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The Killer (1989) John Woo on shooting the Killer without a script. “‘The Killer,’ I even shot without a script. With no script. Just an outline, the whole movie was in my head. ….most of the action, I choreograph by myself, because I’m a pretty good dancer,” he said,...

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John Woo on how he feels while making an action movie: "When I’m making an action movie, I don’t see it as an action movie. It’s like a painting or a poem, sometimes even like a musical. I’m aiming for that kind of feel, because I’m a dreamer. I think that’s my style because I always have some kind of beautiful dream in my mind. I was a pretty good dancer when I was young. When it comes to the action in a movie, it’s all about the beauty of the body movement and the fighting skill." (John Woo's interview with Peter Debruge, Variety, 2025) Clip from: Hard Boiled (1992) Director: John Woo
1:15

John Woo on how he feels while making an action movie: "When I’m making an action movie, I don’t see it as an action movie. It’s like a painting or a poem, sometimes even like a musical. I’m aiming for that kind of feel, because I’m a dreamer. I think that’s my style because I always have some kind of beautiful dream in my mind. I was a pretty good dancer when I was young. When it comes to the action in a movie, it’s all about the beauty of the body movement and the fighting skill." (John Woo's interview with Peter Debruge, Variety, 2025) Clip from: Hard Boiled (1992) Director: John Woo

DepressedBergman

48,557 views • 5 months ago

VIDEO | Actor Saif Ali Khan says producer Shah Rukh Khan gave the team of "Kartavya" a free hand to make the film the way they wanted. In fact, Shah Rukh was the one who called Saif to inform about the script that they were developing at Red Chillies. "He said, ‘There’s a lovely script, and I would like you to hear it, and do it’. Then I listened to it and met the director. Once the film was complete, he said, ‘It has come out as a lovely movie’. He was very happy,” Saif said. “Sometimes the presence (of Shah Rukh) can be overwhelming on sets and I think he understands that. He gave us room to make the film on our own. I felt I was working for his production with his kind of sensibility,” the actor added. Directed by Pulkit of "Bhakshak" fame, the film stars Rasika Dugal opposite Saif and the actor said he is a huge fan of the "Mirzapur" star. #ShahRukhKhan
1:03

VIDEO | Actor Saif Ali Khan says producer Shah Rukh Khan gave the team of "Kartavya" a free hand to make the film the way they wanted. In fact, Shah Rukh was the one who called Saif to inform about the script that they were developing at Red Chillies. "He said, ‘There’s a lovely script, and I would like you to hear it, and do it’. Then I listened to it and met the director. Once the film was complete, he said, ‘It has come out as a lovely movie’. He was very happy,” Saif said. “Sometimes the presence (of Shah Rukh) can be overwhelming on sets and I think he understands that. He gave us room to make the film on our own. I felt I was working for his production with his kind of sensibility,” the actor added. Directed by Pulkit of "Bhakshak" fame, the film stars Rasika Dugal opposite Saif and the actor said he is a huge fan of the "Mirzapur" star. #ShahRukhKhan

Press Trust of India

252,018 views • 2 months ago

Cillian Murphy didn’t read the script for The Dark Knight Rises. He trusted Christopher Nolan, choosing to experience the film like a viewer, without spoilers. “I don’t actually want to read the script,” he said. “Just tell me what I’m doing. Tell me my motivation.”
0:21

Cillian Murphy didn’t read the script for The Dark Knight Rises. He trusted Christopher Nolan, choosing to experience the film like a viewer, without spoilers. “I don’t actually want to read the script,” he said. “Just tell me what I’m doing. Tell me my motivation.”

Movie Moments Analyst

401,587 views • 6 months ago

Paul Rudd says he was such a big fan of director John Carney that there was no way he was going to say no to starring in ‘POWER BALLAD’. “The idea of just getting to work with John was the main thing. Even if I didn’t like the script, I would have said yes!”
0:37

Paul Rudd says he was such a big fan of director John Carney that there was no way he was going to say no to starring in ‘POWER BALLAD’. “The idea of just getting to work with John was the main thing. Even if I didn’t like the script, I would have said yes!”

