Video yükleniyor...

Video Yüklenemedi

Ana Sayfaya Dön

This Remote Viewer Just Warned of a Global Decision That Could Trigger a Major Crisis Remote Viewer Daz Smith was tasked to look at the 2026 global climate summit. What came back is deeply unsettling: "...I felt that it was definitely a live male energy... delusional and seething... in...

TheOfficial_FFG's profile picture

Future Forecasting Group

33,849 subscribers

10,599 görüntüleme • 3 ay önce •via X (Twitter)

LIVE

Anya Rossi• Live Now

Private livecam show

0 Yorum

Yorum bulunmuyor

Orijinal gönderinin yorumları burada görünecek

Benzer Videolar

This Remote Viewer Just Warned of a Devastating Global Economic Freefall. Remote Viewer Daz Smith was tasked to look at the global economy. What came back is alarming: "...I had the word abyss. A massive drop into a deep hole. Started very negative right off the bat. Lots of chaos. Lots of kinetic motion. A future outcome — and it feels negative." "...Global impact. A dying feeling for consumerism. Lots of motion downwards." "...Millions of people are going to be affected. This is going to be like a global disorder with a dying feeling to it. Everything's going to drop off a cliff. Markets. Flow. Price. All of it." "...Lots of protests. Lots of backlash. Very angry, volatile customers. Bankruptcies. Companies being dissolved. A potential collapse of something large — and it's going to be global. The USA felt very central to this." "...It's going to be fast. Unexpected. Some people are going to see it coming beforehand — but not everyone. This felt like a big thing with the overall economy."
2:29

This Remote Viewer Just Warned of a Devastating Global Economic Freefall. Remote Viewer Daz Smith was tasked to look at the global economy. What came back is alarming: "...I had the word abyss. A massive drop into a deep hole. Started very negative right off the bat. Lots of chaos. Lots of kinetic motion. A future outcome — and it feels negative." "...Global impact. A dying feeling for consumerism. Lots of motion downwards." "...Millions of people are going to be affected. This is going to be like a global disorder with a dying feeling to it. Everything's going to drop off a cliff. Markets. Flow. Price. All of it." "...Lots of protests. Lots of backlash. Very angry, volatile customers. Bankruptcies. Companies being dissolved. A potential collapse of something large — and it's going to be global. The USA felt very central to this." "...It's going to be fast. Unexpected. Some people are going to see it coming beforehand — but not everyone. This felt like a big thing with the overall economy."

Future Forecasting Group

26,198 görüntüleme • 3 ay önce

Remote Viewer Warns of a Terrifying Coordinated Attack on a Major US City?! Remote Viewer, Daz Smith, looked at April world events and what he got back is potentially concerning... "...So it was large structures, weirdly higher than any of containership. I shouldn't have looked at that a bit more detail, but I didn't. Maybe I just thought it was appropriate, moved it to one side, but definitely large structures." "And it felt like the structures were on fire. So I, you know, asked the question why here? And I felt like there was a ground based attack, that was going to happen in, in, in this city location. And it felt like it was like a bomb attack. And I had, like, this very strong visual of a, white truck or van that might be involved, which I tried to draw here. So the, you know, they had these kind of, modern looking van in front of a, multi-level structure, almost like this, like the entranceway or something of the structure." "So it felt like it was a kinetic event, of lots of explosive energy. It was very loud. There was wide dispersal. Definitely had a terror attack feel. It feels like it was a driven vehicle parts and then detonated, as an act of retaliation. The vehicle fills, larger than a car. Felt very van like, possibly white, possibly have branding on it as well." "...It was strategically positioned, in front of an important structure. The whole thing felt very US based. Just not that weird kind of U.S filled me, getting targets. And I also have a dang tang feel to this as well, so it felt like it was in a large U.S urban city, which gave me the idea of New York. Because maybe because I've been to New York and, you know, just had that, but definitely had an East Coast feel to this..." "...it was definitely driven, implanted..." "...it felt like it was in planning. So they were planning or rehearsing for a future event, which is, you know, what we're looking for, a month ahead. And I had a weird I had a well here, weirdly, of Holy Cross... it starts with fear and panic, and it's like they're just implanting a message.... Trying to timeline this site here. You know, again, this is all very experimental..."
2:09

