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Terminator 2: Judgment Facts -Director James Cameron asked Stan Winston to direct a teaser trailer. Cameron did not want the trailer to just be early footage, and so with a budget of $150,000, Winston created a trailer that showed a futuristic assembly line churning out copies of Terminators, all...

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125,999 次观看 • 2 个月前 •via X (Twitter)

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In 1988, actor Arnold Schwarzenegger received an offer to star in the action film Red Heat. In this film, the "Terminator" star landed one of the most memorable roles of his career: a Soviet police officer named Ivan Danko. He was one of the rare Russian characters established as a protagonist in American films of that era. The film impresses with its intriguing combination of Arnold Schwarzenegger's serious, cool demeanor and Jim Belushi's natural humor, creating a pair of police officers who are both contrasting and captivating on screen.
1:59

In 1988, actor Arnold Schwarzenegger received an offer to star in the action film Red Heat. In this film, the "Terminator" star landed one of the most memorable roles of his career: a Soviet police officer named Ivan Danko. He was one of the rare Russian characters established as a protagonist in American films of that era. The film impresses with its intriguing combination of Arnold Schwarzenegger's serious, cool demeanor and Jim Belushi's natural humor, creating a pair of police officers who are both contrasting and captivating on screen.

Love Classical Music and Movies 🎺🎻💖🎥🎬

606,642 次观看 • 4 个月前

Arnold Schwarzenegger really wanted to play the hero in the first Terminator movie. He thought O.J. Simpson was going to be Terminator. Then he made the mistake of explaining to director James Cameron exactly how OJ had to play the part. Cameron was amazed and asked Arnold on the spot: “Why don’t you play Terminator?!” HOWARD STERN: “You wanted to be Kyle Reese.” ARNOLD: “That’s right.” STERN: “And the director said to you, ‘Hey, man, are you crazy? The movie’s about the Terminator.’ How did you beat out those guys?” ARNOLD: “I think what happened was it was a total coincidence because I didn’t even try out for Terminator. I was trying to be Kyle Reese. “And during the lunch when I met with James Cameron, the director... I kept talking all the time about the Terminator. I said to Cameron, ‘It doesn’t matter. I know you guys have already probably hired O.J. Simpson. But whoever is playing it, I just want you to be clear. He has to train himself to dissemble weapons and to put weapons together and to shoot and to load the weapons and all of this stuff blindfolded, totally blindfolded.’” “‘Because a Terminator can never, ever look down at his hand, what he’s doing, because he’s a machine. He’s a robot. When he walks, he has to have a certain walk, meaning he scans and looks around. He has to have a certain scan. It has to be absolutely clear at all times that this is a machine with absolutely no human behavior.’” “But this went on like this for an hour, what I just did.” STERN: “You didn’t even know you were excited.” ARNOLD: “No, no, because I saw the Yul Brynner character in Westworld where he played the machine. And so I was so, you know, kind of amazed at his performance. And he was an extraordinary actor.” STERN: “Fabulous.” ARNOLD: "So I kept talking about this and talking about how he has to walk, how he has to get up and how he has to tear his flesh out and how he has to operate on his eye. And, you know, no pain and no feelings.” “And James Cameron looked at me at the end of the lunch, and he said, ‘So why don’t you play Terminator? I mean, you understand him so well, this character. This is exactly what we need.’ And I said, ‘No, no, no, Jim, please. I counted the amount of lines. This guy says it’s 27 lines. In Conan, I had 128 lines. So I’m not gonna go backwards. You can give it to someone else. But I want to talk a lot. I want to perform. I want to be the leading man.’ “He says, ‘I will make that guy the leading man. It’s called the Terminator. I will shoot it from below up. You will look heroic. And don’t worry about killing all those people, because you’re a machine. No one is going to blame Arnold. You’re a machine. You’re acting as a machine.’”
2:25

