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🔥 Salma Hayek's iconic scene in Desperado (1995) – those killer curves, and hips that hypnotize! Antonio Banderas couldn't look away, and neither can you. This steamy scene is pure fire – watch her set the screen ablaze! Who's your ultimate Salma crush? 👀💃 #SalmaHayek #Desperado #SexyScenes #MovieHotness #SalmaDance... show more

Daily Sex Scenes

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34,717 просмотров • 7 месяцев назад •via X (Twitter)

NSFW #SalmaHayek

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While filming this dangerous stunt sequence in "Desperado" (1995), Antonio Banderas & Salma Hayek were tied to a cable connected to a crane. They had a harness attached under their costume. The crane was not operated by a professional. A construction worker who was working in a nearby building was given the job since they had very little budget. The scene wasn't rehearsed beforehand and the worker didn't have any experience with this sort of work. His job was to transport Banderas and Hayek from one roof to another. During the first attempt, Banderas hit the back of his head on the next building as the worker dropped the cable little bit too heavily. The scene had to be shot many times till he got it right. Banderas said, "I would never do that again (...) we were playing with our lives right then. And then there was an explosion behind us, a fire that has to fill the whole entire screen. There was no CGI. That was for real. And I remember the smell of, you know, burned hair. . . . My hair, Salma's hair and everybody that was behind the camera's hair." (Antonio Banderas' interview with Terry Gross, NPR, 2019) P.S: Happy 66th birthday, Antonio Banderas!

While filming this dangerous stunt sequence in "Desperado" (1995), Antonio Banderas & Salma Hayek were tied to a cable connected to a crane. They had a harness attached under their costume. The crane was not operated by a professional. A construction worker who was working in a nearby building was given the job since they had very little budget. The scene wasn't rehearsed beforehand and the worker didn't have any experience with this sort of work. His job was to transport Banderas and Hayek from one roof to another. During the first attempt, Banderas hit the back of his head on the next building as the worker dropped the cable little bit too heavily. The scene had to be shot many times till he got it right. Banderas said, "I would never do that again (...) we were playing with our lives right then. And then there was an explosion behind us, a fire that has to fill the whole entire screen. There was no CGI. That was for real. And I remember the smell of, you know, burned hair. . . . My hair, Salma's hair and everybody that was behind the camera's hair." (Antonio Banderas' interview with Terry Gross, NPR, 2019) P.S: Happy 66th birthday, Antonio Banderas!

DepressedBergman

75,976 просмотров • 14 дней назад

Salma Hayek took her parents & brother for the premiere of Robert Rodriguez's "Desperado" (1995), but when the sex scene played, she made them leave the theater with her as she didn't want her family to watch that scene. Here is Salma Hayek explaining how the scene was filmed: "Interviewer: Do you remember how Carolina was described in the script? Hayek: No. I mean, usually, [it’s] the age. They’re beautiful and sexy, probably. Mexican. It sounded like me. Interviewer: [Laughs] It is perfect casting. Today, there are often intimacy coordinators to help provide safe spaces for actors. How did you feel about doing a major sex scene in this movie at such a pivotal point in your career? Hayek: It was a very difficult thing for me. It was not in the original script, I have to say. I think it was one of the notes that came after they showed the screen test, which made it harder for me. I was already like, “No, that was not in there the first time.” Interviewer: But you went through with it. Hayek: They were amazing. What I can tell you is that I was very lucky because they set up the lights and the sound. [It was] Robert, Antonio, Elizabeth and I. Robert was operating the camera. I think there was no sound. Elizabeth was moving cable. [There] was not even a [monitor]. And I flipped out. I wouldn’t do it. They were very patient. It was two hours, and I was still not [working] up the courage. Then it was very, very nice. They closed the set. They did everything that could possibly be done. But it was one long scene with dialogue and… it was different. There were little moments before I would flip out again. I walked out of the premiere when they played it and I took my brother, father, and mother with me. I didn't want any of them to see it. They were happy to walk out right away and then we came back again. I don't think they noticed anything." (Salma Hayek's interview with Candice Frederick, Elle, 2020)

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Salma Hayek took her parents & brother for the premiere of Robert Rodriguez's "Desperado" (1995), but when the sex scene played, she made them leave the theater with her as she didn't want her family to watch that scene. Here is Salma Hayek explaining how the scene was filmed: "Interviewer: Do you remember how Carolina was described in the script? Hayek: No. I mean, usually, [it’s] the age. They’re beautiful and sexy, probably. Mexican. It sounded like me. Interviewer: [Laughs] It is perfect casting. Today, there are often intimacy coordinators to help provide safe spaces for actors. How did you feel about doing a major sex scene in this movie at such a pivotal point in your career? Hayek: It was a very difficult thing for me. It was not in the original script, I have to say. I think it was one of the notes that came after they showed the screen test, which made it harder for me. I was already like, “No, that was not in there the first time.” Interviewer: But you went through with it. Hayek: They were amazing. What I can tell you is that I was very lucky because they set up the lights and the sound. [It was] Robert, Antonio, Elizabeth and I. Robert was operating the camera. I think there was no sound. Elizabeth was moving cable. [There] was not even a [monitor]. And I flipped out. I wouldn’t do it. They were very patient. It was two hours, and I was still not [working] up the courage. Then it was very, very nice. They closed the set. They did everything that could possibly be done. But it was one long scene with dialogue and… it was different. There were little moments before I would flip out again. I walked out of the premiere when they played it and I took my brother, father, and mother with me. I didn't want any of them to see it. They were happy to walk out right away and then we came back again. I don't think they noticed anything." (Salma Hayek's interview with Candice Frederick, Elle, 2020)

DepressedBergman

31,706 просмотров • 5 месяцев назад

#Shellybenda #pundao “We sulked and not understand to each other for many times on those times. Because those times we were offended to each other and also talk this out. It made me feel like “Am I important to her?” and I wonder about it so much. Until we had to shoot this scene. Pure had to have a feeling for Loft very very much. But in the mean time, I use my feeling when I play this scene. This feeling is full of doubtful “Am I important for Shelly?. When I looked at her, I don’t know what to say and portray this scene because of this feeling in my mind. I knew that Loft love pure so much but I don’t know that Shelly love me or not. That’s why I can’t act on that scene. Um, it maybe looks ridiculous but I don’t know why I can’t do it. So there’s a time director let us talk for a minute, I saw many people look at us and it made me feel shy to tell something from my heart and also the microphone that attached. I decided to pull it off and ask Shelly “I ask you. For you, am I important?” Shelly looked at me and said “Yes” and I looked back at her. She said “I love you, why not? I love you” she said so many things. It made me feel like I can unlock something from my heart and that time is the first time Shelly said she loves me. Because she’s always tells me that she’s not the one who likes to say “I love you” easily. And I’ll be like “why I have to wait for that word from you?” At first, I don’t understand why and annoyed. But she was the one who said it first. When she said, it made me understand her more. But as you know, I’m an emotional woman. As you can see from the unpackaged live, crying over the letters. When I was told “I love you” I cried my balls out on that scene. If you can watch this scene on this Wednesday again, you will see it. But the scene got cut until it left a little. The scene where I said like “Pure love Loft” I said why I was crying so hard until the song was coming out. And the scene got cut. That scene is also my memorable moment.”

