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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 Showshow more

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One reason the Bond franchise has survived for over 60 years is that it has never been afraid to evolve. The goal was never to find another Sean Connery, Roger Moore or Daniel Craig. The goal was always to find the next actor capable of redefining Bond for a new generation.

One reason the Bond franchise has survived for over 60 years is that it has never been afraid to evolve. The goal was never to find another Sean Connery, Roger Moore or Daniel Craig. The goal was always to find the next actor capable of redefining Bond for a new generation.

Timeless Films

23,587 görüntüleme • 1 ay önce

Brian De Palma originally wanted Andy Garcia to play Capone's enforcer Frank Nitti in The Untouchables, but Garcia turned it down and lobbied for the role of George Stone instead - partly because he wanted to work alongside Sean Connery. Garcia explains... "Obviously I wanted to work with Connery. He was one of my childhood heroes, so I lobbied immediately to play the other part. I had to be firm about it —I wanted to roll the dice. Eventually I met with Brian, and I auditioned for George Stone, and they gave me the part…. The dynamics in the film were basically the dynamics on set. We all became very close, but the hierarchy stayed the same — he (Connery) was the older, wise guy, always jabbing at us, and it was my job, as my character, to push back. Respectfully, but to keep the exchanges going. I love Sean Connery. I’ll tell you a quick story — I’ve told it before, but it’s funny.... (1/2)

Brian De Palma originally wanted Andy Garcia to play Capone's enforcer Frank Nitti in The Untouchables, but Garcia turned it down and lobbied for the role of George Stone instead - partly because he wanted to work alongside Sean Connery. Garcia explains... "Obviously I wanted to work with Connery. He was one of my childhood heroes, so I lobbied immediately to play the other part. I had to be firm about it —I wanted to roll the dice. Eventually I met with Brian, and I auditioned for George Stone, and they gave me the part…. The dynamics in the film were basically the dynamics on set. We all became very close, but the hierarchy stayed the same — he (Connery) was the older, wise guy, always jabbing at us, and it was my job, as my character, to push back. Respectfully, but to keep the exchanges going. I love Sean Connery. I’ll tell you a quick story — I’ve told it before, but it’s funny.... (1/2)

Gangster Cinema Central

1,192,482 görüntüleme • 1 ay önce

Sean Connery was more than a film icon—he was a symbol of elegance, masculinity, and versatile talent. Born in Scotland in 1930, he immortalized the character of James Bond, being the first actor to portray Agent 007 on the big screen, starting with "Dr. No" (1962). His performance brought charm and toughness to the character, shaping the archetype of the British spy for generations. But Connery wasn't stuck with Bond. After leaving the franchise, he reinvented his career with memorable roles, such as in "The Name of the Rose" (1986), "The Untouchables" (1987)—for which he won the Academy Award for Best Supporting Actor—and "The Rock" (1996). His on-screen presence was magnetic, and his deep voice became unmistakable. Few know that Sean Connery turned down legendary roles, such as Gandalf in "The Lord of the Rings," because he didn't fully understand the plot. Interestingly, he reportedly earned a percentage of the trilogy's profits—making him one of the highest-paid actors in history. Even so, he retired in 2006, choosing discretion over late-blooming fame. Connery was knighted by Queen Elizabeth II in 2000, becoming "Sir Sean Connery." Although an international star, he always maintained pride in his Scottish roots, even supporting Scottish independence movements. His death in 2020, at the age of 90, marked the end of an era for cinema. But Sean Connery's legacy lives on—as a master of style, presence, and performance. #SeanConnery #JamesBond #TheNameOfTheRose #TheUntouchables #SirSeanConnery #SeanConneryLegend

Sean Connery was more than a film icon—he was a symbol of elegance, masculinity, and versatile talent. Born in Scotland in 1930, he immortalized the character of James Bond, being the first actor to portray Agent 007 on the big screen, starting with "Dr. No" (1962). His performance brought charm and toughness to the character, shaping the archetype of the British spy for generations. But Connery wasn't stuck with Bond. After leaving the franchise, he reinvented his career with memorable roles, such as in "The Name of the Rose" (1986), "The Untouchables" (1987)—for which he won the Academy Award for Best Supporting Actor—and "The Rock" (1996). His on-screen presence was magnetic, and his deep voice became unmistakable. Few know that Sean Connery turned down legendary roles, such as Gandalf in "The Lord of the Rings," because he didn't fully understand the plot. Interestingly, he reportedly earned a percentage of the trilogy's profits—making him one of the highest-paid actors in history. Even so, he retired in 2006, choosing discretion over late-blooming fame. Connery was knighted by Queen Elizabeth II in 2000, becoming "Sir Sean Connery." Although an international star, he always maintained pride in his Scottish roots, even supporting Scottish independence movements. His death in 2020, at the age of 90, marked the end of an era for cinema. But Sean Connery's legacy lives on—as a master of style, presence, and performance. #SeanConnery #JamesBond #TheNameOfTheRose #TheUntouchables #SirSeanConnery #SeanConneryLegend