DiscussingFilm

246,817 views • 1 month ago

Trump: I was in New York, and I met a great police officer in New York. He said, “Sir, I want to thank you.” I said, “For what?” He said, “My wife didn’t think very much of me. We were having marital difficulties, actually. She thought I was nothing. I’m a police officer. I’m a tough guy.” I looked at him—the muscles were all over the place. He didn’t suffer from that, but she thought maybe that muscle wasn’t so good because he was always losing money in the stock market. And he said, “Sir, in the last year and a half, my 401(k) is up 74%, sir, and she thinks I’m Warren Buffett. She thinks I’m a super genius.” I said, “How are you getting along with her?” He said, “Well, I’m not so sure I like her anymore.”
1:32

Trump: I was in New York, and I met a great police officer in New York. He said, “Sir, I want to thank you.” I said, “For what?” He said, “My wife didn’t think very much of me. We were having marital difficulties, actually. She thought I was nothing. I’m a police officer. I’m a tough guy.” I looked at him—the muscles were all over the place. He didn’t suffer from that, but she thought maybe that muscle wasn’t so good because he was always losing money in the stock market. And he said, “Sir, in the last year and a half, my 401(k) is up 74%, sir, and she thinks I’m Warren Buffett. She thinks I’m a super genius.” I said, “How are you getting along with her?” He said, “Well, I’m not so sure I like her anymore.”

Acyn

7,685,451 views • 20 days ago

SRK talking about the first time Atlee came to narrate Jawan: "Atlee just came to see me in and he said you know I have a film, and I found it very interesting because the first line he told me for the film was that it's you sir with five girls and that's my film because my wife Priya and myself we really feel that you look the nicest when you have a bunch of ladies with you in a film. So I said okay a lot of action yeah it's lots of high speed shots he said yeah there's lots of dancing he said yeah lots of good dialogues he said yeah, so that's how jawan started"
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SRK talking about the first time Atlee came to narrate Jawan: "Atlee just came to see me in and he said you know I have a film, and I found it very interesting because the first line he told me for the film was that it's you sir with five girls and that's my film because my wife Priya and myself we really feel that you look the nicest when you have a bunch of ladies with you in a film. So I said okay a lot of action yeah it's lots of high speed shots he said yeah there's lots of dancing he said yeah lots of good dialogues he said yeah, so that's how jawan started"

Raj

98,081 views • 2 months ago

Wim Wenders explains how Peter Falk agreed to star in "Wings of Desire" (1987) without a script: "One evening I got Peter Falk on the telephone and told him this bewildering story of guardian angels, circuses, a trapeze artiste and an American actor who charms his former colleagues. There was a pause, and then he asked me if I could send him a script. I said: 'No, I can't. There's nothing in writing about this ex-angel. I can't even send you a single page: he's just an idea.' He liked that; if I'd sent him a script he might not have accepted. But since there was nothing to go on at all, he said: 'Ah, I've worked like that before with Cassavetes, and honestly I prefer working without a script.'" (Wim Wenders, 'Le Souffle de I'Ange', 1987)
2:19

Wim Wenders explains how Peter Falk agreed to star in "Wings of Desire" (1987) without a script: "One evening I got Peter Falk on the telephone and told him this bewildering story of guardian angels, circuses, a trapeze artiste and an American actor who charms his former colleagues. There was a pause, and then he asked me if I could send him a script. I said: 'No, I can't. There's nothing in writing about this ex-angel. I can't even send you a single page: he's just an idea.' He liked that; if I'd sent him a script he might not have accepted. But since there was nothing to go on at all, he said: 'Ah, I've worked like that before with Cassavetes, and honestly I prefer working without a script.'" (Wim Wenders, 'Le Souffle de I'Ange', 1987)

DepressedBergman

467,809 views • 2 years ago

Taylor Sheridan said on his recent press tour that he has the luxury of picking the actors he works with before writing out a script. Sheridan drafts the story, pitches it to the actor he wants, then goes forward with the actual script. Such is the case with Billy Bob Thornton on Landman. At 70, I think Thornton is hitting a new stride thanks to Sheridan.
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Taylor Sheridan said on his recent press tour that he has the luxury of picking the actors he works with before writing out a script. Sheridan drafts the story, pitches it to the actor he wants, then goes forward with the actual script. Such is the case with Billy Bob Thornton on Landman. At 70, I think Thornton is hitting a new stride thanks to Sheridan.