Arnold Schwarzenegger really wanted to play the hero in the first Terminator movie. He thought O.J. Simpson was going to be Terminator. Then he made the mistake of explaining to director James Cameron exactly how OJ had to play the part. Cameron was amazed and asked Arnold on the spot: “Why don’t you play Terminator?!” HOWARD STERN: “You wanted to be Kyle Reese.” ARNOLD: “That’s right.” STERN: “And the director said to you, ‘Hey, man, are you crazy? The movie’s about the Terminator.’ How did you beat out those guys?” ARNOLD: “I think what happened was it was a total coincidence because I didn’t even try out for Terminator. I was trying to be Kyle Reese. “And during the lunch when I met with James Cameron, the director... I kept talking all the time about the Terminator. I said to Cameron, ‘It doesn’t matter. I know you guys have already probably hired O.J. Simpson. But whoever is playing it, I just want you to be clear. He has to train himself to dissemble weapons and to put weapons together and to shoot and to load the weapons and all of this stuff blindfolded, totally blindfolded.’” “‘Because a Terminator can never, ever look down at his hand, what he’s doing, because he’s a machine. He’s a robot. When he walks, he has to have a certain walk, meaning he scans and looks around. He has to have a certain scan. It has to be absolutely clear at all times that this is a machine with absolutely no human behavior.’” “But this went on like this for an hour, what I just did.” STERN: “You didn’t even know you were excited.” ARNOLD: “No, no, because I saw the Yul Brynner character in Westworld where he played the machine. And so I was so, you know, kind of amazed at his performance. And he was an extraordinary actor.” STERN: “Fabulous.” ARNOLD: "So I kept talking about this and talking about how he has to walk, how he has to get up and how he has to tear his flesh out and how he has to operate on his eye. And, you know, no pain and no feelings.” “And James Cameron looked at me at the end of the lunch, and he said, ‘So why don’t you play Terminator? I mean, you understand him so well, this character. This is exactly what we need.’ And I said, ‘No, no, no, Jim, please. I counted the amount of lines. This guy says it’s 27 lines. In Conan, I had 128 lines. So I’m not gonna go backwards. You can give it to someone else. But I want to talk a lot. I want to perform. I want to be the leading man.’ “He says, ‘I will make that guy the leading man. It’s called the Terminator. I will shoot it from below up. You will look heroic. And don’t worry about killing all those people, because you’re a machine. No one is going to blame Arnold. You’re a machine. You’re acting as a machine.’”

The Vigilant Fox 🦊

118,799 次观看 • 28 天前

Arnold Schwarzenegger reveals he never even auditioned to play the Terminator “It was a total coincidence because I didn’t even try out for Terminator, I was trying to be Kyle Reese, and during the lunch when I met with James Cameron the director and the producer John Daily, I kept talking all the time about the Terminator” “I said to Cameron, whoever is playing it I just want you to be clear, he has to train himself to disassemble weapons and to put weapons together and to shoot and to load the weapons often blindfolded, totally blind, because a Terminator can never ever look down at his hand at what he’s doing because he’s a machine, he’s a robot” “When he walks he has to have a certain walk, when he scans and looks around he has to have a certain scan, it has to be absolutely clear at all times that this is a machine with no human behaviour” “This went on like this for an hour and James Cameron looked at me at the end of the lunch and he said so why don’t you play Terminator, you understand him so well, this is exactly what we need, and I said no no no Jim please, I’m an actor, I counted the amount of lines this guy says, it’s 27 lines, then Conan I had 128 lines, so I’m not gonna go backwards, you can give it to someone else, I want to talk a lot, I want to perform, I want to be the leading man” “He says I will make that guy the leading man, it’s called the Terminator, I will shoot it from below up, you will look heroic, and don’t worry about killing all those people because you’re a machine, no one is gonna blame Arnold, you’re a machine”
1:42

Arnold Schwarzenegger reveals he never even auditioned to play the Terminator “It was a total coincidence because I didn’t even try out for Terminator, I was trying to be Kyle Reese, and during the lunch when I met with James Cameron the director and the producer John Daily, I kept talking all the time about the Terminator” “I said to Cameron, whoever is playing it I just want you to be clear, he has to train himself to disassemble weapons and to put weapons together and to shoot and to load the weapons often blindfolded, totally blind, because a Terminator can never ever look down at his hand at what he’s doing because he’s a machine, he’s a robot” “When he walks he has to have a certain walk, when he scans and looks around he has to have a certain scan, it has to be absolutely clear at all times that this is a machine with no human behaviour” “This went on like this for an hour and James Cameron looked at me at the end of the lunch and he said so why don’t you play Terminator, you understand him so well, this is exactly what we need, and I said no no no Jim please, I’m an actor, I counted the amount of lines this guy says, it’s 27 lines, then Conan I had 128 lines, so I’m not gonna go backwards, you can give it to someone else, I want to talk a lot, I want to perform, I want to be the leading man” “He says I will make that guy the leading man, it’s called the Terminator, I will shoot it from below up, you will look heroic, and don’t worry about killing all those people because you’re a machine, no one is gonna blame Arnold, you’re a machine”