#Shellybenda #pundao “We sulked and not understand to each other for many times on those times. Because those times we were offended to each other and also talk this out. It made me feel like “Am I important to her?” and I wonder about it so much. Until we had to shoot this scene. Pure had to have a feeling for Loft very very much. But in the mean time, I use my feeling when I play this scene. This feeling is full of doubtful “Am I important for Shelly?. When I looked at her, I don’t know what to say and portray this scene because of this feeling in my mind. I knew that Loft love pure so much but I don’t know that Shelly love me or not. That’s why I can’t act on that scene. Um, it maybe looks ridiculous but I don’t know why I can’t do it. So there’s a time director let us talk for a minute, I saw many people look at us and it made me feel shy to tell something from my heart and also the microphone that attached. I decided to pull it off and ask Shelly “I ask you. For you, am I important?” Shelly looked at me and said “Yes” and I looked back at her. She said “I love you, why not? I love you” she said so many things. It made me feel like I can unlock something from my heart and that time is the first time Shelly said she loves me. Because she’s always tells me that she’s not the one who likes to say “I love you” easily. And I’ll be like “why I have to wait for that word from you?” At first, I don’t understand why and annoyed. But she was the one who said it first. When she said, it made me understand her more. But as you know, I’m an emotional woman. As you can see from the unpackaged live, crying over the letters. When I was told “I love you” I cried my balls out on that scene. If you can watch this scene on this Wednesday again, you will see it. But the scene got cut until it left a little. The scene where I said like “Pure love Loft” I said why I was crying so hard until the song was coming out. And the scene got cut. That scene is also my memorable moment.”

พรรอก๊ออว์ ติ่งที่เป็นหมอดูและโทรโข่งเดินได้

166,184 просмотров • 11 месяцев назад

⚠️ CALIFORNIA OPENED THE DOOR 29 DAYS EARLY... AND ALMOST NOBODY IS TALKING ABOUT IT. For 29 days before Election Day, campaigns can reportedly see who's voted, who's holding a ballot, and exactly where to focus their efforts. Then comes the part that will make your jaw hit the floor... If workers can choose which doors to knock on and which ballots to collect, what does that mean for the ballots they leave behind? Once you hear how this system works, you may never look at Election Night results the same way again. 👀🔥 Watch the full episode on my YT channel! Link is in the comments ⬇️

⚠️ CALIFORNIA OPENED THE DOOR 29 DAYS EARLY... AND ALMOST NOBODY IS TALKING ABOUT IT. For 29 days before Election Day, campaigns can reportedly see who's voted, who's holding a ballot, and exactly where to focus their efforts. Then comes the part that will make your jaw hit the floor... If workers can choose which doors to knock on and which ballots to collect, what does that mean for the ballots they leave behind? Once you hear how this system works, you may never look at Election Night results the same way again. 👀🔥 Watch the full episode on my YT channel! Link is in the comments ⬇️

Jillian Michaels

266,803 просмотров • 2 месяцев назад

Scarface (1983) Dir. Brian De Palma De Palma on shooting the Tony Montana Frank Lopez showdown. "The first problem came when I first laid out the scene; Al [Pacino] was very uncomfortable with it. There was something that wasn’t right, and I couldn’t figure out what. I’m behind schedule with 150 people standing around on a sound stage at Universal, and Al just can’t seem to do the scene. He wants to go back to his trailer and rehearse it. Well, we’ve rehearsed the scene a thousand times and suddenly there’s something wrong with it. So I go back to his trailer, I call [screenwriter] Oliver Stone, and I say, “Get down here. There’s something wrong with this scene.” We get in the trailer and Al starts doing the scene, and then it occurs to me that the problem with the scene is not the scene, but the size of the set. We scrapped that location and shot something else, and then we built the boardroom five times bigger, with that huge table that he could move around. In that scene, each of those actors, the kingpin, Al, Manny, the police chief, they all had different rhythms. You have to choreograph this thing for five different actors and pay attention to every one of them. I’m trying to get through this scene, and the actor playing the bodyguard is staring at me with a look like he wants to murder me. He comes over and says, “Can I talk to you for a second?” I said, “Okay,” and took him aside and he said, “You haven’t said a fucking word to me for four hours.” I said, “I apologize. I’ve got the chief of police. I’ve got Al. I’ve got Manny. I’m trying to choreograph this complicated scene. I’m sorry.” I had completely not taken into account that the bodyguard had concerns and nobody seemed to be paying any attention to him. That’s a typical example of when you have a whole bunch of different actors with different needs, and you’ve got to watch them all."

Scarface (1983) Dir. Brian De Palma De Palma on shooting the Tony Montana Frank Lopez showdown. "The first problem came when I first laid out the scene; Al [Pacino] was very uncomfortable with it. There was something that wasn’t right, and I couldn’t figure out what. I’m behind schedule with 150 people standing around on a sound stage at Universal, and Al just can’t seem to do the scene. He wants to go back to his trailer and rehearse it. Well, we’ve rehearsed the scene a thousand times and suddenly there’s something wrong with it. So I go back to his trailer, I call [screenwriter] Oliver Stone, and I say, “Get down here. There’s something wrong with this scene.” We get in the trailer and Al starts doing the scene, and then it occurs to me that the problem with the scene is not the scene, but the size of the set. We scrapped that location and shot something else, and then we built the boardroom five times bigger, with that huge table that he could move around. In that scene, each of those actors, the kingpin, Al, Manny, the police chief, they all had different rhythms. You have to choreograph this thing for five different actors and pay attention to every one of them. I’m trying to get through this scene, and the actor playing the bodyguard is staring at me with a look like he wants to murder me. He comes over and says, “Can I talk to you for a second?” I said, “Okay,” and took him aside and he said, “You haven’t said a fucking word to me for four hours.” I said, “I apologize. I’ve got the chief of police. I’ve got Al. I’ve got Manny. I’m trying to choreograph this complicated scene. I’m sorry.” I had completely not taken into account that the bodyguard had concerns and nobody seemed to be paying any attention to him. That’s a typical example of when you have a whole bunch of different actors with different needs, and you’ve got to watch them all."

Gangster Cinema Central

152,805 просмотров • 6 месяцев назад

This is a TURNING POINT for you. You’re in a NEW SEASON now. This is a NEW MOMENT. God is doing A NEW THING in your life. In the mighty name of Jesus! We are not ignorant of the devil’s devices; I know he sends storms to try to shipwreck your life. We know he stirs up opposition around you and would love to take you out. BUT I PROPHESY GOD’S DIVINE VICTORY AND PROTECTION over you and I declare, THE ENEMY CANNOT DO SO!💥👊🏽 Just like you can’t curse who God has blessed, no devil can remove the blessing of God from your life. The Blood of Jesus is SUPERIOR! And the anointing of the Holy Ghost is simply TOO STRONG!💪🏽 Your assignment was created by God, your inheritance is ordained by God, your destiny has been designed by God, and I declare you shall receive EVERY GOOD THING God has for you! 🔥YOU ARE IN A SUPERNATURAL SEASON🔥of rapid growth and right alignment, in Jesus’ name! The lost years are over. The dark years are over. The suffering is ending. You will not stay sick! You will not stay small! You will not stay poor! And neither are you destined to be alone all your life. The devil is a pathological liar who suffers from incurable delusions of grandeur! Hear the word of the Lord and be encouraged!🔥💪🏽👊🏽 This powerful Rosh Hashanah season is propelling you into a new beginning. God is about to do a new thing in your life! Perceive it! Believe it! Understand that you will receive it! And in the name of Jesus Christ I declare, SURELY YOU WILL TESTIFY! 🔥 This entire word was preached yesterday under the anointing and it was pure Holy Ghost FIRE. I don’t want you to miss out. If you did not catch our service yesterday, I encourage you to come get this word right now. 🔥THIS IS YOUR WORD!🔥 SCROLL DOWN to watch now! 𝒟𝓇. 𝒥𝑜𝐿𝓎𝓃𝓃𝑒 𝒲𝒽𝒾𝓉𝓉𝒶𝓀𝑒𝓇 𝗝𝗼𝗟𝘆𝗻𝗻𝗲𝗪𝗵𝗶𝘁𝘁𝗮𝗸𝗲𝗿.𝗼𝗿𝗴

