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Sylvester Stallone says he turned down $265,000 for Rocky while he only had $106 in the bank "what they didn't count on is when a person hasn't had that type of money, you really don't miss it... if you haven't ridden in a Rolls Royce, you don't mind bouncing...

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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."
3:04

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

377,308 Aufrufe • vor 3 Monaten

OSF reveals he minted 150 Bored Apes “I think I had about $40,000 in my wallet and I just put it all in into minting Bored Apes, it was one of those things where the mint had been around for 2 days, no one had really touched it and then it started to pick up momentum. In my head it felt like a guaranteed trade” “I had 150 and at the top they were worth $500,000 each but I had sold half so I was down to about 70 Bored Apes”
1:28

OSF reveals he minted 150 Bored Apes “I think I had about $40,000 in my wallet and I just put it all in into minting Bored Apes, it was one of those things where the mint had been around for 2 days, no one had really touched it and then it started to pick up momentum. In my head it felt like a guaranteed trade” “I had 150 and at the top they were worth $500,000 each but I had sold half so I was down to about 70 Bored Apes”

Jack

54,033 Aufrufe • vor 6 Monaten

Sylvester Stallone says he turned down $360,000 for Rocky because he refused to let anyone else play Rocky Balboa. “They wanted Ryan O’Neal, James Caan, even Nick Nolte to star.” “My agents told me, ‘Are you crazy? That’s ridiculous money.’” “They offered me $360,000 just to sell the script.” “I said no.” “I knew if I sold it and it became a hit without me, I’d never forgive myself.” “For about three months, I held out.” “Eventually they agreed, but only if I starred in a movie with a budget cut to around $900,000.” “They also had a 14-day clause where they could fire me at any time.” “We shot the entire first Rocky in just 28 days.”
1:51

Sylvester Stallone says he turned down $360,000 for Rocky because he refused to let anyone else play Rocky Balboa. “They wanted Ryan O’Neal, James Caan, even Nick Nolte to star.” “My agents told me, ‘Are you crazy? That’s ridiculous money.’” “They offered me $360,000 just to sell the script.” “I said no.” “I knew if I sold it and it became a hit without me, I’d never forgive myself.” “For about three months, I held out.” “Eventually they agreed, but only if I starred in a movie with a budget cut to around $900,000.” “They also had a 14-day clause where they could fire me at any time.” “We shot the entire first Rocky in just 28 days.”

KΞRL_✂️

1,102,462 Aufrufe • vor 1 Monat

Sylvester Stallone on the "blissful stupidity" that got Rocky made Sylvester Stallone turned down $265,000 when he had $106 in the bank. He explained why to Johnny Carson, weeks after *Rocky* opened. Carson set it up by telling his audience he had watched the film with a room full of friends and everyone got up saying it was a knockout. "I have met no one yet really who has seen the picture who did not like it," he said. The film had already won best film of the year from Scholastic Magazine and Coronet Magazine. Carson's point: if somebody made a movie about how this movie got made, the audience wouldn't buy it. Stallone agreed, and gave the reason it worked anyway: "It was quite a long shot; if I had known it was gonna be that difficult I wouldn't have done it. I think it was a classic case of blissful stupidity because I didn't know you couldn't do something like this." His financing strategy was not sophisticated: "To me it seemed very normal honking your horn in the driveway of the producer and tapping on his window at all hours of the night and saying please, please, please. Eventually, I think they just gave me the money to go away." The script came out of his own dead end. He was turning 30, had been acting for ten years, and had concluded nothing was going to happen. So he took his own plight, "my inability to be recognized as an actor," and, in his words, put it in boxing shorts. "When you're a down-and-out underdog fighter, that's about as low down as you can get." The studio liked it. They also wanted somebody else in it. Stallone lists the names that came up: James Caan, Ryan O'Neal, Burt Reynolds. All bankable. None of them him. So they made offers. First $100,000 for the script. Then, as he puts it, $150,000 "to take a walk." He said no. They came back at $265,000. Carson asked him directly what goes through your head when someone offers you two hundred and sixty-five thousand dollars. "Well I said that's a lot of bread. Well after I stood up, you know it's one of those things. I felt as though the money meant nothing when you haven't dealt in money that much; it really had no bearing." He had about $106 in the bank at the time. His explanation for turning down more than 2,500 times that: a number that large was so far outside his experience that it had no emotional weight. Carson compared it to a man at the racetrack who wins $100,000, loses it all by the end of the day, and reports his loss as six dollars. Stallone's summary of his own position was one line: "So it really didn't bother me, plus $106 was gaining interest." The thing he was protecting was not the script. It was the part. And the part was the point of the script in the first place. "Many people consider it a fight film which is not true; there's only like nine minutes of fighting." Source: The Tonight Show Starring Johnny Carson, NBC, Sylvester Stallone interview, airdate 16 December 1976
5:28