Third

205,648 次观看 • 2 个月前

Arnold Schwarzenegger reveals the Twins made him $15M more profits than any Terminator movie "You earn more from Twins than any of the Terminator movies because Twins was a $15 million film...you got 20% of the profits" "It was Ivan Wrightman, Danny, and myself...We split 37.5% and my share was like you said the 20% of it...We went to Universal Studio and said I want no money" "You take the risk with comedy and I am more than happy to take that risk...in the end it was not just what it made at the box office but then it was sold to TV and then for videos and TV deals"
1:03

Arnold Schwarzenegger reveals the Twins made him $15M more profits than any Terminator movie "You earn more from Twins than any of the Terminator movies because Twins was a $15 million film...you got 20% of the profits" "It was Ivan Wrightman, Danny, and myself...We split 37.5% and my share was like you said the 20% of it...We went to Universal Studio and said I want no money" "You take the risk with comedy and I am more than happy to take that risk...in the end it was not just what it made at the box office but then it was sold to TV and then for videos and TV deals"

CreativeDude

540,795 次观看 • 2 个月前

Peter Jackson accepts his Palme d'Or and remembers how #Cannes saved "The Lord of the Rings" franchise: "The media was talking about the gamble was going to fail. So the first film, ‘Fellowship of the Ring,’ was going to come out in December 2001 and so we just finished shooting in December 2000, so we had a year of post-production to deal with. In that year, about February, [New Line Cinema founder] Bob Shaye decides that he wants to have 20 minutes of our film screen here in Cannes because he wants to change the press’ stories that were going out ... Bob Shaye rolled the dice, and so we quickly changed 20 minutes of film, really fast, and we brought that 20 minutes here in 2001 in May, and we did some press in that castle up on the hill and had a party there, and Bob’s great gamble really changed the perception of the film. And for me obviously, it was a life-changing thing. So by the time the film came out there was an anticipation that there wouldn’t have been if not for Cannes."
2:19

Peter Jackson accepts his Palme d'Or and remembers how #Cannes saved "The Lord of the Rings" franchise: "The media was talking about the gamble was going to fail. So the first film, ‘Fellowship of the Ring,’ was going to come out in December 2001 and so we just finished shooting in December 2000, so we had a year of post-production to deal with. In that year, about February, [New Line Cinema founder] Bob Shaye decides that he wants to have 20 minutes of our film screen here in Cannes because he wants to change the press’ stories that were going out ... Bob Shaye rolled the dice, and so we quickly changed 20 minutes of film, really fast, and we brought that 20 minutes here in 2001 in May, and we did some press in that castle up on the hill and had a party there, and Bob’s great gamble really changed the perception of the film. And for me obviously, it was a life-changing thing. So by the time the film came out there was an anticipation that there wouldn’t have been if not for Cannes."

Variety

79,132 次观看 • 3 个月前

According to Roy Scheider, "Filming 'Sorcerer' (1977) made 'Jaws' (1975) look like a picnic". He considered the Bridge scene to be the most dangerous he has ever acted in. The scene was so real that he said, "What the audience will see on that screen is what really happened." Building the bridge cost about a million dollars. It took 3 months to complete. Friedkin called it "A mad enterprise and definitely life threatening". The bridge was built on what they considered to be a "perfect river" in Dominican Republic. It was 12 feet deep. However, there were weeks without rainfall and the level of the river started dropping. The river has never went dry before according to the locals. When the bridge was completed, the river had only 1 feet of water making it impossible to film the scene there. With only 2 scenes left to film, the crew had to leave for Mexico to shoot the bridge scene. So they decided to shoot the scene in a river in an Aztec village in a remote location in Mexico. The Bridge had to be reassembled and anchored in the new location. The shutdown of production had lasted a month which was a huge expense to the management. When the crew arrived at the village, there was a huge exodus of the local population. When Friedkin enquired, he was informed by one of the authorities that it was because of word of William Friedkin's arrival. They were a deeply religious people, and when they heard the man who made "The Exorcist" (1973) was coming to their village: they felt it was "bad karma". But few of the locals stayed and helped with the filming. Before arriving, Friedkin was informed that it rained often in the area, but didn't know that it was only in the summer season. Since it was the fall, there was no rain and the river began to drop at the rate of six inches or more a day. The water was diverted to the location of the bridge in the river using large pipes and pumping equipment. Since Friedkin wanted to shoot the scene in the rain, they brought in half a dozen large sprinklers that drew water from upriver. The scene runs twelve minutes, roughly 10 percent of the final cut, but it took months to complete and cost more than $3 million, most of it not budgeted. ("The Friedkin Connection: A Memoir", William Friedkin, 2013 & Roy Scheider's interview to the The New York Times, 1977) P.S: On this day, 49 years ago, "Sorcerer" (1977) was released in the USA.
2:14