Remote Viewer Warns of a Terrifying Coordinated Attack on a Major US City?! Remote Viewer, Daz Smith, looked at April world events and what he got back is potentially concerning... "...So it was large structures, weirdly higher than any of containership. I shouldn't have looked at that a bit more detail, but I didn't. Maybe I just thought it was appropriate, moved it to one side, but definitely large structures." "And it felt like the structures were on fire. So I, you know, asked the question why here? And I felt like there was a ground based attack, that was going to happen in, in, in this city location. And it felt like it was like a bomb attack. And I had, like, this very strong visual of a, white truck or van that might be involved, which I tried to draw here. So the, you know, they had these kind of, modern looking van in front of a, multi-level structure, almost like this, like the entranceway or something of the structure." "So it felt like it was a kinetic event, of lots of explosive energy. It was very loud. There was wide dispersal. Definitely had a terror attack feel. It feels like it was a driven vehicle parts and then detonated, as an act of retaliation. The vehicle fills, larger than a car. Felt very van like, possibly white, possibly have branding on it as well." "...It was strategically positioned, in front of an important structure. The whole thing felt very US based. Just not that weird kind of U.S filled me, getting targets. And I also have a dang tang feel to this as well, so it felt like it was in a large U.S urban city, which gave me the idea of New York. Because maybe because I've been to New York and, you know, just had that, but definitely had an East Coast feel to this..." "...it was definitely driven, implanted..." "...it felt like it was in planning. So they were planning or rehearsing for a future event, which is, you know, what we're looking for, a month ahead. And I had a weird I had a well here, weirdly, of Holy Cross... it starts with fear and panic, and it's like they're just implanting a message.... Trying to timeline this site here. You know, again, this is all very experimental..."

Future Forecasting Group

14,822 görüntüleme • 3 ay önce

KAT: "I don't know what it was but I just felt a calm and a peace that I don't know, had to be coming from the woman above "I felt really confident…I felt like a kid. It was just fun out here. This is something as a kid you always dream about…to be in the NBA Finals "All day…weird feeling. I felt like a kid getting ready to play in my Saturday and Sunday AAU games "In a way I felt like I was seeing her in the stands "It was really fun. It was really comforting "Game 1 of the NBA Finals you're told how the pressure's gonna be… "I don't know, it felt like a certain presence was here that was very comforting and very loving and I felt like I could have fun out here––in Game 1 of the NBA Finals…" Shaq: Yes. Rest in peace to your beautiful mother"
1:14

KAT: "I don't know what it was but I just felt a calm and a peace that I don't know, had to be coming from the woman above "I felt really confident…I felt like a kid. It was just fun out here. This is something as a kid you always dream about…to be in the NBA Finals "All day…weird feeling. I felt like a kid getting ready to play in my Saturday and Sunday AAU games "In a way I felt like I was seeing her in the stands "It was really fun. It was really comforting "Game 1 of the NBA Finals you're told how the pressure's gonna be… "I don't know, it felt like a certain presence was here that was very comforting and very loving and I felt like I could have fun out here––in Game 1 of the NBA Finals…" Shaq: Yes. Rest in peace to your beautiful mother"

New York Basketball

879,898 görüntüleme • 2 ay önce

"No F***ing Way" — This Remote Viewer Just Described the Moment the World Reacts to Something Nobody Expected Remote Viewer Daz was tasked blind — no target given. What came back is unexpected: "Thousands of people watching something on a screen. It felt like a huge announcement — crowds watching, all eyes up." "They're shocked, surprised, and upset by the outcome. Almost a mass hysteria — a group psychosis. This kind of bad, ominous feeling." "Some people get angry, riot. Primarily USA-based. A decision-led process. Very emotional energy release — emotions running high." "It feels like a male leader's decision causes this ripple effect — this emotional shock. And I had this drawing at the end of all these people looking up saying 'no f***ing way' — surprised at this shock event. "Full session with our private membership — link below.
1:58

"No F***ing Way" — This Remote Viewer Just Described the Moment the World Reacts to Something Nobody Expected Remote Viewer Daz was tasked blind — no target given. What came back is unexpected: "Thousands of people watching something on a screen. It felt like a huge announcement — crowds watching, all eyes up." "They're shocked, surprised, and upset by the outcome. Almost a mass hysteria — a group psychosis. This kind of bad, ominous feeling." "Some people get angry, riot. Primarily USA-based. A decision-led process. Very emotional energy release — emotions running high." "It feels like a male leader's decision causes this ripple effect — this emotional shock. And I had this drawing at the end of all these people looking up saying 'no f***ing way' — surprised at this shock event. "Full session with our private membership — link below.