𝐌𝐮𝐬𝐢𝐜 - 𝐌𝐨𝐯𝐢𝐞 - 𝐀𝐧𝐝 𝐌𝐨𝐫𝐞⭐️❤️

155,719 görüntüleme • 6 ay önce

Sidney Lumet on why Sean Connery is a much better actor than what he was given credit for: "I think one of the reasons we immediately got close was the first thing he felt from me was enormous respect for him as an actor. When you look at the Bond characterization, everybody says, ‘Oh, well he’s just charming.’ Well sh!t, that’s like saying Cary Grant was just charming. There is more acting skill in playing that kind of character. What he’s doing, stylistically, is playing high comedy. And that is extremely difficult to do, which is why there are so few of those actors, so few Cary Grants and Sean Connerys. But it’s acting, don’t kid yourself. And right away on 'The Hill' (1965), the very fact that I cast him in it meant something. And he was so thrilled to be taken that seriously for that kind of a drama." ("‘The Hill’: Sean Connery’s Sisyphean Bond Break-Out", Tim Pelan, Cinephilia & Beyond, 2023)

Sidney Lumet on why Sean Connery is a much better actor than what he was given credit for: "I think one of the reasons we immediately got close was the first thing he felt from me was enormous respect for him as an actor. When you look at the Bond characterization, everybody says, ‘Oh, well he’s just charming.’ Well sh!t, that’s like saying Cary Grant was just charming. There is more acting skill in playing that kind of character. What he’s doing, stylistically, is playing high comedy. And that is extremely difficult to do, which is why there are so few of those actors, so few Cary Grants and Sean Connerys. But it’s acting, don’t kid yourself. And right away on 'The Hill' (1965), the very fact that I cast him in it meant something. And he was so thrilled to be taken that seriously for that kind of a drama." ("‘The Hill’: Sean Connery’s Sisyphean Bond Break-Out", Tim Pelan, Cinephilia & Beyond, 2023)

DepressedBergman

221,701 görüntüleme • 7 ay önce

Sean Connery. 😍 THE James Bond. He became a global icon as the first actor to play James Bond. And in my humble opinion, one of the most handsome men to ever grace the silver screen. At the age of 59 he was voted the Sexist Man Alive by People Magazine, the oldest to ever receive the honor. And I concur. His Scottish accent, that sly grin and that mischievous glint in his eyes. A gentlemen’s gentlemen. 🪽

Sean Connery. 😍 THE James Bond. He became a global icon as the first actor to play James Bond. And in my humble opinion, one of the most handsome men to ever grace the silver screen. At the age of 59 he was voted the Sexist Man Alive by People Magazine, the oldest to ever receive the honor. And I concur. His Scottish accent, that sly grin and that mischievous glint in his eyes. A gentlemen’s gentlemen. 🪽

♏️ 𝓓𝓪𝓻 ♏️

111,253 görüntüleme • 7 ay önce

Antony Starr’s audition tape for James Bond (2005) He says he did the worst “Bond, James Bond” delivery ever “It was like throwing a baitless hook into a very large pond, knowing you’re not gonna catch the fish. I’ve seen it. That was when Daniel Craig was getting it.” “They were just searching the globe, and I was just one of the little ones somewhere in there that got caught in the net.” “It was a bit surreal. It came out of the blue, and I sort of went in and did that reading. It’s not very good, but it’s reflective of where I was at.”

Antony Starr’s audition tape for James Bond (2005) He says he did the worst “Bond, James Bond” delivery ever “It was like throwing a baitless hook into a very large pond, knowing you’re not gonna catch the fish. I’ve seen it. That was when Daniel Craig was getting it.” “They were just searching the globe, and I was just one of the little ones somewhere in there that got caught in the net.” “It was a bit surreal. It came out of the blue, and I sort of went in and did that reading. It’s not very good, but it’s reflective of where I was at.”

Emir Han

48,706 görüntüleme • 27 gün önce

When he was cast as 007, Daniel Craig had his own ideas on playing the role and in an interview with Jonathan Ross on the set of this movie, he stated that he wanted to be faithful to the book and show the character's raw vulnerability by having him make a few mistakes and that the drama would be there when he gets it right and make the audience think that it's all going to go wrong and that when it all goes right, the audience would get more excited. 🎬Casino Royale (2006)

When he was cast as 007, Daniel Craig had his own ideas on playing the role and in an interview with Jonathan Ross on the set of this movie, he stated that he wanted to be faithful to the book and show the character's raw vulnerability by having him make a few mistakes and that the drama would be there when he gets it right and make the audience think that it's all going to go wrong and that when it all goes right, the audience would get more excited. 🎬Casino Royale (2006)

Love Classical Music and Movies 🎺🎻💖🎥🎬

219,376 görüntüleme • 6 ay önce

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

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

Gangster Cinema Central

655,353 görüntüleme • 1 ay önce

James Whale on the difficulties he faced while making "The Invisible Man" (1933): "When I began work on 'The Invisible Man', I took on the biggest and yet the most fascinating job I have ever tackled. Directing a picture is not easy in the best of times, but when the principal character spends a great deal of his time on the screen yet completely invisible, then one has a need for all one's ingenuity. It was all very well to film the scene without the actor but I knew that I had in some way to let the audience know clearly that the actor was there all the time although he was invisible. Therefore, in nearly every one of the 'invisible' scenes, I had to devise bits of 'business' so that the audience should know where the man was, what he was doing, and so on. In one scene I made him sitting in a rocking chair, so that by the movements of the chair the audience would realize that he was sitting there, although there was no sign of his presence. In another scene he is sitting in a chair talking to another person. I showed the seat of the chair sagging slightly as he sat down. Then, when his voice became more confidential, I had the chair moved a few inches toward the other person, as though the Invisible Man had drawn it closer for more intimate conversation." ("James Whale A New World of Gods and Monsters", James Curtis, 1998)