Cinema Tweets

472,776 views • 8 days ago

Mark Hamill says Star Wars sounded so ridiculous that he asked Harrison Ford if it was supposed to be a parody "I got the part without having read the whole script. They only gave you a scene" "I’m thinking, who talks like this? Is this a sendup of Flash Gordon or whatever?" "Harrison tested with me. I said, you were in American Graffiti. Is this like a parody? He goes, hey, whatever, let’s just do it"
0:28

Mark Hamill says Star Wars sounded so ridiculous that he asked Harrison Ford if it was supposed to be a parody "I got the part without having read the whole script. They only gave you a scene" "I’m thinking, who talks like this? Is this a sendup of Flash Gordon or whatever?" "Harrison tested with me. I said, you were in American Graffiti. Is this like a parody? He goes, hey, whatever, let’s just do it"

Yonan

151,559 views • 13 days ago

A$AP Rocky explains why he joined the 2024 Drake beef and admits he regrets bringing his BM into it: "The only reason I said something was because I felt like he took a shot at [Rihanna]. He was just on tour and said something about my girl." "I said what I said, and I shouldn't have, 'cause it was petty."
3:13

A$AP Rocky explains why he joined the 2024 Drake beef and admits he regrets bringing his BM into it: "The only reason I said something was because I felt like he took a shot at [Rihanna]. He was just on tour and said something about my girl." "I said what I said, and I shouldn't have, 'cause it was petty."

Kurrco

378,456 views • 5 months ago

Ryan Reynolds hated Green Lantern so much that he said he was “unhireable” because of it The script wasn’t even fully finished or shared when actors signed on. “Nobody auditioning for the role of Green Lantern was given the opportunity to read the script because the script didn’t exist.” “I learned all the most amazing lessons I could ever have in the creative space from that movie.” “On that film, I saw a lot of money going into special effects, and I suggested, “Why don’t we just write a simple scene where people talk naturally? It wouldn’t cost anything, but it could be good.” “Character over spectacle is the lesson that I took with me.”
1:29

Ryan Reynolds hated Green Lantern so much that he said he was “unhireable” because of it The script wasn’t even fully finished or shared when actors signed on. “Nobody auditioning for the role of Green Lantern was given the opportunity to read the script because the script didn’t exist.” “I learned all the most amazing lessons I could ever have in the creative space from that movie.” “On that film, I saw a lot of money going into special effects, and I suggested, “Why don’t we just write a simple scene where people talk naturally? It wouldn’t cost anything, but it could be good.” “Character over spectacle is the lesson that I took with me.”

Emir Han

74,942 views • 28 days ago

Cam Newton continued his story and revealed he actually finished in the girls mouth without even doing the real thing and he didn’t even realize it was n-t when he finished, and when they started the real thing he wasted a c-ndom because he didn’t know how to roll it on💀😭🤦🏽‍♂️ “She said “no you didn’t” i said what, she had some like foam coming out of her mouth, I’m asking her real time like what’s that, she was like “it’s n-t stupid” “I run back downstairs, my partner was like bro what happened you smashed, i was like yeah i smashed he said what happened, i said she taught me off, he was like ngga you didn’t smash she just gave you head”😭
4:15