This is a TURNING POINT for you. You’re in a NEW SEASON now. This is a NEW MOMENT. God is doing A NEW THING in your life. In the mighty name of Jesus! We are not ignorant of the devil’s devices; I know he sends storms to try to shipwreck your life. We know he stirs up opposition around you and would love to take you out. BUT I PROPHESY GOD’S DIVINE VICTORY AND PROTECTION over you and I declare, THE ENEMY CANNOT DO SO!💥👊🏽 Just like you can’t curse who God has blessed, no devil can remove the blessing of God from your life. The Blood of Jesus is SUPERIOR! And the anointing of the Holy Ghost is simply TOO STRONG!💪🏽 Your assignment was created by God, your inheritance is ordained by God, your destiny has been designed by God, and I declare you shall receive EVERY GOOD THING God has for you! 🔥YOU ARE IN A SUPERNATURAL SEASON🔥of rapid growth and right alignment, in Jesus’ name! The lost years are over. The dark years are over. The suffering is ending. You will not stay sick! You will not stay small! You will not stay poor! And neither are you destined to be alone all your life. The devil is a pathological liar who suffers from incurable delusions of grandeur! Hear the word of the Lord and be encouraged!🔥💪🏽👊🏽 This powerful Rosh Hashanah season is propelling you into a new beginning. God is about to do a new thing in your life! Perceive it! Believe it! Understand that you will receive it! And in the name of Jesus Christ I declare, SURELY YOU WILL TESTIFY! 🔥 This entire word was preached yesterday under the anointing and it was pure Holy Ghost FIRE. I don’t want you to miss out. If you did not catch our service yesterday, I encourage you to come get this word right now. 🔥THIS IS YOUR WORD!🔥 SCROLL DOWN to watch now! 𝒟𝓇. 𝒥𝑜𝐿𝓎𝓃𝓃𝑒 𝒲𝒽𝒾𝓉𝓉𝒶𝓀𝑒𝓇 𝗝𝗼𝗟𝘆𝗻𝗻𝗲𝗪𝗵𝗶𝘁𝘁𝗮𝗸𝗲𝗿.𝗼𝗿𝗴

𝐃𝐫. 𝐉𝐨𝐋𝐲𝐧𝐧𝐞 𝐖𝐡𝐢𝐭𝐭𝐚𝐤𝐞𝐫

17,727 просмотров • 2 лет назад

♟️💎 ShortForm Videos Showreeel Nowadays, every content creator is looking for "the BEST ways to grab viewer's attention", as it is the new oil 🛢️ To achieve this, they need to STAND OUT and stop people from scrolling. This is the value WE provide to our customers. Our videos don’t just look Awesome in every aspect—from ideas and scene-building to sound design— but the BEST part is that .....they deliver AMAZING results, such as: ✅ More views ✅ Increased watch time ✅ Higher engagement (comments, likes, shares) We ensure that every single Piece of content you post is Better than your previous ones. Plus, we can even create a Unique style for you so that you get recognized easily! 💎 Elevate your content Quality & set your brand apart ✉️ Contact Me now to get started!

Zakaria

30,697 просмотров • 1 год назад

Your “cars are literally melted to the pavement” comment is directly pointing to the obvious use of DEWs, or directed energy weapons 📡🛰️, in these Spokane fires, especially the large work van 🚐. Just look 👀 at that van, why don’t you ?! The trees standing DIRECTLY next to it did not burn 🔥!! But somehow the aluminum, glass, and some metals (in the tires as well) on the van all get ‘melted’ ?! WTF 😳!! This is some type of microwave 📡 weapon that combusts metals. Even if the adjacent trees had caught fire, organic wildfires burn at 1400-1600F an 2500F is needed to begin melting steel and glass. Folks, this is an arson crime scene, and someone in your 🫵🏻 gov’t 🇺🇸 knows all about it !! Put their feet 👣 to the fire 🔥 of your wrath ! Find attached clips ✂️ from previous ‘wildfires’ the same phenomenon along with a forensic PI 🕵️‍♀️ explaining to us how this phenomenon can’t possibly be organic. You can find more of this PI by searching for ‘Robert Brame’ on the Rumble video platform. FBI Director Kash Patel FBI Dan Bongino

Your “cars are literally melted to the pavement” comment is directly pointing to the obvious use of DEWs, or directed energy weapons 📡🛰️, in these Spokane fires, especially the large work van 🚐. Just look 👀 at that van, why don’t you ?! The trees standing DIRECTLY next to it did not burn 🔥!! But somehow the aluminum, glass, and some metals (in the tires as well) on the van all get ‘melted’ ?! WTF 😳!! This is some type of microwave 📡 weapon that combusts metals. Even if the adjacent trees had caught fire, organic wildfires burn at 1400-1600F an 2500F is needed to begin melting steel and glass. Folks, this is an arson crime scene, and someone in your 🫵🏻 gov’t 🇺🇸 knows all about it !! Put their feet 👣 to the fire 🔥 of your wrath ! Find attached clips ✂️ from previous ‘wildfires’ the same phenomenon along with a forensic PI 🕵️‍♀️ explaining to us how this phenomenon can’t possibly be organic. You can find more of this PI by searching for ‘Robert Brame’ on the Rumble video platform. FBI Director Kash Patel FBI Dan Bongino

ZemuU

20,635 просмотров • 21 дней назад

THE LEPRECHAUN IS OUT OF THE BOX... Our Ultimate Leprechaun doll Kickstarter is OFFICIALLY live, and we have a very special message from one of our close friends! Head on over to Kickstarter to get your Leprechaun Ultimate doll, a Kickstarter exclusive Scream Great, or one of the other many wonderful Kickstarter exclusives--including a certificate of authenticity from Warwick Davis himself! ARE YOU THE ULTIMATE LEPRECHAUN FAN?! Check out our HIGHLY exclusive and LIMITED EDITION 1 out of 1 Ultimate Leprechaun doll that can be yours! Genuine gold buckles and accessories? Personalized Certificate of Authenticity? Unique gold foiled box? It's got it all! But beware, THERE IS ONLY 1 IN EXISTENCE. Have ultimate bragging rights with our 1 of 1 Elite Leprechaun doll! New to the Kickstarter scene? You back the project and pick a tier which you want to contribute to! Each tier has exclusives attached to it, but don't worry--we have a basic tier in which you can just pick up the Kickstarter exclusive doll. If you want to contribute and help make this project a reality, but don't want to go all out, we created an exclusive Scream Great JUST FOR THIS CAMPAIGN! THERE WILL NOT BE ANOTHER RUN OF THESE SCREAM GREAT EXCLUSIVES! EVER!!!!!!!!!!! And we got plenty of treats up our sleeves! As we crush those stretch goals, you will unlock goodies for your Ultimate Leprechaun doll! Thanks everyone for your support in helping make this a reality, and a MASSIVE thanks to Warwick Davis for helping us make this dream possible! Have a great and safe Saint Patricks Day!

