things, which we did,” he recalls. “We kind of just went through that scene instinctually and that was sort of the final product, was whatever we felt in the moment. It didn’t really need much adjusting, which was nice.”

Off Campus Updates

432,801 次观看 • 1 个月前

Robert Rodriguez on the reason why 'The Faculty' (1998) didn't perform as well as it could have in the box office & it's cult status: "Rodriguez: Making 'The Faculty' (1998) was just a blast. There was so much young energy and the actors were just so into it. I will say, I was worried it wouldn’t do well though. I wanted them to use a different title because our target audience wasn’t gonna want to see a movie about teachers. So I fought for a better title. Interviewer: Did you have some title ideas in your head? Rodriguez: I did. There was 'Alienated', but my favorite idea was The Others. And the studio was like, “No no, let’s just go with The Faculty.” Then two years later that same studio released a movie titled 'The Others' (2001) with Nicole Kidman. But I came up with that name for 'The Faculty'. I mean, it’s possible that its script already had that title, but yeah, I wanted that title for my movie. I think 'The Faculty' didn’t perform as well as it could have because of the title. I remember growing up there was a movie with Nick Nolte called 'Teachers' (1984). And I remember being like … what kid wants to see a movie about teachers? That’s what I was worried about with my movie, that we weren’t going to attract a younger audience because of the title. They even had to shoot extra footage of the faculty doing stuff like closing windows and locking doors for the trailer, which just strengthened the idea of teachers being the bad guys. So yeah, I think they didn’t know how to sell it, which is why I think so many people discovered it later and are now coming out and being like, “Hey, this movie is pretty good!”" ("Robert Rodriguez on Hypnotic and the 25th anniversary of his cult hit The Faculty", Keith Langston, digital trends, 2023) P.S: Happy 58th birthday, Robert Rodriguez!
1:11

Robert Rodriguez on the reason why 'The Faculty' (1998) didn't perform as well as it could have in the box office & it's cult status: "Rodriguez: Making 'The Faculty' (1998) was just a blast. There was so much young energy and the actors were just so into it. I will say, I was worried it wouldn’t do well though. I wanted them to use a different title because our target audience wasn’t gonna want to see a movie about teachers. So I fought for a better title. Interviewer: Did you have some title ideas in your head? Rodriguez: I did. There was 'Alienated', but my favorite idea was The Others. And the studio was like, “No no, let’s just go with The Faculty.” Then two years later that same studio released a movie titled 'The Others' (2001) with Nicole Kidman. But I came up with that name for 'The Faculty'. I mean, it’s possible that its script already had that title, but yeah, I wanted that title for my movie. I think 'The Faculty' didn’t perform as well as it could have because of the title. I remember growing up there was a movie with Nick Nolte called 'Teachers' (1984). And I remember being like … what kid wants to see a movie about teachers? That’s what I was worried about with my movie, that we weren’t going to attract a younger audience because of the title. They even had to shoot extra footage of the faculty doing stuff like closing windows and locking doors for the trailer, which just strengthened the idea of teachers being the bad guys. So yeah, I think they didn’t know how to sell it, which is why I think so many people discovered it later and are now coming out and being like, “Hey, this movie is pretty good!”" ("Robert Rodriguez on Hypnotic and the 25th anniversary of his cult hit The Faculty", Keith Langston, digital trends, 2023) P.S: Happy 58th birthday, Robert Rodriguez!

DepressedBergman

83,466 次观看 • 28 天前

Yves names ‘DIORAMA’ as the song that best represents her as an artist “So I work on a lot of my own music with IOAH, a producer I collaborate with often. We both have a favorite song, and that song is ‘DIORAMA’. I would choose ‘DIORAMA’ to introduce someone to who Yves is because it shows a lot of range. The song starts in a lower register and goes all the way up to a very high note, and it also has a lot of heavy beats that are fun to move along to. The choreography is another reason I would choose it. I was heavily involved in creating it and helped co-choreograph the song, so it carries a lot of my own personal touch. Because of that, there are many personal elements in ‘DIORAMA’, and I think it’s a good example of who Yves is as an artist”
1:43

