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Tom Cruise explains how people's preconception affected Stanley Kubrick's "Eyes Wide Shut" (1997) "Cruise: People had a preconception about 'Eyes Wide Shut' (1997). And I see how that affected the picture. I think they expected some big s€x movie. As opposed to— and Stanley was very specific about it—...

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DepressedBergman

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42,868 次观看 • 3 个月前 •via X (Twitter)

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"It's a superhero movie that is for adults and has adult ideas in it. You don't have to think about it any harder than that. It goes way deeper. If you want to, you can tear it apart like a giant onion and keep peeling it until you're at its core. "But I think that it's cool to experience it just like when I read the comic book for the first time and I didn't know. No one was telling me what it's about or the why of it. You come to it fresh. And sometimes I wish I had that experience because I would love to see the movie or read the book for the first time again because that feeling was for me awesome. "Especially when you go into something with this anticipation that it's just a Hollywood superhero movie which is what a lot of people will think because they don't know. They see some guys fighting and then when you see the film you actually have this experience of it being taken apart. "Those archetypes, those mythological shapes, whether they be Batman or Superman or any of superheroes and how they're just turned around. Whether it's through sexual fetish or fighting, actually killing guys they fight. "Stuff like that or whether it's the end of the movie and there's this moral dilemma that is the end of the movie is also challenging on all those levels."
1:38

"It's a superhero movie that is for adults and has adult ideas in it. You don't have to think about it any harder than that. It goes way deeper. If you want to, you can tear it apart like a giant onion and keep peeling it until you're at its core. "But I think that it's cool to experience it just like when I read the comic book for the first time and I didn't know. No one was telling me what it's about or the why of it. You come to it fresh. And sometimes I wish I had that experience because I would love to see the movie or read the book for the first time again because that feeling was for me awesome. "Especially when you go into something with this anticipation that it's just a Hollywood superhero movie which is what a lot of people will think because they don't know. They see some guys fighting and then when you see the film you actually have this experience of it being taken apart. "Those archetypes, those mythological shapes, whether they be Batman or Superman or any of superheroes and how they're just turned around. Whether it's through sexual fetish or fighting, actually killing guys they fight. "Stuff like that or whether it's the end of the movie and there's this moral dilemma that is the end of the movie is also challenging on all those levels."

Zack Snyder Film

22,225 次观看 • 5 个月前

John Waters on his obsession with "The Wizard of Oz" (1939) & his thoughts on the movie being considered a "Gay classic": "Interviewer: Do you remember how old you were and where you saw it? Waters: I probably saw it at the Senator Theater in Baltimore the first time, which I still have my movie premieres in. I probably saw it there and then on TV every year. But certainly I saw it at the movies as a kid. I don’t remember how old I was, and it wasn’t the first movie I saw, but it was close to it. It was a complete, complete obsession from the very, very beginning. Now, today, you have video. We couldn’t do that, so you had to wait once a year to see it. That’s that sadness about the magic of movies: you can watch it over and over, and you can rewind it, see how everything is done. Still, is there a better tornado scene? To me, all these really expensive digital effects are very uninvolving. That tornado scene is as good as 'Twister' (1996) to me, and I think it’s done with a nylon stocking Interviewer: It’s a great surrealist scene, too. Waters: And how radical—the black and white to color is almost like an LSD effect. It is a drug movie almost. (...) Interviewer: Why do you think it’s become associated with the gay community, as being a “gay classic”? Waters: See, to me, I don’t think it’s that much of a gay movie. Judy Garland is, but I don’t think so much of that movie. Of course, this is her first one, but she wasn’t tragic in that movie, except later they found out she was on diet pills when she was singing. I think it’s only a gay movie, if it is, only because of Judy Garland’s later suffering in her life and melodrama. I love Judy Garland, but did she ever marry a straight man? I don’t know. Did anyone in the family? It’s a tradition. But basically, I don’t think of it as a gay film. I know “Friends of Dorothy,” but I think it’s because of Judy Garland’s later career. Well, it might be a gay children’s movie. I don’t think it’s a gay adult’s movie. I know drag queens do the Wicked Witch, but I never saw one. It’s not a drag role." ("The Film that Changed my Life", Robert K. Elder, 2011)
2:58