James Whale on the difficulties he faced while making "The Invisible Man" (1933): "When I began work on 'The Invisible Man', I took on the biggest and yet the most fascinating job I have ever tackled. Directing a picture is not easy in the best of times, but when the principal character spends a great deal of his time on the screen yet completely invisible, then one has a need for all one's ingenuity. It was all very well to film the scene without the actor but I knew that I had in some way to let the audience know clearly that the actor was there all the time although he was invisible. Therefore, in nearly every one of the 'invisible' scenes, I had to devise bits of 'business' so that the audience should know where the man was, what he was doing, and so on. In one scene I made him sitting in a rocking chair, so that by the movements of the chair the audience would realize that he was sitting there, although there was no sign of his presence. In another scene he is sitting in a chair talking to another person. I showed the seat of the chair sagging slightly as he sat down. Then, when his voice became more confidential, I had the chair moved a few inches toward the other person, as though the Invisible Man had drawn it closer for more intimate conversation." ("James Whale A New World of Gods and Monsters", James Curtis, 1998)

DepressedBergman

15,255 görüntüleme • 4 ay önce

Tucker Carlson: Remembering Charlie Kirk - A Life of Faith and Courage "Quickly about Charlie, I've known him since he was a teenager, and just an amazing person, but the two things that stick out, he's a Christian man. We talked about that a lot, including, you know, just the other day. There's a lot of pressure on public people, people who run huge, you know, hundred million dollar a year non-profits, and there are a lot of pitfalls and traps." "That's why so many of them are destroyed, and Charlie really did, without, you know, betraying details, like he walked the line for real. It was the topic of many conversations between us, because I've seen so many people destroyed. You know, most people are destroyed by power, and he wasn't, and I just really admire that." "I mean, to his last moments, you know, in order, he cared about God, his wife, and his children, and then his country. So, and that was totally real, completely real. I can affirm that, because I just talked to him about it so much, and I admire that, and he's a model, really." "I mean, he didn't have hate in his heart, and it was funny, and again, it's one of the reasons I couldn't stop looking at these videos last night. People were describing the opposite of what he was. He was filled with hate." "No, and if you talked to him about people who had attacked him, or who were truly his enemies, up to, and I think including the people who assassinated him yesterday, he would never, ever express hate, ever. He would always turn to, no, this person has been led astray. This person is clearly possessed by dark forces." "This person is a perpetrator, but also a victim of evil. I mean, that really was his worldview. That's the Christian worldview, and he expressed that in public, and especially in private, and I think that faith, which was completely real, not the fake faith that you see on display so often, but a real one, that was the root of his courage, and he had real courage." "He loved being with people who disagreed with him, not theoretically with them, but physically with them, you know, like close enough to smell. He would wait right in the middle of everything. I mean, I could tell you a million stories that I saw, but that was absolutely real." "Like, he loved people, even people who hated him, and people he loved, he was the rare person who was willing to tell them what he thought was true. I mean, he really believed, as a political matter, by the way, that, you know, I don't think he had animus toward anybody in no other country, but he really believed in his own country, and the obligation of his government to stand behind his country. He was truly America first in the nicest, most decent, non-ideological, but sincere way." "He was one of the only people, I mean, truly one of the only people to go to the president, whom he loved. He loved Donald Trump, like, personally as well, and I think the president really loved him in a real way, but he was one of the only people to go to the Oval Office and say, sir, I totally understand, and think Iran's really bad, but a war with Iran is not, you know, is something that could really hurt our country. I mean, boy, that was an unpopular position." "He didn't need to express it. Oh, of course, and he did it again. He didn't have some weird agenda. He wasn't mad at anybody. He was for his country, and he was for doing the right and wise and difficult thing, and he said that. He went to the Oval Office to say that." "He took massive, massive abuse from his own donors, which is also something that you don't see. He was one of the very few people, very few people I have met who combined a, like, a love for everyone involved with strong views. So, again, he was not animated by anything creepy or weird." "I mean, you knew him intimately, so you know this is true. If you talked to him off camera, he would say, you know, I really, like, I love whoever I'm talking about, but I think this is wrong. It's immoral." "It's bad for everybody involved, both sides, and he would say that, and he could say that because it was sincere. It was completely sincere, but I cannot overstate the amount of attacks he took privately over this, like, absolutely for real, and having lived in Washington most of my life and seen people run non-profits, I've never met one who was willing, stand up is too strong. He wasn't confrontational, but he would just say, no, I'm sorry that you feel that way, but I think this is the right thing." "The people we represent, which is mostly young people, they believe this, and I believe it also. It was brave, but loving at the same time, and I'm not sure he made a lot of headway, by the way. I mean, I think he made real enemies in doing that, but his view didn't change." "Anyway, he's just a wonderfully decent, loving man. That is true."