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Cam Newton continued his story and revealed he actually finished in the girls mouth without even doing the real thing and he didn’t even realize it was n-t when he finished, and when they started the real thing he wasted a c-ndom because he didn’t know how to roll it on💀😭🤦🏽‍♂️ “She said “no you didn’t” i said what, she had some like foam coming out of her mouth, I’m asking her real time like what’s that, she was like “it’s n-t stupid” “I run back downstairs, my partner was like bro what happened you smashed, i was like yeah i smashed he said what happened, i said she taught me off, he was like ngga you didn’t smash she just gave you head”😭

flame⛧

830,866 views • 1 month ago

Arnold Schwarzenegger reveals he tried to change the iconic “I’ll be back” line because he thought it sounded weak “I very casually said Jim, I said I would just rather say I will be back, and I thought this was gonna go right by and he would say whatever you want.” “And he says I like it, I’ll be back, and I said no, a machine will not abbreviate, plus it sounds really weird when I said I’ll, it sounds weak, I said why don’t we say I will be back” “He says no no no just say I’ll be back, I said it’s better I will be back, and he says what does the goddamn script say, cause you’re being a pain, and I said the script says I’ll be back, and he says then say the fucking line, I don’t correct your acting so don’t correct my fucking writing, what’s the matter with you Arnold” “And he is so right, because there’s a reason why he wrote it this way, he maybe knew it’s going to be one of those powerful lines, I didn’t know, I didn’t see anything in it, who would know that” “I was amazed when we had the screening of the movie and then kids came up to me and said say the line I’ll be back, and I said I’ll be back, and they said no no no, the way you said it in the movie, so I said I’ll be back, yeah that’s the way, so then we knew that we had a big line here”
1:07

Arnold Schwarzenegger reveals he tried to change the iconic “I’ll be back” line because he thought it sounded weak “I very casually said Jim, I said I would just rather say I will be back, and I thought this was gonna go right by and he would say whatever you want.” “And he says I like it, I’ll be back, and I said no, a machine will not abbreviate, plus it sounds really weird when I said I’ll, it sounds weak, I said why don’t we say I will be back” “He says no no no just say I’ll be back, I said it’s better I will be back, and he says what does the goddamn script say, cause you’re being a pain, and I said the script says I’ll be back, and he says then say the fucking line, I don’t correct your acting so don’t correct my fucking writing, what’s the matter with you Arnold” “And he is so right, because there’s a reason why he wrote it this way, he maybe knew it’s going to be one of those powerful lines, I didn’t know, I didn’t see anything in it, who would know that” “I was amazed when we had the screening of the movie and then kids came up to me and said say the line I’ll be back, and I said I’ll be back, and they said no no no, the way you said it in the movie, so I said I’ll be back, yeah that’s the way, so then we knew that we had a big line here”

Third

786,584 views • 13 days ago

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)
1:25

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

DepressedBergman

36,391 views • 5 months ago

Abel Ferrara and screenwriter Nicholas St. John wrote King of New York specifically with Christopher Walken in mind - despite never having met him. Getting Walken was an absolute must. Abel explains what it was like meeting with him for the first time to discuss doing the role: "Walken showed up as advertised, tall, elegant, mysterious, and like every time I would ever meet with him he just appeared, alone, carrying a black bag like a doctor. We all sat quiet for a moment. I had no idea where to begin. He started talking. He said you can’t play a king; it’s the attitude of the other actors toward you that makes you one. Then he stood up and said, “I read the script and I know exactly what you guys want, and I can give it to you.” We couldn’t even manage a response. He said he had to go and left, never having taken off his coat. I went right to the phone to call Jay (Julien, the producer) to try to figure out what just happened. He said, “Well, I guess you have your actor.” Quote from GQ
1:14

Abel Ferrara and screenwriter Nicholas St. John wrote King of New York specifically with Christopher Walken in mind - despite never having met him. Getting Walken was an absolute must. Abel explains what it was like meeting with him for the first time to discuss doing the role: "Walken showed up as advertised, tall, elegant, mysterious, and like every time I would ever meet with him he just appeared, alone, carrying a black bag like a doctor. We all sat quiet for a moment. I had no idea where to begin. He started talking. He said you can’t play a king; it’s the attitude of the other actors toward you that makes you one. Then he stood up and said, “I read the script and I know exactly what you guys want, and I can give it to you.” We couldn’t even manage a response. He said he had to go and left, never having taken off his coat. I went right to the phone to call Jay (Julien, the producer) to try to figure out what just happened. He said, “Well, I guess you have your actor.” Quote from GQ