John Waters on his obsession with "The Wizard of Oz" (1939) & his thoughts on the movie being considered a "Gay classic": "Interviewer: Do you remember how old you were and where you saw it? Waters: I probably saw it at the Senator Theater in Baltimore the first time, which I still have my movie premieres in. I probably saw it there and then on TV every year. But certainly I saw it at the movies as a kid. I don’t remember how old I was, and it wasn’t the first movie I saw, but it was close to it. It was a complete, complete obsession from the very, very beginning. Now, today, you have video. We couldn’t do that, so you had to wait once a year to see it. That’s that sadness about the magic of movies: you can watch it over and over, and you can rewind it, see how everything is done. Still, is there a better tornado scene? To me, all these really expensive digital effects are very uninvolving. That tornado scene is as good as 'Twister' (1996) to me, and I think it’s done with a nylon stocking Interviewer: It’s a great surrealist scene, too. Waters: And how radical—the black and white to color is almost like an LSD effect. It is a drug movie almost. (...) Interviewer: Why do you think it’s become associated with the gay community, as being a “gay classic”? Waters: See, to me, I don’t think it’s that much of a gay movie. Judy Garland is, but I don’t think so much of that movie. Of course, this is her first one, but she wasn’t tragic in that movie, except later they found out she was on diet pills when she was singing. I think it’s only a gay movie, if it is, only because of Judy Garland’s later suffering in her life and melodrama. I love Judy Garland, but did she ever marry a straight man? I don’t know. Did anyone in the family? It’s a tradition. But basically, I don’t think of it as a gay film. I know “Friends of Dorothy,” but I think it’s because of Judy Garland’s later career. Well, it might be a gay children’s movie. I don’t think it’s a gay adult’s movie. I know drag queens do the Wicked Witch, but I never saw one. It’s not a drag role." ("The Film that Changed my Life", Robert K. Elder, 2011)

DepressedBergman

31,006 次观看 • 1 个月前

🚨President Trump announced that there might be a high-level meeting with Zelenskyy as early as this weekend, but didn’t specify if he would participate, and once again reiterated that UA should hold elections right now (note: it’s against the constitution to hold elections during the martial law, also it’s simply not safe, and UA society is widely opposed to the idea). TRUMP: “They would like us to go to a meeting over the weekend, in Europe, and we’ll make a determination depending on what they come back with. We don’t wanna be wasting time. Sometimes you have to let people fight it out, and sometimes you don’t. But the problem with letting people fight it out is you’re losing thousands of people a week. It’s ridiculous. The whole thing is ridiculous.” Q: “And when you say that the European leaders want to have a meeting over the weekend, are you talking about with Zelenskyy or with them?” TRUMP: “With Zelenskyy and us.” Q: “And you said in an interview yesterday that you think it’s time for Zelenskyy to start accepting things. What things are you talking about?” TRUMP: “Well, I think he has to be realistic. And I do wonder about how long is it gonna be till they have an election. You know, for a democracy, it’s a long time. They haven’t had an election in a long time. There was a poll that came out, 82% of the people are demanding a settlement be made, Ukrainian people. They wanna see a settlement be made. I understand that. They’re losing thousands and thousands of people a week. They wanna see it ended. And I do say at what point, when do they have an election in Ukraine? That’s not casting aspersions on anybody, but they do have a massive corruption situation going on there… People are asking this question, ‘When do they have an election?’ Are they gonna have an election, or are they gonna just keep it going like this? So, I think it’s time to get that war settled, and I think it’s a war that can be settled. But it takes two to tango.”
1:54

🚨President Trump announced that there might be a high-level meeting with Zelenskyy as early as this weekend, but didn’t specify if he would participate, and once again reiterated that UA should hold elections right now (note: it’s against the constitution to hold elections during the martial law, also it’s simply not safe, and UA society is widely opposed to the idea). TRUMP: “They would like us to go to a meeting over the weekend, in Europe, and we’ll make a determination depending on what they come back with. We don’t wanna be wasting time. Sometimes you have to let people fight it out, and sometimes you don’t. But the problem with letting people fight it out is you’re losing thousands of people a week. It’s ridiculous. The whole thing is ridiculous.” Q: “And when you say that the European leaders want to have a meeting over the weekend, are you talking about with Zelenskyy or with them?” TRUMP: “With Zelenskyy and us.” Q: “And you said in an interview yesterday that you think it’s time for Zelenskyy to start accepting things. What things are you talking about?” TRUMP: “Well, I think he has to be realistic. And I do wonder about how long is it gonna be till they have an election. You know, for a democracy, it’s a long time. They haven’t had an election in a long time. There was a poll that came out, 82% of the people are demanding a settlement be made, Ukrainian people. They wanna see a settlement be made. I understand that. They’re losing thousands and thousands of people a week. They wanna see it ended. And I do say at what point, when do they have an election in Ukraine? That’s not casting aspersions on anybody, but they do have a massive corruption situation going on there… People are asking this question, ‘When do they have an election?’ Are they gonna have an election, or are they gonna just keep it going like this? So, I think it’s time to get that war settled, and I think it’s a war that can be settled. But it takes two to tango.”