THE LEPRECHAUN IS OUT OF THE BOX... Our Ultimate Leprechaun doll Kickstarter is OFFICIALLY live, and we have a very special message from one of our close friends! Head on over to Kickstarter to get your Leprechaun Ultimate doll, a Kickstarter exclusive Scream Great, or one of the other many wonderful Kickstarter exclusives--including a certificate of authenticity from Warwick Davis himself! ARE YOU THE ULTIMATE LEPRECHAUN FAN?! Check out our HIGHLY exclusive and LIMITED EDITION 1 out of 1 Ultimate Leprechaun doll that can be yours! Genuine gold buckles and accessories? Personalized Certificate of Authenticity? Unique gold foiled box? It's got it all! But beware, THERE IS ONLY 1 IN EXISTENCE. Have ultimate bragging rights with our 1 of 1 Elite Leprechaun doll! New to the Kickstarter scene? You back the project and pick a tier which you want to contribute to! Each tier has exclusives attached to it, but don't worry--we have a basic tier in which you can just pick up the Kickstarter exclusive doll. If you want to contribute and help make this project a reality, but don't want to go all out, we created an exclusive Scream Great JUST FOR THIS CAMPAIGN! THERE WILL NOT BE ANOTHER RUN OF THESE SCREAM GREAT EXCLUSIVES! EVER!!!!!!!!!!! And we got plenty of treats up our sleeves! As we crush those stretch goals, you will unlock goodies for your Ultimate Leprechaun doll! Thanks everyone for your support in helping make this a reality, and a MASSIVE thanks to Warwick Davis for helping us make this dream possible! Have a great and safe Saint Patricks Day!

TrickorTreat Studios

48,459 просмотров • 5 месяцев назад

Here’s a great example of how propaganda is abused online to fuel authoritarian narratives, or just for money (as YouTube, TikTok and Twitter all pay for views) Many people are talking about violent protestors setting “brush fires” The videos you see will show a two second clip from this video, and then cellphone footage from larger brush fires from the LA wild fires earlier this year. They cut off the fact that in this video, you see a protestor dumping water onto the small fire in the empty lot, and others with water bottles coming to help, after some young hooligans set fire to bushes in an empty lot with a firework. It was reported on Frontline Wildfire, but by the time LAFD got on scene the protestors had already put out the flames, and so it wasn’t listed as an LAFD incident. The LAFD puts out status alerts on *ALL* fires they respond to. And Frontline Wildfire is a joint public citizen and government data source tracking *ALL* active and recent brush/wild/forest fires in California. You can literally check for yourself if “the city is on fire” from multiple data sources - and guess what?! It’s not. During these protests vandals have: -Set one car on fire -Set off fire works -Set one piece of debris on fire on a highway -Set a bush on fire accidentally with fireworks in an empty lot (which was put out by protestors) -hit cement pillars with hammers (wtf?) And the idiots that did those things, should absolutely fucking be arrested by the LAPD, and many of them have been. The vast majority of protestors, and all protestors who actually care about the cause, are peaceful - so peaceful, that the LAPD (who loves to break out their riot gear and get overtime pay) has said the protestors are peaceful. But that doesn’t sell. That doesn’t let goons exercise power. That doesn’t let foreign governments stoke political divide in America to keep you distracted. And it doesn’t let clickbait farms who pay their rent on your outrage, earn from virality. So they clip together some current footage, with old footage, or they get one bad looking angle, and play it again and again, They shout at you to be afraid, and they hope you’re too dumb to check the facts yourself. Don’t let them profit from your fear. Don’t let them strip away other people’s rights, based on fear. Because you never know when the tide shifts and they’ll come for your rights. At that time you’ll hope other people don’t succumb to fear and misinformation. Get the facts.

Here’s a great example of how propaganda is abused online to fuel authoritarian narratives, or just for money (as YouTube, TikTok and Twitter all pay for views) Many people are talking about violent protestors setting “brush fires” The videos you see will show a two second clip from this video, and then cellphone footage from larger brush fires from the LA wild fires earlier this year. They cut off the fact that in this video, you see a protestor dumping water onto the small fire in the empty lot, and others with water bottles coming to help, after some young hooligans set fire to bushes in an empty lot with a firework. It was reported on Frontline Wildfire, but by the time LAFD got on scene the protestors had already put out the flames, and so it wasn’t listed as an LAFD incident. The LAFD puts out status alerts on ALL fires they respond to. And Frontline Wildfire is a joint public citizen and government data source tracking ALL active and recent brush/wild/forest fires in California. You can literally check for yourself if “the city is on fire” from multiple data sources - and guess what?! It’s not. During these protests vandals have: -Set one car on fire -Set off fire works -Set one piece of debris on fire on a highway -Set a bush on fire accidentally with fireworks in an empty lot (which was put out by protestors) -hit cement pillars with hammers (wtf?) And the idiots that did those things, should absolutely fucking be arrested by the LAPD, and many of them have been. The vast majority of protestors, and all protestors who actually care about the cause, are peaceful - so peaceful, that the LAPD (who loves to break out their riot gear and get overtime pay) has said the protestors are peaceful. But that doesn’t sell. That doesn’t let goons exercise power. That doesn’t let foreign governments stoke political divide in America to keep you distracted. And it doesn’t let clickbait farms who pay their rent on your outrage, earn from virality. So they clip together some current footage, with old footage, or they get one bad looking angle, and play it again and again, They shout at you to be afraid, and they hope you’re too dumb to check the facts yourself. Don’t let them profit from your fear. Don’t let them strip away other people’s rights, based on fear. Because you never know when the tide shifts and they’ll come for your rights. At that time you’ll hope other people don’t succumb to fear and misinformation. Get the facts.

Adam Cochran (adamscochran.eth)

106,922 просмотров • 1 год назад

📽️ Charlie's Angels: Full Throttle (2003) 🔥🍿🍿🍿 [Which Angel are you taking home to see mom? Biff-Lucy Liu is going home with me😍] "The Striptease Mission" 💃 In this flashy and over-the-top scene, the Angels (Cameron Diaz, Drew Barrymore, and Lucy Liu) go undercover with a high-energy, choreographed striptease performance set to a remix of the *Pink Panther* theme. Using whips, canes, and plenty of attitude, they turn seduction into an action-packed mission. Pure early 2000s campy fun. ❓Did you know that this scene was specifically designed to be both sexy and funny? The film leaned heavily into its playful, stylized action-comedy vibe, which became a signature of the Charlie’s Angels movies. ⭐️Starring: - Cameron Diaz as Natalie Cook - Drew Barrymore as Dylan Sanders - Lucy Liu as Alex Munday Have you seen *Charlie’s Angels: Full Throttle*? What’s your favorite scene from the movie? Drop it below 👇 #MovieClip #MovieScene #Film #Cinema #CharliesAngels #CameronDiaz #DrewBarrymore #LucyLiu #2000sMovies #ActionComedy #McGFilm

📽️ Charlie's Angels: Full Throttle (2003) 🔥🍿🍿🍿 [Which Angel are you taking home to see mom? Biff-Lucy Liu is going home with me😍] "The Striptease Mission" 💃 In this flashy and over-the-top scene, the Angels (Cameron Diaz, Drew Barrymore, and Lucy Liu) go undercover with a high-energy, choreographed striptease performance set to a remix of the Pink Panther theme. Using whips, canes, and plenty of attitude, they turn seduction into an action-packed mission. Pure early 2000s campy fun. ❓Did you know that this scene was specifically designed to be both sexy and funny? The film leaned heavily into its playful, stylized action-comedy vibe, which became a signature of the Charlie’s Angels movies. ⭐️Starring: - Cameron Diaz as Natalie Cook - Drew Barrymore as Dylan Sanders - Lucy Liu as Alex Munday Have you seen Charlie’s Angels: Full Throttle? What’s your favorite scene from the movie? Drop it below 👇 #MovieClip #MovieScene #Film #Cinema #CharliesAngels #CameronDiaz #DrewBarrymore #LucyLiu #2000sMovies #ActionComedy #McGFilm