Gangster Cinema Central

12,451 views • 1 month ago

Austin Reaves on his interaction with the ref: "I felt like I was respectful to all of them all night. A million times in the past, I've said way worse stuff. And when we were doing the whole tip ball and they were switching spots, I wanted to get on the other side because they had a guy on the other side, was just trying to keep an advantage. And he turned around and yelled in my face. I just thought it was disrespectful. The whole time that was going on over there, I don't think he said much to them. I know Ben (Taylor) stepped in and said something. But at the end of the day, we're grown men and I just didn't feel like he needed to yell in my face like that. I told him that. I wasn't disrespectful. I told him if I did that to him first, I would've gotten a tech. I feel like the only reason I didn't get a tech was because he knew he was in the wrong. I felt disrespected"
1:06

Austin Reaves on his interaction with the ref: "I felt like I was respectful to all of them all night. A million times in the past, I've said way worse stuff. And when we were doing the whole tip ball and they were switching spots, I wanted to get on the other side because they had a guy on the other side, was just trying to keep an advantage. And he turned around and yelled in my face. I just thought it was disrespectful. The whole time that was going on over there, I don't think he said much to them. I know Ben (Taylor) stepped in and said something. But at the end of the day, we're grown men and I just didn't feel like he needed to yell in my face like that. I told him that. I wasn't disrespectful. I told him if I did that to him first, I would've gotten a tech. I feel like the only reason I didn't get a tech was because he knew he was in the wrong. I felt disrespected"

Oh No He Didn't

1,084,632 views • 2 months ago

#TicketToHeavenEP5 phi aof: and the magic moment that came off-script was when he suddenly said.. “i’m sorry....” what made you go there? that wasnt in the script at all ♊️: i felt like barth had insulted or direspected something tanrak deeply believes in and he said some pretty harsh thing. he was scared it would hurt tanrak. scared he would break up with him (😭👏🏻💔)
0:24

#TicketToHeavenEP5 phi aof: and the magic moment that came off-script was when he suddenly said.. “i’m sorry....” what made you go there? that wasnt in the script at all ♊️: i felt like barth had insulted or direspected something tanrak deeply believes in and he said some pretty harsh thing. he was scared it would hurt tanrak. scared he would break up with him (😭👏🏻💔)

𝗚𝗲𝗺 𝗙𝗼𝗿 𝗠𝘆 𝗙𝗼𝘂𝗿𝘁𝗵🌻

53,488 views • 16 days ago

Howard Hawks on his meeting with Al Capone & what Capone and another famous Chicago gangster thought about 'Scarface' (1932) when they saw the film: "Interviewer: Did you have any contact with Al Capone while making the picture? Hawks: While we were making 'Scarface' (1932), five or six of them came out and said, “The boss wants us to see the picture.” And I said, “You go and tell him when it comes out, he can pay a dollar and buy a ticket. You don’t scare me. Why the hell don’t you come out and just ask to see it?” They reported to Capone that it was just great, and they invited me to Chicago to see him. They met me at the train, and they were late. One of the fellows said, “There was a killing last night and we had to go to the funeral.” I said, “Do I have to ride with you if there was a killing last night?” They said I could ride in a different car. But when we went into a café, they would sit with their backs to the wall, and I had my back to the door. We had some damn good-looking girls with us, a bit brassy but very pretty. When I saw Capone, we had tea, and he was dressed in a morning coat, striped trousers, a carnation, being a very nice man, saying how much he liked the picture. I was with him two, three hours. Then he asked me to come again, and I stopped by there. But there was a shooting in Chicago, so they said that he couldn’t come because he was hiding out in Atlantic City or something. Then he came to see me when I was working in Hollywood, and the cops came and arrested him right on the set. Interviewer: So he did see 'Scarface'? Hawks: Five or six times. He had his own print of it. He thought it was great. He’d say, “Jesus Christ, you guys got a lot of stuff in that picture! How’d you know about that?” I said, “Look—you know how somebody can’t testify if he’s a lawyer? Well, I’m a lawyer.” And he laughed. He didn’t give a damn. Another famous gangster brought two very lovely daughters out to watch the movie and introduced himself to me. He said, “Where’d you get that stuff in that killing?” I asked him, “Why? Are you mad?” He said, “No, I’m just curious.” I told him, and he laughed, and he said, “That’s the way we did the shooting. Why hasn’t the picture played in Chicago?” I said, “They won’t let me.” He said, “Do you want it to play?” I said yeah. And he said, “Can I use your phone a minute?” When he finished he said, “You can play it any time you want.” ('Hawks on Hawks', Joseph McBride, 1982) P.S: On this day, 94 years ago, 'Scarface' (1932) premiered in New Orleans, Luisiana.
1:22