Sylvester Stallone on the "blissful stupidity" that got Rocky made Sylvester Stallone turned down $265,000 when he had $106 in the bank. He explained why to Johnny Carson, weeks after *Rocky* opened. Carson set it up by telling his audience he had watched the film with a room full of friends and everyone got up saying it was a knockout. "I have met no one yet really who has seen the picture who did not like it," he said. The film had already won best film of the year from Scholastic Magazine and Coronet Magazine. Carson's point: if somebody made a movie about how this movie got made, the audience wouldn't buy it. Stallone agreed, and gave the reason it worked anyway: "It was quite a long shot; if I had known it was gonna be that difficult I wouldn't have done it. I think it was a classic case of blissful stupidity because I didn't know you couldn't do something like this." His financing strategy was not sophisticated: "To me it seemed very normal honking your horn in the driveway of the producer and tapping on his window at all hours of the night and saying please, please, please. Eventually, I think they just gave me the money to go away." The script came out of his own dead end. He was turning 30, had been acting for ten years, and had concluded nothing was going to happen. So he took his own plight, "my inability to be recognized as an actor," and, in his words, put it in boxing shorts. "When you're a down-and-out underdog fighter, that's about as low down as you can get." The studio liked it. They also wanted somebody else in it. Stallone lists the names that came up: James Caan, Ryan O'Neal, Burt Reynolds. All bankable. None of them him. So they made offers. First $100,000 for the script. Then, as he puts it, $150,000 "to take a walk." He said no. They came back at $265,000. Carson asked him directly what goes through your head when someone offers you two hundred and sixty-five thousand dollars. "Well I said that's a lot of bread. Well after I stood up, you know it's one of those things. I felt as though the money meant nothing when you haven't dealt in money that much; it really had no bearing." He had about $106 in the bank at the time. His explanation for turning down more than 2,500 times that: a number that large was so far outside his experience that it had no emotional weight. Carson compared it to a man at the racetrack who wins $100,000, loses it all by the end of the day, and reports his loss as six dollars. Stallone's summary of his own position was one line: "So it really didn't bother me, plus $106 was gaining interest." The thing he was protecting was not the script. It was the part. And the part was the point of the script in the first place. "Many people consider it a fight film which is not true; there's only like nine minutes of fighting." Source: The Tonight Show Starring Johnny Carson, NBC, Sylvester Stallone interview, airdate 16 December 1976

History Nerd

74,289 Aufrufe • vor 18 Tagen

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

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

Connor Humm

384,431 Aufrufe • vor 3 Monaten

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

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

DepressedBergman

20,460 Aufrufe • vor 1 Monat

Pharma founder says the SEC had to fly him to Miami because he only had $40 "The SEC called and asked if I could come to the Miami office. I told them I didn’t think I had the money to fly down there" "She said, is this the CEO of the company? You can’t fly down to Miami? I said no, I’m sitting in a car park ready to go to my other job" "They flew me to Miami from Columbus, Ohio. The company was worth probably about $20 million on paper, and I had $40 in my bank account"
1:24