Tucker Carlson: Remembering Charlie Kirk - A Life of Faith and Courage "Quickly about Charlie, I've known him since he was a teenager, and just an amazing person, but the two things that stick out, he's a Christian man. We talked about that a lot, including, you know, just the other day. There's a lot of pressure on public people, people who run huge, you know, hundred million dollar a year non-profits, and there are a lot of pitfalls and traps." "That's why so many of them are destroyed, and Charlie really did, without, you know, betraying details, like he walked the line for real. It was the topic of many conversations between us, because I've seen so many people destroyed. You know, most people are destroyed by power, and he wasn't, and I just really admire that." "I mean, to his last moments, you know, in order, he cared about God, his wife, and his children, and then his country. So, and that was totally real, completely real. I can affirm that, because I just talked to him about it so much, and I admire that, and he's a model, really." "I mean, he didn't have hate in his heart, and it was funny, and again, it's one of the reasons I couldn't stop looking at these videos last night. People were describing the opposite of what he was. He was filled with hate." "No, and if you talked to him about people who had attacked him, or who were truly his enemies, up to, and I think including the people who assassinated him yesterday, he would never, ever express hate, ever. He would always turn to, no, this person has been led astray. This person is clearly possessed by dark forces." "This person is a perpetrator, but also a victim of evil. I mean, that really was his worldview. That's the Christian worldview, and he expressed that in public, and especially in private, and I think that faith, which was completely real, not the fake faith that you see on display so often, but a real one, that was the root of his courage, and he had real courage." "He loved being with people who disagreed with him, not theoretically with them, but physically with them, you know, like close enough to smell. He would wait right in the middle of everything. I mean, I could tell you a million stories that I saw, but that was absolutely real." "Like, he loved people, even people who hated him, and people he loved, he was the rare person who was willing to tell them what he thought was true. I mean, he really believed, as a political matter, by the way, that, you know, I don't think he had animus toward anybody in no other country, but he really believed in his own country, and the obligation of his government to stand behind his country. He was truly America first in the nicest, most decent, non-ideological, but sincere way." "He was one of the only people, I mean, truly one of the only people to go to the president, whom he loved. He loved Donald Trump, like, personally as well, and I think the president really loved him in a real way, but he was one of the only people to go to the Oval Office and say, sir, I totally understand, and think Iran's really bad, but a war with Iran is not, you know, is something that could really hurt our country. I mean, boy, that was an unpopular position." "He didn't need to express it. Oh, of course, and he did it again. He didn't have some weird agenda. He wasn't mad at anybody. He was for his country, and he was for doing the right and wise and difficult thing, and he said that. He went to the Oval Office to say that." "He took massive, massive abuse from his own donors, which is also something that you don't see. He was one of the very few people, very few people I have met who combined a, like, a love for everyone involved with strong views. So, again, he was not animated by anything creepy or weird." "I mean, you knew him intimately, so you know this is true. If you talked to him off camera, he would say, you know, I really, like, I love whoever I'm talking about, but I think this is wrong. It's immoral." "It's bad for everybody involved, both sides, and he would say that, and he could say that because it was sincere. It was completely sincere, but I cannot overstate the amount of attacks he took privately over this, like, absolutely for real, and having lived in Washington most of my life and seen people run non-profits, I've never met one who was willing, stand up is too strong. He wasn't confrontational, but he would just say, no, I'm sorry that you feel that way, but I think this is the right thing." "The people we represent, which is mostly young people, they believe this, and I believe it also. It was brave, but loving at the same time, and I'm not sure he made a lot of headway, by the way. I mean, I think he made real enemies in doing that, but his view didn't change." "Anyway, he's just a wonderfully decent, loving man. That is true."

Camus

41,966 görüntüleme • 10 ay önce

In 1977, Sylvester Stallone explained why he wrote Rocky and how he convinced Hollywood to let an unknown actor play the lead. When asked why he wrote the script, Stallone described what he saw as a problem with the films of that era: "I felt at the time that cinema, at least the movies I had been seeing were at an all-time low. It was everything was anti-society, anti-Christ, anti-government, anti-everything. And there was no one to root for." He believed films move in cycles, and he wanted to bring back something that had been lost: "I wanted to get back into the cycle of the films of the 40s and the 50s where people say, 'Hey, gee, I missed the good old films.' Yet Hollywood hasn't taken heed and hasn't made any good old-fashioned type films where morality was at the forefront." Up to that point, Stallone's career had been built on tiny roles, what he called "atmosphere": "I was mostly what is known as atmosphere, always in the background or the guy that was being the drunk that was being stepped over in the gutter and other lame roles." Writing Rocky was his way of giving himself one real shot before disappearing: "I felt that gee, if I was going to go down at least into professional obscurity, I wanted to at least have the opportunity to say to myself, well, you tried. You put your best foot forward and you didn't make it." He knew the character had to match what he could authentically play: "I surely couldn't pass myself off at least as a lawyer in a three-piece suit. I just don't think I have that kind of appeal or whatever it is. So I wanted to take it much more basic. A man from the street. All right. What kind of a man? An underdog. And that being a professional fighter I think has that connotation to it." When the script reached studio executives, they wanted a star. They floated James Caan, Burt Reynolds, Ryan O'Neal, Gene Hackman, and Robert Redford. Stallone's pitch for himself came down to persistence and economics: "Usually it's the old syndrome of knocking on the windows, pestering them, pressing my face in the door, honking their horn in the driveway. In other words, making a real pain in the neck out of myself." "I kept saying I work a lot cheaper and a lot harder and for a lot longer." The film was eventually made for $960,000, which Stallone described as roughly the cost of "a good toothpaste commercial."