Future Forecasting Group

151,308 görüntüleme • 25 gün önce

"February 7th was a very dark day for me, but it was also one of the most rewarding experiences of my life—it just took a little time to see. I struggled with some mental health issues and contemplated my life because of the mistakes I had made. I’m ashamed to say it, honestly, but it’s a part of what happened. I feel like God came to me in a dream and gave me an out-of-body experience where I could see who I was... I couldn’t even tell you how I said most of the things I said in the past or felt the way I felt back then. It’s almost like that person is gone." Joe Pyfer opens up about his recent struggles.
2:12

"February 7th was a very dark day for me, but it was also one of the most rewarding experiences of my life—it just took a little time to see. I struggled with some mental health issues and contemplated my life because of the mistakes I had made. I’m ashamed to say it, honestly, but it’s a part of what happened. I feel like God came to me in a dream and gave me an out-of-body experience where I could see who I was... I couldn’t even tell you how I said most of the things I said in the past or felt the way I felt back then. It’s almost like that person is gone." Joe Pyfer opens up about his recent struggles.

Ariel Helwani

22,973 görüntüleme • 4 ay önce

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 görüntüleme • 1 ay önce

AOC on a movie that made her cry PabloReports: When’s the last time a piece of art—film, music, whatever—made you cry? AOC: Okay, let me go with the worst time one made me cry. I was on an airplane watching… what is that movie? The one about aliens with a linguist? Arrival. With Amy Adams. I was on a plane. I was literally going to a rally or something like that. This was a while ago. And I was watching Arrival on the plane. I had no idea that it was that emotional. And I don’t even cry like that at movies. On the plane, sobbing, dude. I had to put sunglasses on. Then the movie ends as the plane is landing. They go, “Bing bong,” whatever—seatbelt sign, you can unplug it. So everyone’s standing up, and I’m like… I put the sunglasses on. It was so embarrassing. But really good. Really, really good. Arrival.
1:20

AOC on a movie that made her cry PabloReports: When’s the last time a piece of art—film, music, whatever—made you cry? AOC: Okay, let me go with the worst time one made me cry. I was on an airplane watching… what is that movie? The one about aliens with a linguist? Arrival. With Amy Adams. I was on a plane. I was literally going to a rally or something like that. This was a while ago. And I was watching Arrival on the plane. I had no idea that it was that emotional. And I don’t even cry like that at movies. On the plane, sobbing, dude. I had to put sunglasses on. Then the movie ends as the plane is landing. They go, “Bing bong,” whatever—seatbelt sign, you can unplug it. So everyone’s standing up, and I’m like… I put the sunglasses on. It was so embarrassing. But really good. Really, really good. Arrival.

Acyn

3,415,036 görüntüleme • 17 gün önce

"CERN Goes Offline?!" — Remote Viewers Describe What Begins in July 2026 Remote Viewer was tasked to look at July 2026. What came back is strange: "The first thing I saw was a council of wizards. They create and set the reset in motion. A gathering, magic words, heavy spells — intensity about to set things in motion. Very heavy energy, but delicate links that need care." "I tried to look deeper, and this came to me: the Large Hadron Collider — CERN goes offline. This is somehow related to the timelines of the reset, the switchover. It affects the timelines for a new civilization." "CERN shuts down, like a disturbance in the force — and comes back with high luminosity." One of the strangest sessions yet. We're watching to see if it's corroborated.
1:49

"CERN Goes Offline?!" — Remote Viewers Describe What Begins in July 2026 Remote Viewer was tasked to look at July 2026. What came back is strange: "The first thing I saw was a council of wizards. They create and set the reset in motion. A gathering, magic words, heavy spells — intensity about to set things in motion. Very heavy energy, but delicate links that need care." "I tried to look deeper, and this came to me: the Large Hadron Collider — CERN goes offline. This is somehow related to the timelines of the reset, the switchover. It affects the timelines for a new civilization." "CERN shuts down, like a disturbance in the force — and comes back with high luminosity." One of the strangest sessions yet. We're watching to see if it's corroborated.