Pharma founder says the SEC had to fly him to Miami because he only had $40 "The SEC called and asked if I could come to the Miami office. I told them I didn’t think I had the money to fly down there" "She said, is this the CEO of the company? You can’t fly down to Miami? I said no, I’m sitting in a car park ready to go to my other job" "They flew me to Miami from Columbus, Ohio. The company was worth probably about $20 million on paper, and I had $40 in my bank account"

Yonan

172,072 Aufrufe • vor 3 Monaten

“Maybe it was the people I was with, I spent a lot of money for my comfortability I didn’t wait in traffic at all, I was breaking rules, driving at the wrong side of the road, I had police escorts & if you’re in the way they hit your car with a stick, I was moving like a president cuz I had money” —-DDG talks about his visit to Nigeria 🗣️
0:58

“Maybe it was the people I was with, I spent a lot of money for my comfortability I didn’t wait in traffic at all, I was breaking rules, driving at the wrong side of the road, I had police escorts & if you’re in the way they hit your car with a stick, I was moving like a president cuz I had money” —-DDG talks about his visit to Nigeria 🗣️

D3VID 🐢

49,803 Aufrufe • vor 1 Monat

Larry David says he was ready to quit Seinfeld if NBC refused to air “The Contest.” “The Contest sat in my notebook for three years.” “It was a Seinfeld episode built around a masturbation contest, and I thought there was no chance NBC would approve it.” “I didn’t even tell Jerry about it at first.” “We had a board with all the upcoming Seinfeld episodes on it.” “I refused to put that one on the board because I didn’t want the network asking questions.” “I knew it was something special.” “By the time I pitched it, I’d already made up my mind.” “If they didn’t do the episode, I was quitting Seinfeld.” “That was always my move. I was always threatening to quit.”
1:44

Larry David says he was ready to quit Seinfeld if NBC refused to air “The Contest.” “The Contest sat in my notebook for three years.” “It was a Seinfeld episode built around a masturbation contest, and I thought there was no chance NBC would approve it.” “I didn’t even tell Jerry about it at first.” “We had a board with all the upcoming Seinfeld episodes on it.” “I refused to put that one on the board because I didn’t want the network asking questions.” “I knew it was something special.” “By the time I pitched it, I’d already made up my mind.” “If they didn’t do the episode, I was quitting Seinfeld.” “That was always my move. I was always threatening to quit.”

KΞRL_✂️

554,457 Aufrufe • vor 1 Monat

Dominik Mysterio reveals his teachers were legitimately concerned after he was involved in the iconic custody match between Rey Mysterio and Eddie Guerrero: "I was terrified. I was nervous. I had no idea what was going on... As an 8-year-old kid, the reactions that you're getting from the crowd. It's insane. I didn't think I was the shit. I hated it because no one understood what was going on, and the teachers thought that I genuinely had issues at home. They would call my parents in, and my parents would have to explain to them that this was just a storyline. So my parents had to go in and talk to the teachers, and even some of the students were like, 'You don't have a dad.' It was definitely a situation."
6:56

Dominik Mysterio reveals his teachers were legitimately concerned after he was involved in the iconic custody match between Rey Mysterio and Eddie Guerrero: "I was terrified. I was nervous. I had no idea what was going on... As an 8-year-old kid, the reactions that you're getting from the crowd. It's insane. I didn't think I was the shit. I hated it because no one understood what was going on, and the teachers thought that I genuinely had issues at home. They would call my parents in, and my parents would have to explain to them that this was just a storyline. So my parents had to go in and talk to the teachers, and even some of the students were like, 'You don't have a dad.' It was definitely a situation."

Ariel Helwani

82,405 Aufrufe • vor 16 Tagen

UPDATE: Charles Hoskinson says "if it was about money, I would have sold my $ADA at the beginning. I was a billionaire in 2017—I had no legal requirements to vest. I held for 3 years and didn't sell a single $ADA. I carried it all the way through till today, and I'm still here."
1:19

UPDATE: Charles Hoskinson says "if it was about money, I would have sold my $ADA at the beginning. I was a billionaire in 2017—I had no legal requirements to vest. I held for 3 years and didn't sell a single $ADA. I carried it all the way through till today, and I'm still here."