In 1977, Sylvester Stallone explained why he wrote Rocky and how he convinced Hollywood to let an unknown actor play the lead. When asked why he wrote the script, Stallone described what he saw as a problem with the films of that era: "I felt at the time that cinema, at least the movies I had been seeing were at an all-time low. It was everything was anti-society, anti-Christ, anti-government, anti-everything. And there was no one to root for." He believed films move in cycles, and he wanted to bring back something that had been lost: "I wanted to get back into the cycle of the films of the 40s and the 50s where people say, 'Hey, gee, I missed the good old films.' Yet Hollywood hasn't taken heed and hasn't made any good old-fashioned type films where morality was at the forefront." Up to that point, Stallone's career had been built on tiny roles, what he called "atmosphere": "I was mostly what is known as atmosphere, always in the background or the guy that was being the drunk that was being stepped over in the gutter and other lame roles." Writing Rocky was his way of giving himself one real shot before disappearing: "I felt that gee, if I was going to go down at least into professional obscurity, I wanted to at least have the opportunity to say to myself, well, you tried. You put your best foot forward and you didn't make it." He knew the character had to match what he could authentically play: "I surely couldn't pass myself off at least as a lawyer in a three-piece suit. I just don't think I have that kind of appeal or whatever it is. So I wanted to take it much more basic. A man from the street. All right. What kind of a man? An underdog. And that being a professional fighter I think has that connotation to it." When the script reached studio executives, they wanted a star. They floated James Caan, Burt Reynolds, Ryan O'Neal, Gene Hackman, and Robert Redford. Stallone's pitch for himself came down to persistence and economics: "Usually it's the old syndrome of knocking on the windows, pestering them, pressing my face in the door, honking their horn in the driveway. In other words, making a real pain in the neck out of myself." "I kept saying I work a lot cheaper and a lot harder and for a lot longer." The film was eventually made for $960,000, which Stallone described as roughly the cost of "a good toothpaste commercial."

History Nerd

377,073 görüntüleme • 2 ay önce

Denzel Washington’s epic monologue towards the end of Training Day was largely improvised on set. Director Antoine Fuqua was so blown away by his performance, he says he thinks he "forgot to yell cut”. He explains… “That’s Denzel. He was just in his zone. I mean, that was one of those moment...people talk about AI. Those are the moments where you go...it's a great tool. It's gonna be a great tool, I think...but the emotion, and the moment that an actor can bring - you can't predict that. That's something that's just inside of Denzel. And when that came out, I was just like - I hope I got it. I just turned to my operator - who was shaking- I looked over at the guy - I was like, “please tell me you got that.” Because that was the take. That was it. There was no other take - I mean, how do you tell an actor like that, that that wasn't good enough? …He walked over to me, and he just had this look in his eyes. I was like, “you good?” He said, “you good?” I said, “Yeah…” Some of that was in the script, but he flipped it the way he did it. "Putting cases on all you." He kind of added some things in there. And then he just went into a whole other zone with the whole King Kong thing- with Pelican Bay - Denzel started that. That was Denzel. That was him, man. He just kind of lit up, and I think I forgot to yell cut. I was just watching it, because everybody started walking away, and I'm just watching him, and then he lights a cigarette - and he's talking - and I'm just watching him. I think at some point he probably looked at me like, you going to cut? And I'm like, “oh yeah, yeah, cut.” He was still in it. That's the thing with Denzel. He was so Alonso…I'm just watching him for a while because I didn't know what else he was going to do. It was just so magical. And then I think he looked up at me and I was like, “Okay, cut, cut.”

Denzel Washington’s epic monologue towards the end of Training Day was largely improvised on set. Director Antoine Fuqua was so blown away by his performance, he says he thinks he "forgot to yell cut”. He explains… “That’s Denzel. He was just in his zone. I mean, that was one of those moment...people talk about AI. Those are the moments where you go...it's a great tool. It's gonna be a great tool, I think...but the emotion, and the moment that an actor can bring - you can't predict that. That's something that's just inside of Denzel. And when that came out, I was just like - I hope I got it. I just turned to my operator - who was shaking- I looked over at the guy - I was like, “please tell me you got that.” Because that was the take. That was it. There was no other take - I mean, how do you tell an actor like that, that that wasn't good enough? …He walked over to me, and he just had this look in his eyes. I was like, “you good?” He said, “you good?” I said, “Yeah…” Some of that was in the script, but he flipped it the way he did it. "Putting cases on all you." He kind of added some things in there. And then he just went into a whole other zone with the whole King Kong thing- with Pelican Bay - Denzel started that. That was Denzel. That was him, man. He just kind of lit up, and I think I forgot to yell cut. I was just watching it, because everybody started walking away, and I'm just watching him, and then he lights a cigarette - and he's talking - and I'm just watching him. I think at some point he probably looked at me like, you going to cut? And I'm like, “oh yeah, yeah, cut.” He was still in it. That's the thing with Denzel. He was so Alonso…I'm just watching him for a while because I didn't know what else he was going to do. It was just so magical. And then I think he looked up at me and I was like, “Okay, cut, cut.”

Gangster Cinema Central

42,262 görüntüleme • 26 gün önce

"[Lewis Hamilton] was really down on himself. And no one likes to see that because at the end of the day, whether you're a fan or not, Lewis Hamilton is the greatest racing driver we've ever seen." "Statistically, he is the greatest. I think he's the greatest even without the stats." "He wears his heart on his sleeve and should be applauded for that because it does a lot of good when he wears his heart on his sleeve. He did apologise to Rachel Brookes for being so down in the dumps off camera. He said, 'I'm really sorry about that. I'm just so down.' And that just shows the extent that he really was down. He's not putting this on for the cameras, trust me." "And once again, it's right after the race. He's not had time for a debrief. He's not had time to have a chat with his race engineer. So he probably didn't know the extent of whatever damage the car had at the time he spoke to Rachel. And he probably didn't realise that it was the car that was hindering him more so than his driving in that one. And look, when you're in a Ferrari and you're overtaken by Nico Hülkenberg, albeit in a Ferrari powered Sauber, you're going to question, 'is it me really? Am I doing something wrong here?' Because it just didn't go for him really from the outset." [📹 The Fast And The Curious]