Howard Hawks on his meeting with Al Capone & what Capone and another famous Chicago gangster thought about 'Scarface' (1932) when they saw the film: "Interviewer: Did you have any contact with Al Capone while making the picture? Hawks: While we were making 'Scarface' (1932), five or six of them came out and said, “The boss wants us to see the picture.” And I said, “You go and tell him when it comes out, he can pay a dollar and buy a ticket. You don’t scare me. Why the hell don’t you come out and just ask to see it?” They reported to Capone that it was just great, and they invited me to Chicago to see him. They met me at the train, and they were late. One of the fellows said, “There was a killing last night and we had to go to the funeral.” I said, “Do I have to ride with you if there was a killing last night?” They said I could ride in a different car. But when we went into a café, they would sit with their backs to the wall, and I had my back to the door. We had some damn good-looking girls with us, a bit brassy but very pretty. When I saw Capone, we had tea, and he was dressed in a morning coat, striped trousers, a carnation, being a very nice man, saying how much he liked the picture. I was with him two, three hours. Then he asked me to come again, and I stopped by there. But there was a shooting in Chicago, so they said that he couldn’t come because he was hiding out in Atlantic City or something. Then he came to see me when I was working in Hollywood, and the cops came and arrested him right on the set. Interviewer: So he did see 'Scarface'? Hawks: Five or six times. He had his own print of it. He thought it was great. He’d say, “Jesus Christ, you guys got a lot of stuff in that picture! How’d you know about that?” I said, “Look—you know how somebody can’t testify if he’s a lawyer? Well, I’m a lawyer.” And he laughed. He didn’t give a damn. Another famous gangster brought two very lovely daughters out to watch the movie and introduced himself to me. He said, “Where’d you get that stuff in that killing?” I asked him, “Why? Are you mad?” He said, “No, I’m just curious.” I told him, and he laughed, and he said, “That’s the way we did the shooting. Why hasn’t the picture played in Chicago?” I said, “They won’t let me.” He said, “Do you want it to play?” I said yeah. And he said, “Can I use your phone a minute?” When he finished he said, “You can play it any time you want.” ('Hawks on Hawks', Joseph McBride, 1982) P.S: On this day, 94 years ago, 'Scarface' (1932) premiered in New Orleans, Luisiana.

DepressedBergman

67,217 views • 3 months ago

Curtis Jones said he was out for a walk when he heard commotion and then saw what appeared to be a mountain lion on the streets of Rochester. "It said 'rawr' and I just kept walking. I seen it, seeing me, see it, so in my head, I’m like 'Nah, I got to go, man. I’m out. I’m not about to play with nobody.'" WATCH THE FULL INTERVIEW:
0:45

Curtis Jones said he was out for a walk when he heard commotion and then saw what appeared to be a mountain lion on the streets of Rochester. "It said 'rawr' and I just kept walking. I seen it, seeing me, see it, so in my head, I’m like 'Nah, I got to go, man. I’m out. I’m not about to play with nobody.'" WATCH THE FULL INTERVIEW:

13WHAM

219,320 views • 1 year ago

Franco Nero on how he was cast for 'Django' (1966) & his experience while working with Sergio Corbucci: "Interviewer: You once said that the time in which the original DJANGO was made was almost like a fairy tale. Nero: Yes, because it was a great time for Italian cinema. We invented Italian westerns. Our photography was the best in the world. We had great directors. I managed to work with the top of the Italian directors at that time. The sixties were the best period for Italian cinema, I think. Still, today, all over the world they know DJANGO. When Quentin went to Cancun to present the movie for Sony he said there were hundreds of journalists asking about me: Where is Franco Nero? [Laughs] Interviewer: But you were hesitant to do DJANGO in 1966. Nero: Yes. I was in a car with a great Italian director named Elio Petri, and I said to him: Elio, they are asking me to do a western. I come from the Piccolo Teatro di Milano! And he said: Do people know you? I said: No. Nobody knows me. And he said: So you have nothing to lose. Just do the movie. You know why they chose me? One producer wanted a Spanish actor called Peter Martell. The other wanted Mark Damon, who went on to become a big producer. Corbucci wanted me. So the distributor asked for three close up photo’s of the three actors and when he got them he pointed to my face. And that was it. Interviewer: Sergio Leone had already made an unofficial remake of YOJIMBO with A FISTFUL OF DOLLARS. In what way was Corbucci influenced by Kurosawa’s film? Nero: He wanted this atmosphere with the mud and the rain, you understand? Corbucci was a very funny man. He had a lot of humor. In the morning he would say something like: How many did we ki!! yesterday? Thirty? And he would say to the cameraman, very seriously: I need you to put a special lens in the camera for those blue lakes - by which he meant my eyes. He made many jokes on the set. One time I had to drag that coffin up a hill for a scene. It was very heavy. I became really tired. Corbucci said: For the next take, you drag it over the hill, until you reach the river and you are out of the shot. I will call you back when I cut the scene. So I did it. I dragged the coffin over the hill and when I reached the river I was so tired. I waited and waited for him to call. But nobody called. Finally I just went back and they were all gone! He was very funny." (Franco Nero's interview originally published in Dutch fanzine Schokkend Nieuws, 2012 - From 'AGAIN, NO SCRIPT!', Flashback Files)
3:07

Franco Nero on how he was cast for 'Django' (1966) & his experience while working with Sergio Corbucci: "Interviewer: You once said that the time in which the original DJANGO was made was almost like a fairy tale. Nero: Yes, because it was a great time for Italian cinema. We invented Italian westerns. Our photography was the best in the world. We had great directors. I managed to work with the top of the Italian directors at that time. The sixties were the best period for Italian cinema, I think. Still, today, all over the world they know DJANGO. When Quentin went to Cancun to present the movie for Sony he said there were hundreds of journalists asking about me: Where is Franco Nero? [Laughs] Interviewer: But you were hesitant to do DJANGO in 1966. Nero: Yes. I was in a car with a great Italian director named Elio Petri, and I said to him: Elio, they are asking me to do a western. I come from the Piccolo Teatro di Milano! And he said: Do people know you? I said: No. Nobody knows me. And he said: So you have nothing to lose. Just do the movie. You know why they chose me? One producer wanted a Spanish actor called Peter Martell. The other wanted Mark Damon, who went on to become a big producer. Corbucci wanted me. So the distributor asked for three close up photo’s of the three actors and when he got them he pointed to my face. And that was it. Interviewer: Sergio Leone had already made an unofficial remake of YOJIMBO with A FISTFUL OF DOLLARS. In what way was Corbucci influenced by Kurosawa’s film? Nero: He wanted this atmosphere with the mud and the rain, you understand? Corbucci was a very funny man. He had a lot of humor. In the morning he would say something like: How many did we ki!! yesterday? Thirty? And he would say to the cameraman, very seriously: I need you to put a special lens in the camera for those blue lakes - by which he meant my eyes. He made many jokes on the set. One time I had to drag that coffin up a hill for a scene. It was very heavy. I became really tired. Corbucci said: For the next take, you drag it over the hill, until you reach the river and you are out of the shot. I will call you back when I cut the scene. So I did it. I dragged the coffin over the hill and when I reached the river I was so tired. I waited and waited for him to call. But nobody called. Finally I just went back and they were all gone! He was very funny." (Franco Nero's interview originally published in Dutch fanzine Schokkend Nieuws, 2012 - From 'AGAIN, NO SCRIPT!', Flashback Files)

DepressedBergman

15,713 views • 8 months ago