BiffBifford™ 🇺🇸

11,653 просмотров • 1 месяц назад

Michael Mann on the pivotal scene in Heat when Ashley Judd’s character Charlene chooses to warn Chris instead of giving him up to the police - despite knowing what it’s going to cost her: “In this scene, I confess I’m stunned with how wonderful Ashley Judd is; the expressions on her face as she processes all her options and what she has to do - and then she waves them off. She’s established early in the film as a practical, emotionally mature adult trying to put together a small family. And those are her values. They are family values. She knows that she ought to cooperate with the police and she ought to let Chris (Val Kilmer) fall. That would protect her child, and no instinct is more profound or powerful than the maternal instinct she has right there. And she’s set up for us to expect that she will do exactly that- even though the anguish would be intense, she would give up Chris to protect the family unit that remains. But when she goes to do that on the porch, she sees him and can’t help herself. She’s in love with the guy. You can see her face processing those choices, the endearment she feels for him, and then she does the irrational act and waves them off. In that moment, we see a look on Ashley’s face, we see a sense of what her future is going to be — which is going to be grim. And it’s there again when she closes her eyes as Drucker tells Vincent that the man was not Chris. But of course - it was. And then this is the final moment of Ashley Judd/Charlene Shiherlis in the film: an awareness of the separation from her man, an awareness of what her future holds for her. And with Chris, there’s a parallel moment of realization.” From the director’s commentary track off the Heat Blu-ray

Michael Mann on the pivotal scene in Heat when Ashley Judd’s character Charlene chooses to warn Chris instead of giving him up to the police - despite knowing what it’s going to cost her: “In this scene, I confess I’m stunned with how wonderful Ashley Judd is; the expressions on her face as she processes all her options and what she has to do - and then she waves them off. She’s established early in the film as a practical, emotionally mature adult trying to put together a small family. And those are her values. They are family values. She knows that she ought to cooperate with the police and she ought to let Chris (Val Kilmer) fall. That would protect her child, and no instinct is more profound or powerful than the maternal instinct she has right there. And she’s set up for us to expect that she will do exactly that- even though the anguish would be intense, she would give up Chris to protect the family unit that remains. But when she goes to do that on the porch, she sees him and can’t help herself. She’s in love with the guy. You can see her face processing those choices, the endearment she feels for him, and then she does the irrational act and waves them off. In that moment, we see a look on Ashley’s face, we see a sense of what her future is going to be — which is going to be grim. And it’s there again when she closes her eyes as Drucker tells Vincent that the man was not Chris. But of course - it was. And then this is the final moment of Ashley Judd/Charlene Shiherlis in the film: an awareness of the separation from her man, an awareness of what her future holds for her. And with Chris, there’s a parallel moment of realization.” From the director’s commentary track off the Heat Blu-ray

Gangster Cinema Central

92,728 просмотров • 2 месяцев назад

🔥 We Bleed on the Border So You Can Spread Venom in the Studio. Arfa Khanum Sherwani, I listened to your analysis. You sit comfortably in your studio and call a film #DhurandharReview about counter-terrorism a 'poison injection'? You complain about 'masculinity' and 'anti-Pakistan' sentiment? Let me give you a reality check that no scriptwriter can invent. You say this content is 'impossible to watch' for a family? Do you know what is truly impossible to watch? It is not a movie scene. It is a 21-year-old widow receiving the folded Tricolour because her husband took a bullet fighting the very terrorists you are so desperate to humanize. It is a father lighting the pyre of his only son who died protecting the border you treat as a debate topic. You talk about 'poison'? The real poison is the narrative you are peddling, the one that finds faults in our defense but excuses for our enemies. You worry about 'anti-Pakistan' sentiment? We don't have the luxury of 'sentiment' on the LOC. We deal with snipers, infiltrators, and bodies. When we hunt down the perpetrators of 26/11, it is not 'hatred', it is justice. And it is the only reason you have the freedom to sit there and critique it. You call courage 'toxic masculinity'? That same 'masculinity' is what stands between you and the monsters who would silence you in a heartbeat. You sleep under the blanket of freedom we weave with our blood, and then you wake up to question the thread count. Do not preach to us about what families can or cannot watch. We are the ones who ensure those families survive to watch anything at all. Jai Hind.

🔥 We Bleed on the Border So You Can Spread Venom in the Studio. Arfa Khanum Sherwani, I listened to your analysis. You sit comfortably in your studio and call a film #DhurandharReview about counter-terrorism a 'poison injection'? You complain about 'masculinity' and 'anti-Pakistan' sentiment? Let me give you a reality check that no scriptwriter can invent. You say this content is 'impossible to watch' for a family? Do you know what is truly impossible to watch? It is not a movie scene. It is a 21-year-old widow receiving the folded Tricolour because her husband took a bullet fighting the very terrorists you are so desperate to humanize. It is a father lighting the pyre of his only son who died protecting the border you treat as a debate topic. You talk about 'poison'? The real poison is the narrative you are peddling, the one that finds faults in our defense but excuses for our enemies. You worry about 'anti-Pakistan' sentiment? We don't have the luxury of 'sentiment' on the LOC. We deal with snipers, infiltrators, and bodies. When we hunt down the perpetrators of 26/11, it is not 'hatred', it is justice. And it is the only reason you have the freedom to sit there and critique it. You call courage 'toxic masculinity'? That same 'masculinity' is what stands between you and the monsters who would silence you in a heartbeat. You sleep under the blanket of freedom we weave with our blood, and then you wake up to question the thread count. Do not preach to us about what families can or cannot watch. We are the ones who ensure those families survive to watch anything at all. Jai Hind.

Lt Colonel Vikas Gurjar 🇮🇳

136,800 просмотров • 8 месяцев назад

🎬Tom Cruise doesn’t do traditional screen tests. 😂😂😂😂 So when Ben Stiller needed to see him in the Les Grossman makeup for Tropic Thunder, they just rolled cameras on the first full look. Cruise showed up, demanded “fat hands,” and then — with no music playing — launched into full hip-hop moves. Stiller said it was so unexpectedly funny they kept rolling. The next day Cruise himself cut the footage to a track and sent it back. That spontaneous test is the reason the dancing scene (and the end-credits sequence) even exists in the movie. It’s one of those rare behind-the-scenes moments that shows how much of the final film came from pure improvisation and Cruise refusing to play it safe. The bald, foul-mouthed studio executive with the tiny legs and the killer dance moves almost didn’t happen the way we know him. Did that makeup test change how you see ❓Cruise’s comedy range, or was Les Grossman already perfect in your head?🍿

🎬Tom Cruise doesn’t do traditional screen tests. 😂😂😂😂 So when Ben Stiller needed to see him in the Les Grossman makeup for Tropic Thunder, they just rolled cameras on the first full look. Cruise showed up, demanded “fat hands,” and then — with no music playing — launched into full hip-hop moves. Stiller said it was so unexpectedly funny they kept rolling. The next day Cruise himself cut the footage to a track and sent it back. That spontaneous test is the reason the dancing scene (and the end-credits sequence) even exists in the movie. It’s one of those rare behind-the-scenes moments that shows how much of the final film came from pure improvisation and Cruise refusing to play it safe. The bald, foul-mouthed studio executive with the tiny legs and the killer dance moves almost didn’t happen the way we know him. Did that makeup test change how you see ❓Cruise’s comedy range, or was Les Grossman already perfect in your head?🍿