"[Lewis Hamilton] was really down on himself. And no one likes to see that because at the end of the day, whether you're a fan or not, Lewis Hamilton is the greatest racing driver we've ever seen." "Statistically, he is the greatest. I think he's the greatest even without the stats." "He wears his heart on his sleeve and should be applauded for that because it does a lot of good when he wears his heart on his sleeve. He did apologise to Rachel Brookes for being so down in the dumps off camera. He said, 'I'm really sorry about that. I'm just so down.' And that just shows the extent that he really was down. He's not putting this on for the cameras, trust me." "And once again, it's right after the race. He's not had time for a debrief. He's not had time to have a chat with his race engineer. So he probably didn't know the extent of whatever damage the car had at the time he spoke to Rachel. And he probably didn't realise that it was the car that was hindering him more so than his driving in that one. And look, when you're in a Ferrari and you're overtaken by Nico Hülkenberg, albeit in a Ferrari powered Sauber, you're going to question, 'is it me really? Am I doing something wrong here?' Because it just didn't go for him really from the outset." [📹 The Fast And The Curious]

sim 🇧🇷🇲🇽🇸🇳🇫🇷🇭🇹

97,656 görüntüleme • 1 yıl önce

“In the wake of ‘The Boys,’ I signed a deal with Amazon. They wanted to develop something with me in mind, so I had a few meetings with different writers and different kinds of takes for shows. When I met Derek Haas, who created #Countdown and has written all 13 scripts, I just clicked with him immediately. He and I actually grew up in the same town; we went to neighboring high schools, so we had a lot in common right off the bat. But he's just a really great storyteller, and he comes from a long line of writing really kind of intense stuff. And so the character that he created, I just felt like I could tell that story in the world that he was also creating. That led to more meetings, and then that led to some outlines. I got to read the first script, and I just really liked where it was going. I liked the kind of world that he was setting it in, and I got excited about it. I was fortunate enough to be in a position to do that and be there from the beginning, the genesis of it all, 'cause that's not normal. For most actors, everything is kind of already cooked, and then they come in - they get cast in a role that's already happening. I was kind of, not involved creatively, but I was already on the train from the beginning in the station, so that was nice. And there are some twists and turns with this show; there are some big reveals, so to speak. So I'm excited for you guys. I'm excited to get it done - we're about halfway done with the season right now. I think they're shooting for June’s, probably, release, next summer, and I'm excited to see what you guys think and to see it once it's on its feet.” Jensen Ackles #SPNOrlando #SPNOrl

“In the wake of ‘The Boys,’ I signed a deal with Amazon. They wanted to develop something with me in mind, so I had a few meetings with different writers and different kinds of takes for shows. When I met Derek Haas, who created #Countdown and has written all 13 scripts, I just clicked with him immediately. He and I actually grew up in the same town; we went to neighboring high schools, so we had a lot in common right off the bat. But he's just a really great storyteller, and he comes from a long line of writing really kind of intense stuff. And so the character that he created, I just felt like I could tell that story in the world that he was also creating. That led to more meetings, and then that led to some outlines. I got to read the first script, and I just really liked where it was going. I liked the kind of world that he was setting it in, and I got excited about it. I was fortunate enough to be in a position to do that and be there from the beginning, the genesis of it all, 'cause that's not normal. For most actors, everything is kind of already cooked, and then they come in - they get cast in a role that's already happening. I was kind of, not involved creatively, but I was already on the train from the beginning in the station, so that was nice. And there are some twists and turns with this show; there are some big reveals, so to speak. So I'm excited for you guys. I'm excited to get it done - we're about halfway done with the season right now. I think they're shooting for June’s, probably, release, next summer, and I'm excited to see what you guys think and to see it once it's on its feet.” Jensen Ackles #SPNOrlando #SPNOrl

Jensen Ackles Newsroom

26,830 görüntüleme • 1 yıl önce

Elvis Presley looking back on what life was really like during his time in the Army: In a 1960 interview at Graceland, Elvis pushes back against the tabloid narratives that had built up around him during his service in Germany. The interviewer asks about rumors of a special someone he met overseas. Elvis responds: "Not any special one. There was a little girl that I was seeing quite often over there that her father was in the Air Force, and actually they only got over there about 2 months before I left. I was seeing her and she was at the airport when I left and there were some pictures made of her. But it was no big romance. I mean, the stories came out 'the girl he left behind' and all that. It wasn't like that." The frustration with how his life was being portrayed comes through when the interviewer casually asks if he liked the food in Germany and whether he ate out at restaurants. Elvis's answer reveals just how isolated his time abroad actually was: "I never ate in a restaurant the entire time when I was in Germany. I either ate in the mess hall or at home. One of the two. In fact, I never went anywhere while I was in Europe except to Paris. I went to Paris on a leave and that was all." The picture he paints is strikingly different from what fans might have imagined — no European adventures, no restaurant dinners, no grand romance. Just the mess hall, home, and one trip to Paris. When asked about what comes next, Elvis keeps it simple and focused: "Well, the first thing I have to do is to cut some records, and then after that I have the television show with Frank Sinatra."