According to Roy Scheider, "Filming 'Sorcerer' (1977) made 'Jaws' (1975) look like a picnic". He considered the Bridge scene to be the most dangerous he has ever acted in. The scene was so real that he said, "What the audience will see on that screen is what really happened." Building the bridge cost about a million dollars. It took 3 months to complete. Friedkin called it "A mad enterprise and definitely life threatening". The bridge was built on what they considered to be a "perfect river" in Dominican Republic. It was 12 feet deep. However, there were weeks without rainfall and the level of the river started dropping. The river has never went dry before according to the locals. When the bridge was completed, the river had only 1 feet of water making it impossible to film the scene there. With only 2 scenes left to film, the crew had to leave for Mexico to shoot the bridge scene. So they decided to shoot the scene in a river in an Aztec village in a remote location in Mexico. The Bridge had to be reassembled and anchored in the new location. The shutdown of production had lasted a month which was a huge expense to the management. When the crew arrived at the village, there was a huge exodus of the local population. When Friedkin enquired, he was informed by one of the authorities that it was because of word of William Friedkin's arrival. They were a deeply religious people, and when they heard the man who made "The Exorcist" (1973) was coming to their village: they felt it was "bad karma". But few of the locals stayed and helped with the filming. Before arriving, Friedkin was informed that it rained often in the area, but didn't know that it was only in the summer season. Since it was the fall, there was no rain and the river began to drop at the rate of six inches or more a day. The water was diverted to the location of the bridge in the river using large pipes and pumping equipment. Since Friedkin wanted to shoot the scene in the rain, they brought in half a dozen large sprinklers that drew water from upriver. The scene runs twelve minutes, roughly 10 percent of the final cut, but it took months to complete and cost more than $3 million, most of it not budgeted. ("The Friedkin Connection: A Memoir", William Friedkin, 2013 & Roy Scheider's interview to the The New York Times, 1977) P.S: On this day, 49 years ago, "Sorcerer" (1977) was released in the USA.

DepressedBergman

76,740 次观看 • 2 个月前

It was a pleasure to sit and talk with my friend Candace Cameron Bure about Unsung Hero... 🎙️this is one of the miracles that happened when we first moved to Nashville 🎸but had to be left out of the film 🎬
0:44

It was a pleasure to sit and talk with my friend Candace Cameron Bure about Unsung Hero... 🎙️this is one of the miracles that happened when we first moved to Nashville 🎸but had to be left out of the film 🎬

Joel Smallbone

13,972 次观看 • 2 年前

According to an interview with Samuel L. Jackson, he and writer and director John Singleton often argued over the direction of the film. After one particular argument, Singleton refused to come out of his trailer. Christian Bale didn't have any interest in playing the part of the villain, as he had just finished making American Psycho (2000). But he was reading through lines with Toni Collette, who has the part of the witness in the film, one day, and decided to give it a go as another villain after all. 🎬 SHAFT (2000)
0:51

According to an interview with Samuel L. Jackson, he and writer and director John Singleton often argued over the direction of the film. After one particular argument, Singleton refused to come out of his trailer. Christian Bale didn't have any interest in playing the part of the villain, as he had just finished making American Psycho (2000). But he was reading through lines with Toni Collette, who has the part of the witness in the film, one day, and decided to give it a go as another villain after all. 🎬 SHAFT (2000)