BiffBifford™ 🇺🇸

309,874 просмотров • 5 дней назад

Our film director is back with a new analysis of İlhan and Damla’s performance and this time he chose THE BEST SCENE EVER aka the divorce scene 🎬❤️‍🔥 The translation: “Friends, after the first video, I received so many messages that I decided to handle this scene as well—the moment Serhat divorces Yıldız. In this scene, there are so many changes in emotion for Yıldız that, friends, this is not an easy thing. It’s not easy to play, and it’s not easy to feel. You can't teach certain things to actors; that actor already knows. You just can't teach some things. I mean, to play this scene minimally and yet reflect it in a giant way is a very difficult thing. Yıldız is already coming into this knowing that Serhat will tell her he’s divorcing her. The emotional shift: one, Serhat telling Yıldız; two, the emotional shift after he says it; and in the final word, she gets angry anyway—there is an emotional shift there too. Incredible. Now—the eyes don't change, friends. Look now: the eyes are the same. But Yıldız played it so beautifully; I mean, she plays with her eyes too. You know they say, there’s a classic cliché: "Brother, he plays with his eyes," and so on. She played it; she played with her eyes too. Now watch, I’ll say one more thing. (Music plays: Serhat repeats "Be divorced, be divorced, be divorced") Now, the adjustment of Yıldız's voice—like a silent scream. Now, there is something in psychology: the palm of a person who isn't lying looks like this. In psychology, it’s like this. Yıldız waving her single hand there... I mean, you can’t teach this an actor; they already know. Serhat’s cold-bloodedness there, his regret. Even if you work on it, you can’t teach this. Filming a series isn't easy; I mean, you’re filming every day, you’re on set every day. It’s not like filming a movie. Finding the same energy, finding the same motivation is very difficult in a series. Did you notice İlhan Şen? What does he say there? While saying "be divorced," he says it three times. In the first two, he can't look her in the eye; he can't look at Yıldız's face. He says it the first time; in the second one, he pulls himself together a bit more; in the third one, as if relieved, he can look her in the eye. Meaning: "I said the first two". You can't teach these things. You can't teach these an actor. Then, after saying "be divorced" three times, it’s like İlhan Şen is relieved, but along with the regret, he says what he will say next. Yıldız gets angry after that anyway. There’s no such thing; such a thing cannot be. You can't teach these to an actor anyway; a good actor already knows. They live it themselves.” 🎞️ instagram: barandinay #HalefKöklerinÇağrısı • #yılser #ilhanşen • #BiranDamlaYılmaz

Our film director is back with a new analysis of İlhan and Damla’s performance and this time he chose THE BEST SCENE EVER aka the divorce scene 🎬❤️‍🔥 The translation: “Friends, after the first video, I received so many messages that I decided to handle this scene as well—the moment Serhat divorces Yıldız. In this scene, there are so many changes in emotion for Yıldız that, friends, this is not an easy thing. It’s not easy to play, and it’s not easy to feel. You can't teach certain things to actors; that actor already knows. You just can't teach some things. I mean, to play this scene minimally and yet reflect it in a giant way is a very difficult thing. Yıldız is already coming into this knowing that Serhat will tell her he’s divorcing her. The emotional shift: one, Serhat telling Yıldız; two, the emotional shift after he says it; and in the final word, she gets angry anyway—there is an emotional shift there too. Incredible. Now—the eyes don't change, friends. Look now: the eyes are the same. But Yıldız played it so beautifully; I mean, she plays with her eyes too. You know they say, there’s a classic cliché: "Brother, he plays with his eyes," and so on. She played it; she played with her eyes too. Now watch, I’ll say one more thing. (Music plays: Serhat repeats "Be divorced, be divorced, be divorced") Now, the adjustment of Yıldız's voice—like a silent scream. Now, there is something in psychology: the palm of a person who isn't lying looks like this. In psychology, it’s like this. Yıldız waving her single hand there... I mean, you can’t teach this an actor; they already know. Serhat’s cold-bloodedness there, his regret. Even if you work on it, you can’t teach this. Filming a series isn't easy; I mean, you’re filming every day, you’re on set every day. It’s not like filming a movie. Finding the same energy, finding the same motivation is very difficult in a series. Did you notice İlhan Şen? What does he say there? While saying "be divorced," he says it three times. In the first two, he can't look her in the eye; he can't look at Yıldız's face. He says it the first time; in the second one, he pulls himself together a bit more; in the third one, as if relieved, he can look her in the eye. Meaning: "I said the first two". You can't teach these things. You can't teach these an actor. Then, after saying "be divorced" three times, it’s like İlhan Şen is relieved, but along with the regret, he says what he will say next. Yıldız gets angry after that anyway. There’s no such thing; such a thing cannot be. You can't teach these to an actor anyway; a good actor already knows. They live it themselves.” 🎞️ instagram: barandinay #HalefKöklerinÇağrısı • #yılser #ilhanşen • #BiranDamlaYılmaz

Anastasia

20,153 просмотров • 3 месяцев назад

The great irony that this happen’s in Diviner’s Hymn… and the mirroring to Absolute Zeal is perfection. This is a god and goddess who are already in a religious marriage between gods, and she pursues him for healing which happens in the most sensual way. Despite their perceived opposing alignments, there’s an undeniable attraction and MC is stuck between her duty to her people but also her desire for Zayne. It adds an extra level of tension as to why she’s being so rough with him too - SHE kissed him and bit his lips before the kindled, she set a precedent for aggression and Zayne is matching her though not as roughly. Everything is consensual. I stand by the ritual has to be done to completion as he’s healing her, he’s not going to let her go without being fully healed no matter how much she thinks (or acts like she thinks) the worst of him, especially when they have been together for a while and intimate multiple times beforehand, so their relationship has more history and is more complex. I’ve said before how intimacy is easier to communicate desire and affection for ZayneMC after Acts of Service. This healing ritual IS an Act of Service communicated through Physical intimacy. There’s affection in this because despite MC thinking Zayne is at odds with her, he is healing her and giving her his power nonetheless. This scene already should make the reader question the intentions and unreliable narrative which only makes the later reveals make more sense. “Feel this and remember what I’m giving you” - feel what is between us and remember I’m the one healing you and giving you my power. It’s possessive and extremely sexy, but also quite explicitly putting it in her mind that “know it is *me* giving you this.” Why would he do this if he was set to be the man she thinks and misunderstood him as? Things are not straight forward and through the narrative we understand why they struggle in being direct, but as said earlier emotional intimacy and honesty are something ZayneMC work towards. Where their words struggle, their bodies cannot deny. “Accept it… this is only a power you can possess” - accept what I’m giving you and I’m only giving it to you. You are the only other person I deem worthy of what I have and I will give it to. Of course the intimacy is a big aspect of how the transference works, but this is also a reaffirmation of *him* giving her the ability to go against what she also perceives as *him* and he is willingly offering it to her for her own benefit. “I have answered your pleas and your desires… Yet I sense… An even deeper craving.” The ritual is done, he gave her what she pushed him for but they *both* still want more and he’s called out exactly what I said he would. It is the essence of “look at how your body is responding to me” - MC doesn’t want to admit she still wants Zayne, the standings she believes them to be on have put their union in a difficult position mentally and emotionally for her, but she can’t forget the man she adored and her want for him. Zayne reaffirms that, and it’s onto further reinforced in the lines akin to “you cannot get away from how I make you feel” in his sensing a “deeper craving” and them acting on it. Just as I said, he calls out the lust between them that MC has a habit of denying and playing with despite instigating and *teasing and pushing* Zayne. This is their pattern and it is consensual, Zayne is aware of it as they’ve been sexually active for a long time before these moments, so just like in Absolute Zeal he calls it out. The level of layers to this scene make it a perfect marriage of struggling emotional vulnerability, partnership, miscommunication, mythical godly relations (Hieros Gamos) and overwhelming mutual carnal desire which overrides everything at the end. Oh ZayneMC your writing is so incredible, and denying how these aspects converge oversimplifies the beauty and complexity of this extremely well written scene in how it illustrates their specific dynamic.