Angry Crypto Show

149,123 Aufrufe • vor 1 Monat

Arnold Schwarzenegger admits he tricked Stallone into taking a bad movie so he could catch up, 'I felt like the only way was if he had a stumble' Host: “One of my favorite stories about you guys was Stop! Or My Mom Will Shoot.” Host: “Because you knew it was a bad script and acted like you wanted it. You got suckered in.” Stallone: “Yeah, so he played me. Yes, he did. He did, and I'm stuck with that forever.” Arnold: “So then I called Roger Spottiswoode, who was the director, who just did the James Bond movie.” Stallone: “You talked to my director? Yeah. Oh my god.” Arnold: “So I was of course absolutely in heaven because I said I felt like the only way that I could catch up with him is if he has a stumble.” Arnold: “Sure enough, the movie came out, it was a disaster.” Arnold: “And everyone was writing, 'What a day. The heydays are over for Sly.' So I said, 'Well, okay, this is now a moment for me to catch up.'”
2:30

Arnold Schwarzenegger admits he tricked Stallone into taking a bad movie so he could catch up, 'I felt like the only way was if he had a stumble' Host: “One of my favorite stories about you guys was Stop! Or My Mom Will Shoot.” Host: “Because you knew it was a bad script and acted like you wanted it. You got suckered in.” Stallone: “Yeah, so he played me. Yes, he did. He did, and I'm stuck with that forever.” Arnold: “So then I called Roger Spottiswoode, who was the director, who just did the James Bond movie.” Stallone: “You talked to my director? Yeah. Oh my god.” Arnold: “So I was of course absolutely in heaven because I said I felt like the only way that I could catch up with him is if he has a stumble.” Arnold: “Sure enough, the movie came out, it was a disaster.” Arnold: “And everyone was writing, 'What a day. The heydays are over for Sly.' So I said, 'Well, okay, this is now a moment for me to catch up.'”

Zeus

1,253,307 Aufrufe • vor 1 Monat

Selena Gomez reveals how Benny Blanco proposed to her. “I thought we had a shoot that day, so I had hair and makeup done, and I was just going about my regular day. I got into the car, and I was thinking to myself, ‘Where are we going?’ Because at that point, I felt like I knew all the studios I usually go to” “It was just me and my security guard, and he was laughing because he was just like, ‘I don’t know. It’s a new space’” “We got out. I walked in, and all of a sudden, I saw no one in the room. I looked at my assistant, and she just shut the door. And I was like, ‘Uhhh…’” “I think you envision all the things you would do and say when someone proposes to you. But it is actually the craziest feeling. It was really special” “He said the sweetest things, but I was so shocked that it just felt unreal for a long time. I’ve always dreamed of that moment, and he couldn’t have made it more perfect. It was one of the best days of my life, for sure”
1:23

Selena Gomez reveals how Benny Blanco proposed to her. “I thought we had a shoot that day, so I had hair and makeup done, and I was just going about my regular day. I got into the car, and I was thinking to myself, ‘Where are we going?’ Because at that point, I felt like I knew all the studios I usually go to” “It was just me and my security guard, and he was laughing because he was just like, ‘I don’t know. It’s a new space’” “We got out. I walked in, and all of a sudden, I saw no one in the room. I looked at my assistant, and she just shut the door. And I was like, ‘Uhhh…’” “I think you envision all the things you would do and say when someone proposes to you. But it is actually the craziest feeling. It was really special” “He said the sweetest things, but I was so shocked that it just felt unreal for a long time. I’ve always dreamed of that moment, and he couldn’t have made it more perfect. It was one of the best days of my life, for sure”