Love Classical Music and Movies 🎺🎻💖🎥🎬

401,378 次观看 • 7 个月前

Jack Hawkins on his experience making Basil Dearden's "The League of Gentlemen" (1960)- The first movie of Allied Film makers: "No actor could have been other than excited by this brilliantly written story of an ex-army officer who collects a group of his former war-time comrades to plan and carry out a daring bank robbery. (...) It was a tremendously entertaining film to make, in spite of the fact that my throat began to cause me some trouble because we had a long sequence in a smoke-screen, and this took two days to shoot. But my hoarseness was nothing—or so it seemed then— compared with the excitement of having real control over the whole film. For once, one was responsible for a complete film, and not just playing a part to the best of one’s ability. And, of course, the satisfaction of creating a complete thing was spiced with the gamble involved, because trying to make a fortune out of a film is not so very far removed from trying to win a football pool. The chances of success are about the same. But, as things turned out, the film was a tremendous box-office success." ('Anything for a Quiet Life', Jack Hawkins, 1973) P.S: On this day, 66 years ago, 'The League of Gentlemen' (1960) premiered in London, U.K.
1:30

Jack Hawkins on his experience making Basil Dearden's "The League of Gentlemen" (1960)- The first movie of Allied Film makers: "No actor could have been other than excited by this brilliantly written story of an ex-army officer who collects a group of his former war-time comrades to plan and carry out a daring bank robbery. (...) It was a tremendously entertaining film to make, in spite of the fact that my throat began to cause me some trouble because we had a long sequence in a smoke-screen, and this took two days to shoot. But my hoarseness was nothing—or so it seemed then— compared with the excitement of having real control over the whole film. For once, one was responsible for a complete film, and not just playing a part to the best of one’s ability. And, of course, the satisfaction of creating a complete thing was spiced with the gamble involved, because trying to make a fortune out of a film is not so very far removed from trying to win a football pool. The chances of success are about the same. But, as things turned out, the film was a tremendous box-office success." ('Anything for a Quiet Life', Jack Hawkins, 1973) P.S: On this day, 66 years ago, 'The League of Gentlemen' (1960) premiered in London, U.K.

DepressedBergman

31,287 次观看 • 4 个月前

Zohre Shamaizadeh, a voice actor and film and theater artist from Isfahan, was an assistant director, a member of the Glory Dubbing Group and the Tehran Dubbing Association, and also worked as a presenter and assistant director. She was killed on Friday, January 9, by the repressive forces of the Islamic Republic regime during the protests in the city. She was shot in the throat; Security institutions attempted to distort the cause of her death by claiming it was due to cardiac arrest, an assertion that contradicts eyewitness accounts. Her last project was a film titled “A Bridge Over a Dry River,” in which she worked as a script supervisor; the film had been selected for the Tajikistan International Film Festival. #DigitalBlackoutIran #R2PforIran #IranMassacre
0:29

Zohre Shamaizadeh, a voice actor and film and theater artist from Isfahan, was an assistant director, a member of the Glory Dubbing Group and the Tehran Dubbing Association, and also worked as a presenter and assistant director. She was killed on Friday, January 9, by the repressive forces of the Islamic Republic regime during the protests in the city. She was shot in the throat; Security institutions attempted to distort the cause of her death by claiming it was due to cardiac arrest, an assertion that contradicts eyewitness accounts. Her last project was a film titled “A Bridge Over a Dry River,” in which she worked as a script supervisor; the film had been selected for the Tajikistan International Film Festival. #DigitalBlackoutIran #R2PforIran #IranMassacre

پری‌سا

19,836 次观看 • 7 个月前

James Cameron has great explainer on how he made "The Terminator" (1984) for cheap: ▫️approach the story as a low-budget horror slasher film ▫️find areas with brightest street lights, to save money on lighting ("used car lots were great because they cast enough light from their floodlights onto the streets") ▫️the casting of Arnold (he hadn't really broken through yet and was only paid $75,000 which worked out to $1,293 per word) The horror approach also worked because they could shoot a lot of the film guerilla style (no permits) in dark alleyways and parking garages. Smartly, Cameron layered on the sci-fi backstory to make it higher concept (leading to the glorious T2 sequel). There were also a lot of indoor shots (apartment, store, bar) that didn’t need permits. At the time, 30-year old Cameron was living so frugally that his mom was sending him "2-for-1 Big Mac coupons" from McDonald's because she didn't think he was eating enough. The film ultimately made $80 million globally on a $4.3 million budget, launching Cameron and Arnold's Hollywood careers.
4:59

James Cameron has great explainer on how he made "The Terminator" (1984) for cheap: ▫️approach the story as a low-budget horror slasher film ▫️find areas with brightest street lights, to save money on lighting ("used car lots were great because they cast enough light from their floodlights onto the streets") ▫️the casting of Arnold (he hadn't really broken through yet and was only paid $75,000 which worked out to $1,293 per word) The horror approach also worked because they could shoot a lot of the film guerilla style (no permits) in dark alleyways and parking garages. Smartly, Cameron layered on the sci-fi backstory to make it higher concept (leading to the glorious T2 sequel). There were also a lot of indoor shots (apartment, store, bar) that didn’t need permits. At the time, 30-year old Cameron was living so frugally that his mom was sending him "2-for-1 Big Mac coupons" from McDonald's because she didn't think he was eating enough. The film ultimately made $80 million globally on a $4.3 million budget, launching Cameron and Arnold's Hollywood careers.