Future Forecasting Group

153,456 görüntüleme • 19 gün önce

“The Sky Goes Dark” — Remote Viewer Just Warned of a Global Nuclear Event Remote Viewer Dick Allgire was tasked to look at a coming global catastrophe. What came back is alarming: "...a big energy event, like a big pressure blast wave. Overpressure so strong that birds 30 miles away are startled. Rumbling, boom, crash, and burn." "...the term 22,000 rads came to mind. A huge crater. Burnt skeletons of trucks. A dead zone. Everything gone, vaporized. Concentric rings of devastation." "...moving into a city. It’s daytime, but the sky is really gray. Full of particulate. You can't see the sun. Something is really blacking out the sky." "...a war and an exchange of weaponry, but also like an asteroid or supervolcano. Competing disasters all at the same time. A cosmic disaster in a time of war."
4:55

“The Sky Goes Dark” — Remote Viewer Just Warned of a Global Nuclear Event Remote Viewer Dick Allgire was tasked to look at a coming global catastrophe. What came back is alarming: "...a big energy event, like a big pressure blast wave. Overpressure so strong that birds 30 miles away are startled. Rumbling, boom, crash, and burn." "...the term 22,000 rads came to mind. A huge crater. Burnt skeletons of trucks. A dead zone. Everything gone, vaporized. Concentric rings of devastation." "...moving into a city. It’s daytime, but the sky is really gray. Full of particulate. You can't see the sun. Something is really blacking out the sky." "...a war and an exchange of weaponry, but also like an asteroid or supervolcano. Competing disasters all at the same time. A cosmic disaster in a time of war."

Future Forecasting Group

46,254 görüntüleme • 2 ay önce

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)
1:46

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 görüntüleme • 7 ay önce

.Chamath Palihapitiya says President Trump is completely different from how he is portrayed by the media. "He is charismatic. He's intellectually sharp, and he's funny. And when you put that together, he can engage an audience for a long time and be totally extemporaneous. The other thing I would say is that he is very polite. And he's kind in a way that was disarming and was not what I expected." "And so I felt that I had misjudged him many years in the past. And so I was very glad that I had an opportunity to sit beside him and to actually interact with him one-on-one. It was really engaging." "It was not just a pro-America agenda, but it was very clear that he was pro-innovation. So he was really supportive of AI in the details that he talked about, he was very supportive of crypto in those details. And he's very much low regulation, low taxation. And so when you put that together, it does stand very much in contrast with what the alternative is." "So it's us talking, and he says, you guys are a really beautiful couple. And I said, well, thank you. And then he turns to me, and he goes, well, you must be really rich. And I started laughing out loud. Natalie thought he was hilarious."
3:38

.Chamath Palihapitiya says President Trump is completely different from how he is portrayed by the media. "He is charismatic. He's intellectually sharp, and he's funny. And when you put that together, he can engage an audience for a long time and be totally extemporaneous. The other thing I would say is that he is very polite. And he's kind in a way that was disarming and was not what I expected." "And so I felt that I had misjudged him many years in the past. And so I was very glad that I had an opportunity to sit beside him and to actually interact with him one-on-one. It was really engaging." "It was not just a pro-America agenda, but it was very clear that he was pro-innovation. So he was really supportive of AI in the details that he talked about, he was very supportive of crypto in those details. And he's very much low regulation, low taxation. And so when you put that together, it does stand very much in contrast with what the alternative is." "So it's us talking, and he says, you guys are a really beautiful couple. And I said, well, thank you. And then he turns to me, and he goes, well, you must be really rich. And I started laughing out loud. Natalie thought he was hilarious."