Elvis Presley looking back on what life was really like during his time in the Army: In a 1960 interview at Graceland, Elvis pushes back against the tabloid narratives that had built up around him during his service in Germany. The interviewer asks about rumors of a special someone he met overseas. Elvis responds: "Not any special one. There was a little girl that I was seeing quite often over there that her father was in the Air Force, and actually they only got over there about 2 months before I left. I was seeing her and she was at the airport when I left and there were some pictures made of her. But it was no big romance. I mean, the stories came out 'the girl he left behind' and all that. It wasn't like that." The frustration with how his life was being portrayed comes through when the interviewer casually asks if he liked the food in Germany and whether he ate out at restaurants. Elvis's answer reveals just how isolated his time abroad actually was: "I never ate in a restaurant the entire time when I was in Germany. I either ate in the mess hall or at home. One of the two. In fact, I never went anywhere while I was in Europe except to Paris. I went to Paris on a leave and that was all." The picture he paints is strikingly different from what fans might have imagined — no European adventures, no restaurant dinners, no grand romance. Just the mess hall, home, and one trip to Paris. When asked about what comes next, Elvis keeps it simple and focused: "Well, the first thing I have to do is to cut some records, and then after that I have the television show with Frank Sinatra."

History Nerd

12,902 görüntüleme • 25 gün önce

stefan van de graaff on what kit connor brought to the set of “one of us”: “so his agent had told me that he was the most professional person ever. and honestly, even that was a bit of an understatement. there’s a lot of signals that you can get from actors that sort of you perceive as the director, their level of commitment and passion for a project. and kit exhibited all of those in spades. as an example, you know, when you’re trying to get actors to come on set, and you have your ADs going to go fetch them, and they’ve been in the green room or whatever, waiting to kind of deliver their lines, sometimes it takes a while to usher them out. kit was, like, first guy on set every time, never had to be asked. he was just ready to go. and then the last guy, he was always the last one. he’d come to me and say, ‘do you want another one? do we do it again?’ you know, every time he was always the first and last. and that, on top of everything else, of just how kind he was, how he, i mean, he just ushered the set in so many respects of bringing the talent of everybody up to his level. and i think that everybody saw something almost superhuman happening when he would deliver those soliloquies after essentially memorizing them the night before flawlessly. i mean, literally, not asking for a line ever, rarely asking for a second take unless i was the one asking for it. i think that everybody was just kind of in awe of that, and that just elevated the production.” 🎥: mollyandanna_ on tiktok

stefan van de graaff on what kit connor brought to the set of “one of us”: “so his agent had told me that he was the most professional person ever. and honestly, even that was a bit of an understatement. there’s a lot of signals that you can get from actors that sort of you perceive as the director, their level of commitment and passion for a project. and kit exhibited all of those in spades. as an example, you know, when you’re trying to get actors to come on set, and you have your ADs going to go fetch them, and they’ve been in the green room or whatever, waiting to kind of deliver their lines, sometimes it takes a while to usher them out. kit was, like, first guy on set every time, never had to be asked. he was just ready to go. and then the last guy, he was always the last one. he’d come to me and say, ‘do you want another one? do we do it again?’ you know, every time he was always the first and last. and that, on top of everything else, of just how kind he was, how he, i mean, he just ushered the set in so many respects of bringing the talent of everybody up to his level. and i think that everybody saw something almost superhuman happening when he would deliver those soliloquies after essentially memorizing them the night before flawlessly. i mean, literally, not asking for a line ever, rarely asking for a second take unless i was the one asking for it. i think that everybody was just kind of in awe of that, and that just elevated the production.” 🎥: mollyandanna_ on tiktok

kit connor updates

13,057 görüntüleme • 3 ay önce

Pierce Brosnan on the lucky break that launched his film career: "I struck a vein of gold there. I was very fortunate. I was really lucky." Speaking during the third season of Remington Steele ("We're still making it. Yes. Hence this growth here. See, we've just finished our third season back in the States."), Brosnan looks back on how quickly things came together for him at the start. It happened almost by accident. As he tells it, in one slow week he managed to land roles in two films. The first was The Long Good Friday, where he played a small but memorable part: "I was the gentleman killer. I was the killer. I pick the fellow up in the swimming bars and then I stab him and then I pop up at the end of the movie and I point at Mr. Hoskin's head." The second was The Mirror Crack'd, alongside Elizabeth Taylor. His role there was brief, but the detail he remembers is a good one: "I was being cradled on Liz Taylor's bosoms." He plays down the depth of the part with a laugh: "It's very very very uh it's very brief. Um I mean my approach but uh it's just she looks into my eyes and says Jamie Jamie and puts a head and that was it." For all the Hollywood success, Brosnan stays rooted in where he came from. Ask him about his accent and he turns it into a running joke: "The Irish accent? Uh well, that comes and goes. It all depends on who I'm talking to. So, by the end of this interview, I might be back into the bro." He left Ireland in 1964, and what stuck with him from his schooling is told with affection and a bit of dread: "Christian brothers. They were fierce fellas. Fierce fellas. Yes." The bit of the language he still carries is small but fondly held: "All I all I remember is sig and dawia and sig she means sit down and dal means go home."