Trung Phan

1,088,250 次观看 • 5 个月前

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 次观看 • 1 个月前

Breaking 🔴 Nothing against #SalmanKhan ⛔ Now, actor Sonu Mishra who was supposed to play Salman Khan ’s character in #KalaHiran exit the movie ⚠️ He left the movie after he came to know the intention of the makers. While talking to the media, Mishra said, "I was so much excited because I was supposed to play the role of superstar Salman Khan. I had also started the shooting of the film. But when the intent is negative, being an actor, I don't want to be a part of such a film. No doubt that they have a point of view. But you are showing superstar Salman Khan in a negative way and showing a one-sided narrative." He added, "I left because I had not signed the agreement. We shot for two days, and I asked them for the agreement and script because they were making a one-sided narrative story against a superstar. So, they understood I was not going to fall into their trap. I asked for the agreement to know what all clauses are there in it. After a long time, they showed me things, and it was revealed that I had to speak negatively against the star in the media. So, all these things were against my ethics."
2:02

Breaking 🔴 Nothing against #SalmanKhan ⛔ Now, actor Sonu Mishra who was supposed to play Salman Khan ’s character in #KalaHiran exit the movie ⚠️ He left the movie after he came to know the intention of the makers. While talking to the media, Mishra said, "I was so much excited because I was supposed to play the role of superstar Salman Khan. I had also started the shooting of the film. But when the intent is negative, being an actor, I don't want to be a part of such a film. No doubt that they have a point of view. But you are showing superstar Salman Khan in a negative way and showing a one-sided narrative." He added, "I left because I had not signed the agreement. We shot for two days, and I asked them for the agreement and script because they were making a one-sided narrative story against a superstar. So, they understood I was not going to fall into their trap. I asked for the agreement to know what all clauses are there in it. After a long time, they showed me things, and it was revealed that I had to speak negatively against the star in the media. So, all these things were against my ethics."

Always Bollywood

81,058 次观看 • 2 个月前

Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000
1:54

Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000

RadiantFilm

97,385 次观看 • 10 个月前

According to Jennifer Grey, there was also a long-running contest on the set of "Dirty Dancing" (1987) to see if anyone could come up with the new title for the film as they thought the title 'Dirty Dancing' was never going to last. Many thought that in the eighties, it sounded too scandalous to be able to reach its mainstream target audience and even the Censorship officers assumed it was a p0rn film. "Dirty Dancing" had an extremely low-budget production, and there was a very real possibility that passionate dedication of the crew wouldn't be enough to save the movie from an embarrassing B-movie fate. The $4.5 million budget came from Vestron, a home video company based in Stamford, Connecticut, that had never before made a movie. The schedule for the shoot was impossibly tight & the movie had to be shot in 43 days. ("Out of the Corner: A Memoir", Jennifer Grey, 2022)
1:32

According to Jennifer Grey, there was also a long-running contest on the set of "Dirty Dancing" (1987) to see if anyone could come up with the new title for the film as they thought the title 'Dirty Dancing' was never going to last. Many thought that in the eighties, it sounded too scandalous to be able to reach its mainstream target audience and even the Censorship officers assumed it was a p0rn film. "Dirty Dancing" had an extremely low-budget production, and there was a very real possibility that passionate dedication of the crew wouldn't be enough to save the movie from an embarrassing B-movie fate. The $4.5 million budget came from Vestron, a home video company based in Stamford, Connecticut, that had never before made a movie. The schedule for the shoot was impossibly tight & the movie had to be shot in 43 days. ("Out of the Corner: A Memoir", Jennifer Grey, 2022)

DepressedBergman

38,756 次观看 • 3 个月前

In 1935, Jomo Kenyatta left for London to study economics. He ran out of money and took a role in the film Sanders of the River to survive. Marketed as pro‑African, the film instead glorified the British Empire. This was a betrayal to Kenyatta because what was promised as a dignity for Africans became propaganda for colonial rule. Kenyatta never spoke about it again.
1:54

In 1935, Jomo Kenyatta left for London to study economics. He ran out of money and took a role in the film Sanders of the River to survive. Marketed as pro‑African, the film instead glorified the British Empire. This was a betrayal to Kenyatta because what was promised as a dignity for Africans became propaganda for colonial rule. Kenyatta never spoke about it again.