KanekoaTheGreat

1,565,457 görüntüleme • 2 yıl önce

Jacob talks about making deliberate choices with his shoots: ‘Another trick that I learned years ago is that I don't shoot very much, so nobody can cut my show the way I don't want them to cut it. There's no excess. "Is there a close up?" and I'm like, "No." And so, I do a lot of that, and it's very deliberate. I mean, the thing about the show when you talk about the money and the resources, the reason that it is stretched to a point, is that we shot, I think, 57 locations in 34 days? So to keep the scope of the show the way we wanted, we had to move fast, and we had to get things done. And so that means there's going to be some one-ers, there's going to be some things, and instead of you seeing that as a limitation, you have to view that as like, “This is a fun opportunity to do something interesting.” We shot that cottage in two days. We had two days to do it, and so it was like, “Okay, here we are doing it.” And we finished early. 🗣️ CSA Presents: Focal Point, May 31, 2026. ▶️ ✍🏼 transcription by Heated Rivalry News
0:55

Jacob talks about making deliberate choices with his shoots: ‘Another trick that I learned years ago is that I don't shoot very much, so nobody can cut my show the way I don't want them to cut it. There's no excess. "Is there a close up?" and I'm like, "No." And so, I do a lot of that, and it's very deliberate. I mean, the thing about the show when you talk about the money and the resources, the reason that it is stretched to a point, is that we shot, I think, 57 locations in 34 days? So to keep the scope of the show the way we wanted, we had to move fast, and we had to get things done. And so that means there's going to be some one-ers, there's going to be some things, and instead of you seeing that as a limitation, you have to view that as like, “This is a fun opportunity to do something interesting.” We shot that cottage in two days. We had two days to do it, and so it was like, “Okay, here we are doing it.” And we finished early. 🗣️ CSA Presents: Focal Point, May 31, 2026. ▶️ ✍🏼 transcription by Heated Rivalry News

Heated Rivalry News

33,607 görüntüleme • 2 ay önce

Jennifer Lawrence admits she almost turned down Hunger Games because she just wanted to be a soccer mom "I had reached this point in my career that was really lovely. I was doing indies, which was what I wanted to do, and I had just finished doing a sitcom where I had a steady paycheck" "I could act but I wasn't very very famous, those people have a normal life" "I've just always wanted to be a mom, ever since I was little, and so that was always what I was going towards" "And so when I got the Hunger Games, it just looked so different than the original future that I had pictured for myself, which was a soccer mom"
0:56

Jennifer Lawrence admits she almost turned down Hunger Games because she just wanted to be a soccer mom "I had reached this point in my career that was really lovely. I was doing indies, which was what I wanted to do, and I had just finished doing a sitcom where I had a steady paycheck" "I could act but I wasn't very very famous, those people have a normal life" "I've just always wanted to be a mom, ever since I was little, and so that was always what I was going towards" "And so when I got the Hunger Games, it just looked so different than the original future that I had pictured for myself, which was a soccer mom"

sara

1,794,337 görüntüleme • 29 gün önce

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q
1:15

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q

HSNews

179,234 görüntüleme • 4 ay önce

Early on in my career, I had one business and I was still figuring it out. The decisions in front of me felt like everything was on the line. I needed a model. Something that could make every call clearer, big or small. What I figured out: all decision-making is value clarification. It comes down to what’s most important to you. Two people can look at the same situation and make completely different calls. Both right. Because the answer always comes back to what you value most. Next time a decision doesn’t feel clear, run it through OOC-EMR.
2:14

Early on in my career, I had one business and I was still figuring it out. The decisions in front of me felt like everything was on the line. I needed a model. Something that could make every call clearer, big or small. What I figured out: all decision-making is value clarification. It comes down to what’s most important to you. Two people can look at the same situation and make completely different calls. Both right. Because the answer always comes back to what you value most. Next time a decision doesn’t feel clear, run it through OOC-EMR.

Tony Robbins

62,122 görüntüleme • 2 ay önce

Chris Bosh on having to take a back seat to LeBron and D Wade in order to win: “It was difficult. I thought it was going to be a lot easier. I thought we were just going to go out there and play but basketball doesn’t work like that. What I brought to the table was different. Those two guys the things they could do I knew right away I can’t do that. D Wade gets to Euro stepping 200 MPH and then LeBron is watch him get the block, rebound, kick it up, beat everybody down the floor and catch a lob with his head at the rim. I can’t do that. I’m not even gonna try to do that. In that situation I knew where I could function and the dynamic of that team it wasn’t necessary. I had to learn to play the game a different way. The toughest thing was really the social. The jokes, the mockery, I didn’t really see that coming” (Via All the Smoke)
2:07