Pierce Brosnan on the lucky break that launched his film career: "I struck a vein of gold there. I was very fortunate. I was really lucky." Speaking during the third season of Remington Steele ("We're still making it. Yes. Hence this growth here. See, we've just finished our third season back in the States."), Brosnan looks back on how quickly things came together for him at the start. It happened almost by accident. As he tells it, in one slow week he managed to land roles in two films. The first was The Long Good Friday, where he played a small but memorable part: "I was the gentleman killer. I was the killer. I pick the fellow up in the swimming bars and then I stab him and then I pop up at the end of the movie and I point at Mr. Hoskin's head." The second was The Mirror Crack'd, alongside Elizabeth Taylor. His role there was brief, but the detail he remembers is a good one: "I was being cradled on Liz Taylor's bosoms." He plays down the depth of the part with a laugh: "It's very very very uh it's very brief. Um I mean my approach but uh it's just she looks into my eyes and says Jamie Jamie and puts a head and that was it." For all the Hollywood success, Brosnan stays rooted in where he came from. Ask him about his accent and he turns it into a running joke: "The Irish accent? Uh well, that comes and goes. It all depends on who I'm talking to. So, by the end of this interview, I might be back into the bro." He left Ireland in 1964, and what stuck with him from his schooling is told with affection and a bit of dread: "Christian brothers. They were fierce fellas. Fierce fellas. Yes." The bit of the language he still carries is small but fondly held: "All I all I remember is sig and dawia and sig she means sit down and dal means go home."

History Nerd

83,226 görüntüleme • 1 ay önce

Quentin Tarantino recounts a dinner with Robert De Niro during the making of Jackie Brown, where he asked him whether he understood when he landed the role of Vito in The Godfather Part II, that it would change his life. De Niro’s answer revealed a great deal about his mindset at the time. “I was working with Robert De Niro on Jackie brown, and we went out to dinner once. - When he got Vito in the Godfather Part II, that was going to be a big thing for him. He won the Oscar for it - it set him up to be a movie star. So I asked him - and I've asked this to quite a few actors when it comes to when they got the role that would end up changing their career - did he realize that the moment when he got the role, that it would have this sort of effect? And he goes oh, “I tried not to let it do that. I tried not to think about that” I go, "really? and why did you try not to think about that?" “Well because I’ve seen it happen and then go the other way” And then he used an example. “There was this guy, he was a young actor, and he was part of our crowd in New York. He'd been doing okay, but we were all in the same boat. Then all of a sudden he got a lead role. He's one of the two leads in a brand new movie by a director who had just done a smash hit.” And he's talking about Larry Pierce (the director) and uh... Goodbye Columbus. ”And he started dining out on it. And all of a sudden I go to the places that we used to go to, and now he's there and everyone's kind of revolving around him. He's kind of holding court. He's not doing anything bad; he's just arisen in the way that none of us have - and we're all treating him different. Then the movie comes out; nobody likes it - The movie comes out, and it goes away, and he's exactly in the same place he was. And I just wanted to make sure that that would never happen to me because I watched it happen to him.” Quote from Video Archives Podcast, sourced from James Whale Bake Sale YouTube channel. Clip below from the Godfather Part II (1974)

Gangster Cinema Central

97,458 görüntüleme • 3 ay önce

John Carpenter on how Howard Hawks's "Rio Bravo" (1959) inspired him to become a filmmaker: "As I got older I began to see that certain directors did certain things. One of the earliest examples of this was Roger Corman. I started going to see these exciting, fast, kind of cheesy but really fun monster movies, and there was one name that kept coming up on the screen: Roger Corman. 'It Conquered the World' (1956), 'Not of This Earth' (1957), 'Attack of the Crab Monsters' (1957), 'The Undead' (1957)... But | really understood for the first time what a director did when I saw 'Rio Bravo' in 1959. There was something about that movie that was like home and I can't really explain it. It was held over in Bowling Green for three or four weeks in a row because people kept coming to see it. I abandoned to see what was new in the other movie house in town to see this movie every weekend again and again because there was something in it that was different from the other westerns I had seen. I had certainly seen John Wayne before. He had become a part of my growing-up experience. He was the action guy, the cowboy. He was the guy in 'Flying Tigers' (1942) who was flying the airplanes. So what was so different about that movie? Then I became aware of this credit: “Howard Hawks’ Rio Bravo.” I looked at the poster and I said to myself, “Who is this guy? He didn't write the movie and he wasn't starring in it so why is his name up here? And why is he last in the credits?” All these things started to occur to me, but it was the emotional impact of the film that got me to start using my brain. Some way I figure out that this director made that movie." ("The Prince of Darkness: The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering the great American filmmaker Howard Hawks on his 130th birthday.

John Carpenter on how Howard Hawks's "Rio Bravo" (1959) inspired him to become a filmmaker: "As I got older I began to see that certain directors did certain things. One of the earliest examples of this was Roger Corman. I started going to see these exciting, fast, kind of cheesy but really fun monster movies, and there was one name that kept coming up on the screen: Roger Corman. 'It Conquered the World' (1956), 'Not of This Earth' (1957), 'Attack of the Crab Monsters' (1957), 'The Undead' (1957)... But | really understood for the first time what a director did when I saw 'Rio Bravo' in 1959. There was something about that movie that was like home and I can't really explain it. It was held over in Bowling Green for three or four weeks in a row because people kept coming to see it. I abandoned to see what was new in the other movie house in town to see this movie every weekend again and again because there was something in it that was different from the other westerns I had seen. I had certainly seen John Wayne before. He had become a part of my growing-up experience. He was the action guy, the cowboy. He was the guy in 'Flying Tigers' (1942) who was flying the airplanes. So what was so different about that movie? Then I became aware of this credit: “Howard Hawks’ Rio Bravo.” I looked at the poster and I said to myself, “Who is this guy? He didn't write the movie and he wasn't starring in it so why is his name up here? And why is he last in the credits?” All these things started to occur to me, but it was the emotional impact of the film that got me to start using my brain. Some way I figure out that this director made that movie." ("The Prince of Darkness: The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering the great American filmmaker Howard Hawks on his 130th birthday.

DepressedBergman

55,467 görüntüleme • 1 ay önce