Steve Njue

52,251 次观看 • 9 个月前

Diane Lane was 18 years old, sitting across from Johnny Carson, and she handled the whole thing better than he did She was there to promote Rumble Fish, her second film for Francis Ford Coppola. Carson opened by asking why she had kissed the previous guest and not him. "He's just a very attractive man," she said. "Well, I suppose he is more the grandfatherly type," Carson answered, then turned it into a bit for the audience about too much sexual attraction going on between them. She let it pass and went straight to the work. On the title: "rumblefish is sort of a slang name for Siamese fighting fish, which is symbolic of a relationship that goes on in the film between Matt Dillon and Mickey Rourke." Then, almost in passing: "It's the second film I did for Coppola." And: "I'm doing a third one now as soon as I get done." She had just finished high school without attending the ceremony. Quintano School for Young Professionals. "Got my ring. Got it in the mail." The reason she was not there in person: "this is the 5-month anniversary date of the start of the film Streets of Fire." Five months on one production, at 18, with a Coppola film about to open and another one queued up behind it. She had been working since she was six. Carson asked what she did for her 18th birthday. "I did my laundry, actually." He waited for the punchline. There was not one. There was a reason. She explained that a surprise party had been thrown for her two years earlier, and that "it was a fiasco for me because I had to play hostess to a bunch of people I did not know and it was like a burden, you know?" So she made a decision about the next one: "I said, this one is going to be just another day in the life of, and I went out and I did my laundry." An 18-year-old actress, five months into a shoot, opting out of her own celebration because the last one made her responsible for entertaining strangers. Then Carson asked whether her parents were entertainers. He fumbled the question twice and had to rephrase it. Her answer: "My mother was a Playmate of the Month, October '57. I'm very proud of her for that." Carson asked if she realised it at the time. Lane: "Well, I was not even an idea at that point." He did the arithmetic out loud, 18 and '57, noted that her mother had been 19, and asked Lane directly whether she would do something like that. "No." He asked why not. "Well, because you have to reveal quite a bit more at this point. That's one good reason. There's many other good reasons why I would choose not to do that. I don't have to." And then the line that closes the whole exchange: "Mom wanted to get a lot of exposure and she did." Source: The Tonight Show Starring Johnny Carson
3:13

Diane Lane was 18 years old, sitting across from Johnny Carson, and she handled the whole thing better than he did She was there to promote Rumble Fish, her second film for Francis Ford Coppola. Carson opened by asking why she had kissed the previous guest and not him. "He's just a very attractive man," she said. "Well, I suppose he is more the grandfatherly type," Carson answered, then turned it into a bit for the audience about too much sexual attraction going on between them. She let it pass and went straight to the work. On the title: "rumblefish is sort of a slang name for Siamese fighting fish, which is symbolic of a relationship that goes on in the film between Matt Dillon and Mickey Rourke." Then, almost in passing: "It's the second film I did for Coppola." And: "I'm doing a third one now as soon as I get done." She had just finished high school without attending the ceremony. Quintano School for Young Professionals. "Got my ring. Got it in the mail." The reason she was not there in person: "this is the 5-month anniversary date of the start of the film Streets of Fire." Five months on one production, at 18, with a Coppola film about to open and another one queued up behind it. She had been working since she was six. Carson asked what she did for her 18th birthday. "I did my laundry, actually." He waited for the punchline. There was not one. There was a reason. She explained that a surprise party had been thrown for her two years earlier, and that "it was a fiasco for me because I had to play hostess to a bunch of people I did not know and it was like a burden, you know?" So she made a decision about the next one: "I said, this one is going to be just another day in the life of, and I went out and I did my laundry." An 18-year-old actress, five months into a shoot, opting out of her own celebration because the last one made her responsible for entertaining strangers. Then Carson asked whether her parents were entertainers. He fumbled the question twice and had to rephrase it. Her answer: "My mother was a Playmate of the Month, October '57. I'm very proud of her for that." Carson asked if she realised it at the time. Lane: "Well, I was not even an idea at that point." He did the arithmetic out loud, 18 and '57, noted that her mother had been 19, and asked Lane directly whether she would do something like that. "No." He asked why not. "Well, because you have to reveal quite a bit more at this point. That's one good reason. There's many other good reasons why I would choose not to do that. I don't have to." And then the line that closes the whole exchange: "Mom wanted to get a lot of exposure and she did." Source: The Tonight Show Starring Johnny Carson