Yves names ‘DIORAMA’ as the song that best represents her as an artist “So I work on a lot of my own music with IOAH, a producer I collaborate with often. We both have a favorite song, and that song is ‘DIORAMA’. I would choose ‘DIORAMA’ to introduce someone to who Yves is because it shows a lot of range. The song starts in a lower register and goes all the way up to a very high note, and it also has a lot of heavy beats that are fun to move along to. The choreography is another reason I would choose it. I was heavily involved in creating it and helped co-choreograph the song, so it carries a lot of my own personal touch. Because of that, there are many personal elements in ‘DIORAMA’, and I think it’s a good example of who Yves is as an artist”

Yves Support

20,862 次观看 • 26 天前

Ivan Passer on the reason why 'Intimate Lighting' (1965) was banned by the communist government in Czechoslovakia for 20 years: "Interviewer: It seems inconceivable that 'Intimate Lighting' (1965), an almost plotless comedy about the everyday pleasures of life, should have been banned for 20 years. Can you explain it? Passer: I believe that the Party was worried when they saw ordinary people, with all their weaknesses and strengths, depicted on screen. I think they also preferred to be attacked directly rather than to be ignored completely. Before the clampdown, Milos and I got together to discuss how in this godforsaken country we could make good movies. We took a piece of paper and we wrote down several points like “it should be a comedy,” because the Communist Party and the censorship were more tolerant with comedies. “It should be shot outside of the studio, in the streets,” because they would not look over our shoulder that much. “We will use non actors” and “We will use natural light.” My first film, using these precepts, was a 20-minute short, 'A Boring Afternoon' (1964), about all the things that happen when, ostensibly, nothing is happening. Miroslav Ondricek, who shot it, was a soccer fan. He believed that his filming a number of matches made him more able to work with non-actors who could not be expected to hit their marks for lighting. When casting Intimate Lighting, which was about a group of friends who play music together, I had to decide whether to have actors pretending to play instruments, or musicians who I could get to act. I settled for non-actors. We were at a music school, and I literally grabbed the principal in the corridor and asked him if he would play the lead role of the cellist. At first he didn’t want to do it, but after he read the script, he said, “It’s about me.”" (Ivan Passer's interview with Ronald Bergan, Film Comment, 2016) P.S: On this day, 61 years ago, 'Intimate Lighting' (1965) was released in Czechoslovakia.
0:50

Ivan Passer on the reason why 'Intimate Lighting' (1965) was banned by the communist government in Czechoslovakia for 20 years: "Interviewer: It seems inconceivable that 'Intimate Lighting' (1965), an almost plotless comedy about the everyday pleasures of life, should have been banned for 20 years. Can you explain it? Passer: I believe that the Party was worried when they saw ordinary people, with all their weaknesses and strengths, depicted on screen. I think they also preferred to be attacked directly rather than to be ignored completely. Before the clampdown, Milos and I got together to discuss how in this godforsaken country we could make good movies. We took a piece of paper and we wrote down several points like “it should be a comedy,” because the Communist Party and the censorship were more tolerant with comedies. “It should be shot outside of the studio, in the streets,” because they would not look over our shoulder that much. “We will use non actors” and “We will use natural light.” My first film, using these precepts, was a 20-minute short, 'A Boring Afternoon' (1964), about all the things that happen when, ostensibly, nothing is happening. Miroslav Ondricek, who shot it, was a soccer fan. He believed that his filming a number of matches made him more able to work with non-actors who could not be expected to hit their marks for lighting. When casting Intimate Lighting, which was about a group of friends who play music together, I had to decide whether to have actors pretending to play instruments, or musicians who I could get to act. I settled for non-actors. We were at a music school, and I literally grabbed the principal in the corridor and asked him if he would play the lead role of the cellist. At first he didn’t want to do it, but after he read the script, he said, “It’s about me.”" (Ivan Passer's interview with Ronald Bergan, Film Comment, 2016) P.S: On this day, 61 years ago, 'Intimate Lighting' (1965) was released in Czechoslovakia.

DepressedBergman

17,774 次观看 • 3 个月前