The great irony that this happen’s in Diviner’s Hymn… and the mirroring to Absolute Zeal is perfection. This is a god and goddess who are already in a religious marriage between gods, and she pursues him for healing which happens in the most sensual way. Despite their perceived opposing alignments, there’s an undeniable attraction and MC is stuck between her duty to her people but also her desire for Zayne. It adds an extra level of tension as to why she’s being so rough with him too - SHE kissed him and bit his lips before the kindled, she set a precedent for aggression and Zayne is matching her though not as roughly. Everything is consensual. I stand by the ritual has to be done to completion as he’s healing her, he’s not going to let her go without being fully healed no matter how much she thinks (or acts like she thinks) the worst of him, especially when they have been together for a while and intimate multiple times beforehand, so their relationship has more history and is more complex. I’ve said before how intimacy is easier to communicate desire and affection for ZayneMC after Acts of Service. This healing ritual IS an Act of Service communicated through Physical intimacy. There’s affection in this because despite MC thinking Zayne is at odds with her, he is healing her and giving her his power nonetheless. This scene already should make the reader question the intentions and unreliable narrative which only makes the later reveals make more sense. “Feel this and remember what I’m giving you” - feel what is between us and remember I’m the one healing you and giving you my power. It’s possessive and extremely sexy, but also quite explicitly putting it in her mind that “know it is me giving you this.” Why would he do this if he was set to be the man she thinks and misunderstood him as? Things are not straight forward and through the narrative we understand why they struggle in being direct, but as said earlier emotional intimacy and honesty are something ZayneMC work towards. Where their words struggle, their bodies cannot deny. “Accept it… this is only a power you can possess” - accept what I’m giving you and I’m only giving it to you. You are the only other person I deem worthy of what I have and I will give it to. Of course the intimacy is a big aspect of how the transference works, but this is also a reaffirmation of him giving her the ability to go against what she also perceives as him and he is willingly offering it to her for her own benefit. “I have answered your pleas and your desires… Yet I sense… An even deeper craving.” The ritual is done, he gave her what she pushed him for but they both still want more and he’s called out exactly what I said he would. It is the essence of “look at how your body is responding to me” - MC doesn’t want to admit she still wants Zayne, the standings she believes them to be on have put their union in a difficult position mentally and emotionally for her, but she can’t forget the man she adored and her want for him. Zayne reaffirms that, and it’s onto further reinforced in the lines akin to “you cannot get away from how I make you feel” in his sensing a “deeper craving” and them acting on it. Just as I said, he calls out the lust between them that MC has a habit of denying and playing with despite instigating and teasing and pushing Zayne. This is their pattern and it is consensual, Zayne is aware of it as they’ve been sexually active for a long time before these moments, so just like in Absolute Zeal he calls it out. The level of layers to this scene make it a perfect marriage of struggling emotional vulnerability, partnership, miscommunication, mythical godly relations (Hieros Gamos) and overwhelming mutual carnal desire which overrides everything at the end. Oh ZayneMC your writing is so incredible, and denying how these aspects converge oversimplifies the beauty and complexity of this extremely well written scene in how it illustrates their specific dynamic.

Zafina ❄️🐦‍⬛🍎🐟⭐️

103,616 просмотров • 10 месяцев назад

Alfred Hitchcock on why 'Vertigo' (1958) flopped & how Kim Novak feels about not wearing a brassiere: "Truffaut: I understand that the picture was neither a hit nor a failure. Hitchcock: It has made money by now. Truffaut: In your terms, wouldn't that be considered a flop? Hitchcock: I suppose so. One of our whimsies when a picture isn't doing too well is to blame it on the faulty exploitation. So let's live up to the tradition and say they just didn't handle the sales properly! Do you know that I had Vera Miles in mind for 'Vertigo', and we had done the whole wardrobe and the final tests with her? Truffaut: Didn't Paramount want her? Hitchcock: Paramount was perfectly willing to have her, but she became pregnant just before the part that was going to turn her into a star. After that I lost interest; I couldn't get the rhythm going with her again. Truffaut: I take it, from some of your interviews, that you weren't too happy with Kim Novak, but I thought she was perfect for the picture. There was a passive, animal quality about her that was exactly right for the part. Hitchcock: Miss Novak arrived on the set with all sorts of preconceived notions that I couldn't possibly go along with. You know, I don't like to argue with a performer on the set; there's no reason to bring the electricians in on our troubles. I went to Kim Novak's dressing room and told her about the dresses and hairdos that I had been planning for several months. I also explained that the story was of less importance to me than the over-all visual impact on the screen, once the picture is completed. Truffaut: It seems to me these unpleasant formalities make you unfair in assessing the whole picture. I can assure you that those who admire 'Vertigo' like Kim Novak in it. Very few American actresses are quite as carnal on the screen. When you see Judy walking on the street, the tawny hair and make-up convey an animal-like sensuality. That quality is accentuated, I suppose, by the fact that she wears no brassiere. Hitchcock: That's right, she doesn't wear a brassiere. As a matter of fact, she is particularly proud of that!" ("Hitchcock/Truffaut", 1983) P.S: On this day, 68 years ago, "Vertigo" (1958) premiered at San Francisco, USA.

Alfred Hitchcock on why 'Vertigo' (1958) flopped & how Kim Novak feels about not wearing a brassiere: "Truffaut: I understand that the picture was neither a hit nor a failure. Hitchcock: It has made money by now. Truffaut: In your terms, wouldn't that be considered a flop? Hitchcock: I suppose so. One of our whimsies when a picture isn't doing too well is to blame it on the faulty exploitation. So let's live up to the tradition and say they just didn't handle the sales properly! Do you know that I had Vera Miles in mind for 'Vertigo', and we had done the whole wardrobe and the final tests with her? Truffaut: Didn't Paramount want her? Hitchcock: Paramount was perfectly willing to have her, but she became pregnant just before the part that was going to turn her into a star. After that I lost interest; I couldn't get the rhythm going with her again. Truffaut: I take it, from some of your interviews, that you weren't too happy with Kim Novak, but I thought she was perfect for the picture. There was a passive, animal quality about her that was exactly right for the part. Hitchcock: Miss Novak arrived on the set with all sorts of preconceived notions that I couldn't possibly go along with. You know, I don't like to argue with a performer on the set; there's no reason to bring the electricians in on our troubles. I went to Kim Novak's dressing room and told her about the dresses and hairdos that I had been planning for several months. I also explained that the story was of less importance to me than the over-all visual impact on the screen, once the picture is completed. Truffaut: It seems to me these unpleasant formalities make you unfair in assessing the whole picture. I can assure you that those who admire 'Vertigo' like Kim Novak in it. Very few American actresses are quite as carnal on the screen. When you see Judy walking on the street, the tawny hair and make-up convey an animal-like sensuality. That quality is accentuated, I suppose, by the fact that she wears no brassiere. Hitchcock: That's right, she doesn't wear a brassiere. As a matter of fact, she is particularly proud of that!" ("Hitchcock/Truffaut", 1983) P.S: On this day, 68 years ago, "Vertigo" (1958) premiered at San Francisco, USA.