History Nerd

784,515 次观看 • 1 个月前

When Nikkatsu studio executives saw the finished cut of Seijun Suzuki's "Branded to Ki!!" (1967), they thought it was too terrible to be released, so they shelved it. Suzuki along with others in the film business, film critics, and students protested in unfairness since, by contract, Nikkatsu was supposed to release the finished film theatrically. It went to court, with a ruling in favor of the director. Nikkatsu had to pay for damages and have the film released. Suzuki's contract with Nikkatsu was terminated, and with the bad reputation, was unable to work on a feature film for the next 10 years. (Source: IMDb)
1:15

When Nikkatsu studio executives saw the finished cut of Seijun Suzuki's "Branded to Ki!!" (1967), they thought it was too terrible to be released, so they shelved it. Suzuki along with others in the film business, film critics, and students protested in unfairness since, by contract, Nikkatsu was supposed to release the finished film theatrically. It went to court, with a ruling in favor of the director. Nikkatsu had to pay for damages and have the film released. Suzuki's contract with Nikkatsu was terminated, and with the bad reputation, was unable to work on a feature film for the next 10 years. (Source: IMDb)

DepressedBergman

22,320 次观看 • 5 个月前

Mirage was the new human-buddy lead in #Transformers ROTB. The studio wanted a character other than Bumblebee to have that role and be in the spotlight with Optimus Prime. He was designed to look "handsome" and to be sporty. He was the only character in the film with more than 1 alternate form. He had a total of 4 that we built in 3D (1 of which was cut from the film) and 1 that was only in live action (the garbage truck). I served as the asset Lead and did the Primary Texturing & Look Development for him. I also modelled and designed his eyes, upgrading them from what we had originally in the concept and ref. We spent a lot of time getting his car paint to look correct in shots, matching closely to on set reference pictures of the Porsche. At the end of the film, Mirage gives up his life and becomes the Exo-suit for Noah. The suit was built separately, using the same tooling and systems as Mirage to ensure visual continuity between them for the transformation from Mirage to Noah Exo-suit. He was voice acted by Pete Davidson, a change which was made later in production. The animators tried to introduce some of Pete's mannerisms into Mirage's animations too. Overall he was a character which was a lot of fun to work on and I'm proud of the work the team did to get him to look the way he does in the final film. CREDITS Primary Modelling by Lilian Robert. Final Texturing & LookDev by Martin Kamminga. Various other artists supported the creation of Mirage and the Exo-suit. The Exo-suit and Mirage were sent to WetaFX for the final sequence. Video by Paramount, MPC, and WetaFX.
0:48

Mirage was the new human-buddy lead in #Transformers ROTB. The studio wanted a character other than Bumblebee to have that role and be in the spotlight with Optimus Prime. He was designed to look "handsome" and to be sporty. He was the only character in the film with more than 1 alternate form. He had a total of 4 that we built in 3D (1 of which was cut from the film) and 1 that was only in live action (the garbage truck). I served as the asset Lead and did the Primary Texturing & Look Development for him. I also modelled and designed his eyes, upgrading them from what we had originally in the concept and ref. We spent a lot of time getting his car paint to look correct in shots, matching closely to on set reference pictures of the Porsche. At the end of the film, Mirage gives up his life and becomes the Exo-suit for Noah. The suit was built separately, using the same tooling and systems as Mirage to ensure visual continuity between them for the transformation from Mirage to Noah Exo-suit. He was voice acted by Pete Davidson, a change which was made later in production. The animators tried to introduce some of Pete's mannerisms into Mirage's animations too. Overall he was a character which was a lot of fun to work on and I'm proud of the work the team did to get him to look the way he does in the final film. CREDITS Primary Modelling by Lilian Robert. Final Texturing & LookDev by Martin Kamminga. Various other artists supported the creation of Mirage and the Exo-suit. The Exo-suit and Mirage were sent to WetaFX for the final sequence. Video by Paramount, MPC, and WetaFX.

Rassoul Edji

130,138 次观看 • 1 年前