Buggy

289,329 Aufrufe • vor 14 Tagen

Chamath's $420M debt story: “If I ever do that again, punch me in the face.” Chamath: “ I've been in debt. I've had a $420M credit line. And I had a moment where it was reflexively kind of collapsing inward because the assets that I was using to secure it shrank in value in a moment of market disruption. I was scrambling, and then at the same time, there was a risk, it was the worst moment of my professional working life. I had a couple hundred million dollars sitting at Credit Suisse and they were about to implode, and so on a weekend I was trying to figure out whether my money was still there. I had always had this rule, don't have debt, and then I violated it to try to run the number up. I almost got run over. I almost lost everything. I will never do it again, and if I ever do it again, if you guys ever hear me do it again, please just come and punch me in the face. Jason: “We will. We've been waiting for an excuse.” Friedberg: “Can we punch you in the face for other things too?” Chamath: “Yeah, absolutely.” Sacks: “This is how smart guys go bankrupt, they take on debt.”
1:05

Chamath's $420M debt story: “If I ever do that again, punch me in the face.” Chamath: “ I've been in debt. I've had a $420M credit line. And I had a moment where it was reflexively kind of collapsing inward because the assets that I was using to secure it shrank in value in a moment of market disruption. I was scrambling, and then at the same time, there was a risk, it was the worst moment of my professional working life. I had a couple hundred million dollars sitting at Credit Suisse and they were about to implode, and so on a weekend I was trying to figure out whether my money was still there. I had always had this rule, don't have debt, and then I violated it to try to run the number up. I almost got run over. I almost lost everything. I will never do it again, and if I ever do it again, if you guys ever hear me do it again, please just come and punch me in the face. Jason: “We will. We've been waiting for an excuse.” Friedberg: “Can we punch you in the face for other things too?” Chamath: “Yeah, absolutely.” Sacks: “This is how smart guys go bankrupt, they take on debt.”

The All-In Podcast

327,612 Aufrufe • vor 3 Monaten

Paul George says he bought a Ferrari on eBay for $120,000 after signing his first big contract “I just made my deal, and I was still trying to be cheap at the same time. This is how cheap I was though. My ass went on eBay to look up Ferraris” “I bought a Ferrari F430, all black. It was low mileage. The dude was actually a cool. He owned a ton of cars. He had a huge car collection. He was like, ‘I'll sell it to you.’ He was a fan, so I got it for the low” “I loved it because it was that thing that symbolized you made it. For me as a kid, it was a Ferrari. I don't care if I got $100,000 in the bank. If I got a Ferrari in the garage, I'm lit. I made it.” “Ironic enough, every deal that I signed, I went and got a different Ferrari. I think I ended up paying like $120,000. I met him. I introduced him to my financial partner and let them do the transaction”
1:59

Paul George says he bought a Ferrari on eBay for $120,000 after signing his first big contract “I just made my deal, and I was still trying to be cheap at the same time. This is how cheap I was though. My ass went on eBay to look up Ferraris” “I bought a Ferrari F430, all black. It was low mileage. The dude was actually a cool. He owned a ton of cars. He had a huge car collection. He was like, ‘I'll sell it to you.’ He was a fan, so I got it for the low” “I loved it because it was that thing that symbolized you made it. For me as a kid, it was a Ferrari. I don't care if I got $100,000 in the bank. If I got a Ferrari in the garage, I'm lit. I made it.” “Ironic enough, every deal that I signed, I went and got a different Ferrari. I think I ended up paying like $120,000. I met him. I introduced him to my financial partner and let them do the transaction”

dank

378,114 Aufrufe • vor 21 Tagen

Ling: It was the first time I've ever been out in public and felt like I needed to find a weapon. I was looking through my bag to see what I had, and I found a sturdy handheld fan. The thought in my head was that if they came at me, I’d have to smash it over their head Orm: P’Ling is about to transform into P’Tawan Orm: I mean I saw what happened, and more or less I knew what had happened. Then P'Ling told me afterward exactly what had happened. If it hasnt happened to you personally, you really cant understand it. It was really terrifying. In all my life, I’ve never had people run straight at me like that before. It even looked like they were trying to get into her car. We didnt know whether they had weapons or not. They came as a group, too. Thats very frightening for a woman They talked about the SSFs thing 😭 you could see all the concern on Orm’s face as she listened to Ling talk about it...
0:45