DepressedBergman

134,639 просмотров • 3 месяцев назад

🚨 Utah Valley University stonewalling and refusing to answer if the complete transformation of the landscape right where Charlie Kirk was sitting was scheduled prior to the assassination (it clearly wasn’t) Patrick Bet David show called and spoke to multiple departments at UVU about the secret campus construction “I don't believe the official narrative. You called the school. I called yesterday, I called and Amanda was with me, she recorded it. I called UVU and I called to the main desk and I said, Hey, I'm with such and such, I made up a thing and I said, I'm trying to find out if you guys, because the construction that's happening right now is unbelievable, it doesn't even look like what it is right now, okay? Doesn't make sense. I said, who do I talk to? You guys just had, and I apologize, you guys had the biggest assassination since JFK on your campus. Was there scheduled construction on the exact site where this happened? Can you comment on that? He goes, let me direct you to the right place. Sends me to maintenance or something like that. And there's a female that picks up and I go, hey, I'm so and so with media. I go, I'm just curious, did you guys have construction set up? I can't talk to you about that. I go, no, no, hold on one second. I don't need information about the shooting or nothing like that. Did you guys have scheduled maintenance? Because I would assume that if it's an assassination at this magnitude, you would leave the crime scene for potential bullets, potential, you know, fragments, other things that recreate in the scene. There's stuff in that ceiling, that overhead pat, that there, there's cameras, there's an opening that you could get in there. I'm like, how is this normal? Who made the decision? ‘I can't say anything. Let me give you the information to our, our VP of Strategic and Communications Management.’ I called her three times. I didn't want to say her name. I called three times. Nobody picked up and I left the message. I'm just trying to figure out with this type of magnitude and you know what's insane? For how many minutes after not one police officer, not one police officer went there and secured the crime scene. I've watched multiple videos. I've watched aftermath of videos.“ He goes over many more inconsistencies

🚨 Utah Valley University stonewalling and refusing to answer if the complete transformation of the landscape right where Charlie Kirk was sitting was scheduled prior to the assassination (it clearly wasn’t) Patrick Bet David show called and spoke to multiple departments at UVU about the secret campus construction “I don't believe the official narrative. You called the school. I called yesterday, I called and Amanda was with me, she recorded it. I called UVU and I called to the main desk and I said, Hey, I'm with such and such, I made up a thing and I said, I'm trying to find out if you guys, because the construction that's happening right now is unbelievable, it doesn't even look like what it is right now, okay? Doesn't make sense. I said, who do I talk to? You guys just had, and I apologize, you guys had the biggest assassination since JFK on your campus. Was there scheduled construction on the exact site where this happened? Can you comment on that? He goes, let me direct you to the right place. Sends me to maintenance or something like that. And there's a female that picks up and I go, hey, I'm so and so with media. I go, I'm just curious, did you guys have construction set up? I can't talk to you about that. I go, no, no, hold on one second. I don't need information about the shooting or nothing like that. Did you guys have scheduled maintenance? Because I would assume that if it's an assassination at this magnitude, you would leave the crime scene for potential bullets, potential, you know, fragments, other things that recreate in the scene. There's stuff in that ceiling, that overhead pat, that there, there's cameras, there's an opening that you could get in there. I'm like, how is this normal? Who made the decision? ‘I can't say anything. Let me give you the information to our, our VP of Strategic and Communications Management.’ I called her three times. I didn't want to say her name. I called three times. Nobody picked up and I left the message. I'm just trying to figure out with this type of magnitude and you know what's insane? For how many minutes after not one police officer, not one police officer went there and secured the crime scene. I've watched multiple videos. I've watched aftermath of videos.“ He goes over many more inconsistencies

Wall Street Apes

225,367 просмотров • 10 месяцев назад

This scene from Louis CK's show captures something about love I haven't seen anywhere else: The only thing sadder than feeling pain in the midst of loss is not feeling anything at all, because a lack of emotion would mean you didn't have something worth cherishing in the first place. This particular exchange is about breakups but it applies to any form of loss: moving cities, losing a friend, changing jobs, etc. Here's the transcript: Old Man: So you took a chance on being happy, even though you knew that later on you would be sad. Louis: Yeah. Old Man: And now... you're sad. Louis: Yeah. Old Man: So... what's the problem? Louis: I'm too sad.... Look, I liked the feeling of being in love with her. I liked it. But now she's gone and I miss her and it sucks. And I didn't think it was going to be this bad, and I feel like, why even be happy if it's just going to lead to this, you know? It wasn't worth it. Old Man: You know, misery is wasted on the miserable. Louis: What? Old Man: You know, I'm not entirely sure what your name is, but you are a classic idiot. You think spending time with her, kissing her, having fun with her, you think that's what it was all about? That was love? Louis: Yeah. Old Man: THIS is love. Missing her, because she's gone. Wanting to die.... You're so lucky. You're like a walking poem. Would you rather be some kind of a fantasy? Some kind of a Disney ride? Is that what you want? Don't you see? This is the good part. This is what you've been digging for all this time. Now you finally have it in your hand, this sweet nugget of love, sweet, sad love, and you want to throw it away. You've got it all wrong. Louis: I thought this was the bad part. Old Man: No! The bad part is when you forget her, when you don't care about her, when you don't care about anything. The bad part is coming, so enjoy the heartbreak while you can, for God's sakes.

This scene from Louis CK's show captures something about love I haven't seen anywhere else: The only thing sadder than feeling pain in the midst of loss is not feeling anything at all, because a lack of emotion would mean you didn't have something worth cherishing in the first place. This particular exchange is about breakups but it applies to any form of loss: moving cities, losing a friend, changing jobs, etc. Here's the transcript: Old Man: So you took a chance on being happy, even though you knew that later on you would be sad. Louis: Yeah. Old Man: And now... you're sad. Louis: Yeah. Old Man: So... what's the problem? Louis: I'm too sad.... Look, I liked the feeling of being in love with her. I liked it. But now she's gone and I miss her and it sucks. And I didn't think it was going to be this bad, and I feel like, why even be happy if it's just going to lead to this, you know? It wasn't worth it. Old Man: You know, misery is wasted on the miserable. Louis: What? Old Man: You know, I'm not entirely sure what your name is, but you are a classic idiot. You think spending time with her, kissing her, having fun with her, you think that's what it was all about? That was love? Louis: Yeah. Old Man: THIS is love. Missing her, because she's gone. Wanting to die.... You're so lucky. You're like a walking poem. Would you rather be some kind of a fantasy? Some kind of a Disney ride? Is that what you want? Don't you see? This is the good part. This is what you've been digging for all this time. Now you finally have it in your hand, this sweet nugget of love, sweet, sad love, and you want to throw it away. You've got it all wrong. Louis: I thought this was the bad part. Old Man: No! The bad part is when you forget her, when you don't care about her, when you don't care about anything. The bad part is coming, so enjoy the heartbreak while you can, for God's sakes.

David Perell

73,457 просмотров • 1 год назад