Chris Bosh on having to take a back seat to LeBron and D Wade in order to win: “It was difficult. I thought it was going to be a lot easier. I thought we were just going to go out there and play but basketball doesn’t work like that. What I brought to the table was different. Those two guys the things they could do I knew right away I can’t do that. D Wade gets to Euro stepping 200 MPH and then LeBron is watch him get the block, rebound, kick it up, beat everybody down the floor and catch a lob with his head at the rim. I can’t do that. I’m not even gonna try to do that. In that situation I knew where I could function and the dynamic of that team it wasn’t necessary. I had to learn to play the game a different way. The toughest thing was really the social. The jokes, the mockery, I didn’t really see that coming” (Via All the Smoke)

Heat Central

228,309 görüntüleme • 5 ay önce

Elon Musk on the hardest decision in his life: “It's just when I started running out of money from PayPal and the markets went into a recession, that's when bankruptcy was knocking at the door. It was in 2008. From 2008 through 2012, bankruptcy was knocking at the door. I had one of the toughest decisions I ever had to make in 2008. I had like $40 million left or something from the PayPal sale. And I could put it all on SpaceX or all on Tesla and increase the probability that either one would survive. Or I could split it. But to me, the company's like a kid. It's not like just a company to me. So it's sort of like if you've got two kids, how could you really say, okay, we're going to let one kid starve? So I was like, I couldn't bring myself to say I'm going to, you know, definitely that company's going to die or definitely that company's going to die. So I ended up splitting the money and gave $20 million to Tesla and $20 million to SpaceX. But that could have ended up being a super dumb decision, and both companies could have gone bankrupt as a result. So at the time, I was like, 'Man, this would really suck if both companies go bankrupt because I kind of split the meal.' But then, fortunately, the fourth launch of SpaceX reached orbit. If that fourth launch had failed, SpaceX would be dead for sure. And then we closed the Tesla financing round on the last hour of the last day that it was possible, which was 6 p.m. December 24th, 2008.”
2:20

Elon Musk on the hardest decision in his life: “It's just when I started running out of money from PayPal and the markets went into a recession, that's when bankruptcy was knocking at the door. It was in 2008. From 2008 through 2012, bankruptcy was knocking at the door. I had one of the toughest decisions I ever had to make in 2008. I had like $40 million left or something from the PayPal sale. And I could put it all on SpaceX or all on Tesla and increase the probability that either one would survive. Or I could split it. But to me, the company's like a kid. It's not like just a company to me. So it's sort of like if you've got two kids, how could you really say, okay, we're going to let one kid starve? So I was like, I couldn't bring myself to say I'm going to, you know, definitely that company's going to die or definitely that company's going to die. So I ended up splitting the money and gave $20 million to Tesla and $20 million to SpaceX. But that could have ended up being a super dumb decision, and both companies could have gone bankrupt as a result. So at the time, I was like, 'Man, this would really suck if both companies go bankrupt because I kind of split the meal.' But then, fortunately, the fourth launch of SpaceX reached orbit. If that fourth launch had failed, SpaceX would be dead for sure. And then we closed the Tesla financing round on the last hour of the last day that it was possible, which was 6 p.m. December 24th, 2008.”

Eva Fo𝕏 🦊 Claudius Nero's Legion

317,697 görüntüleme • 8 ay önce

'This is Kimi's moment and I'm cool with that. There's going to be another moment for me.' Q: Millions of people were thinking that the last restart with 8 laps to go was a chance for you to.. (*Lewis nods*) Ah you were thinking the same thing? "Yeah, I was hoping for it, but it was like I needed a miracle really I needed that perfect start... we had both had really good starts, but you know, this is his moment and I'm cool with that, you know like this I'm grateful to be up there and there's gonna be another moment for me and I'll just keep working until then." F1 2026 || Monaco
0:30

'This is Kimi's moment and I'm cool with that. There's going to be another moment for me.' Q: Millions of people were thinking that the last restart with 8 laps to go was a chance for you to.. (*Lewis nods*) Ah you were thinking the same thing? "Yeah, I was hoping for it, but it was like I needed a miracle really I needed that perfect start... we had both had really good starts, but you know, this is his moment and I'm cool with that, you know like this I'm grateful to be up there and there's gonna be another moment for me and I'll just keep working until then." F1 2026 || Monaco

sim 🇧🇷🇲🇽🇸🇳🇫🇷🇭🇹

339,334 görüntüleme • 1 ay önce