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Ling: It was the first time I've ever been out in public and felt like I needed to find a weapon. I was looking through my bag to see what I had, and I found a sturdy handheld fan. The thought in my head was that if they came at me, I’d have to smash it over their head Orm: P’Ling is about to transform into P’Tawan Orm: I mean I saw what happened, and more or less I knew what had happened. Then P'Ling told me afterward exactly what had happened. If it hasnt happened to you personally, you really cant understand it. It was really terrifying. In all my life, I’ve never had people run straight at me like that before. It even looked like they were trying to get into her car. We didnt know whether they had weapons or not. They came as a group, too. Thats very frightening for a woman They talked about the SSFs thing 😭 you could see all the concern on Orm’s face as she listened to Ling talk about it...

jamie kwong

33,085 Aufrufe • vor 2 Monaten

Elon Musk: I gave SpaceX and Tesla all my money, and then I didn't have a house and had to borrow money for rent. “We blew up three rockets in the beginning. That was bad. Originally, I basically took all the money I made from PayPal, put it into SpaceX, Tesla and SolarCity. Initially, I figured I'd keep half of it, and then I'd spend the other half on these crazy ventures that would probably fail. And then, unfortunately, they needed all the money, so I had to give them all the money. And then I didn't have a house and had to borrow money for rent. That was pretty difficult. That was back in 2008. And then, we managed to scrape enough spare parts together to do a fourth launch at SpaceX and that worked. And if it had not worked, SpaceX would have died, probably would have lacked the credibility to raise the remaining money for Tesla and we wouldn't be here today.” Interview at E3 Coliseum, June 13, 2019
0:44

Elon Musk: I gave SpaceX and Tesla all my money, and then I didn't have a house and had to borrow money for rent. “We blew up three rockets in the beginning. That was bad. Originally, I basically took all the money I made from PayPal, put it into SpaceX, Tesla and SolarCity. Initially, I figured I'd keep half of it, and then I'd spend the other half on these crazy ventures that would probably fail. And then, unfortunately, they needed all the money, so I had to give them all the money. And then I didn't have a house and had to borrow money for rent. That was pretty difficult. That was back in 2008. And then, we managed to scrape enough spare parts together to do a fourth launch at SpaceX and that worked. And if it had not worked, SpaceX would have died, probably would have lacked the credibility to raise the remaining money for Tesla and we wouldn't be here today.” Interview at E3 Coliseum, June 13, 2019

ELON CLIPS

387,734 Aufrufe • vor 8 Monaten

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

DepressedBergman

56,916 Aufrufe • vor 7 Monaten

Will Ferrell reveals why he turned down a massive payday for the ELF sequel "I was offered a crazy amount of money" "there was a lot of movement after the film initially came out, of which I maintained that it's going to be really hard because it's a classic fish out of water story" "an attempt was made at a script, which, you know, tried its best, but I just was like, I don't know" "I have to be able to sit in a setting like this and talk about the movie in a way that I feel good about" "if I were to promote that movie, I'd be literally saying I did it for the money. Straight up" "I'm like, do you want that messaging out there? then they tried a little bit later down the road and it just..."
1:00

Will Ferrell reveals why he turned down a massive payday for the ELF sequel "I was offered a crazy amount of money" "there was a lot of movement after the film initially came out, of which I maintained that it's going to be really hard because it's a classic fish out of water story" "an attempt was made at a script, which, you know, tried its best, but I just was like, I don't know" "I have to be able to sit in a setting like this and talk about the movie in a way that I feel good about" "if I were to promote that movie, I'd be literally saying I did it for the money. Straight up" "I'm like, do you want that messaging out there? then they tried a little bit later down the road and it just..."

Rixlerr

1,007,631 Aufrufe • vor 1 Monat