Kateryna Lisunova

10,801 次观看 • 7 个月前

Trump: I think it’s very sad, actually. I’m surprised that it wasn’t—you know—the public wasn’t notified a long time ago, because to get to stage 9, that’s a long time. I just had my physical. You saw that. You saw the results of that particular test. I think that test is standard to pretty much anybody getting a physical—a good physical. We had the doctors at the White House and over at Walter Reed, which is a fantastic hospital, do it. I did a very complete physical, including a cognitive test. I’m proud to announce I aced it. I got them all right. You proud of me? Your husband would be proud of me for getting them all right. It’s a little risk. If I didn’t get them all right, these people would be after me. It would be not a good situation. But I think, frankly, anybody running for president should take a cognitive test. They say it’s unconstitutional, but I would say in that particular case, having a cognitive test wouldn’t be so bad. But when you take tests—medical, as a male—that test is very standard. I don’t know if it’s given to everybody, but it’s given just about. And it takes a long time to get to that situation… to get to a stage 9. I think that if you take a look, it’s the same doctor that said that Joe was cognitively fine, there was nothing wrong with him. If it’s the same doctor, he said there was nothing wrong there. That’s been proven to be a sad situation. And the autopen is becoming a very big deal. You know, the autopen is becoming a big deal because it seems that maybe it was the president—whoever operated the autopen. But when they say that was not good, they also—you have to look and you have to say that the test was not so good either. In other words, there are things going on that the public wasn’t informed [about], and I think somebody is going to have to speak to his doctor—if it’s the same or even if it’s two separate doctors. Why wasn’t the cognitive ability—why wasn’t that discussed? And I think the doctor said he’s just fine, and it’s turned out that’s not so. It’s very dangerous… this is dangerous for our country. Look at the mess we are in. You talk about all these questions on Ukraine and Russia. That would’ve never happened, as an example, if I were president. It would’ve never happened. The other thing—you have to say: Why did it take so long? I mean, this takes a long time. It can take years to get to this level of danger. It’s a very, very sad situation. I feel very badly about it. And I think people should try and find out what happened. Because I’ll tell you, I don’t know if it had anything to do with the hospital. Walter Reed is really good. They’re some of the best doctors I’ve ever seen. I don’t even know if they were involved. But a doctor was involved in each case. Maybe it was the same doctor. And somebody is not telling the facts. That’s a big problem.
3:05

Trump: I think it’s very sad, actually. I’m surprised that it wasn’t—you know—the public wasn’t notified a long time ago, because to get to stage 9, that’s a long time. I just had my physical. You saw that. You saw the results of that particular test. I think that test is standard to pretty much anybody getting a physical—a good physical. We had the doctors at the White House and over at Walter Reed, which is a fantastic hospital, do it. I did a very complete physical, including a cognitive test. I’m proud to announce I aced it. I got them all right. You proud of me? Your husband would be proud of me for getting them all right. It’s a little risk. If I didn’t get them all right, these people would be after me. It would be not a good situation. But I think, frankly, anybody running for president should take a cognitive test. They say it’s unconstitutional, but I would say in that particular case, having a cognitive test wouldn’t be so bad. But when you take tests—medical, as a male—that test is very standard. I don’t know if it’s given to everybody, but it’s given just about. And it takes a long time to get to that situation… to get to a stage 9. I think that if you take a look, it’s the same doctor that said that Joe was cognitively fine, there was nothing wrong with him. If it’s the same doctor, he said there was nothing wrong there. That’s been proven to be a sad situation. And the autopen is becoming a very big deal. You know, the autopen is becoming a big deal because it seems that maybe it was the president—whoever operated the autopen. But when they say that was not good, they also—you have to look and you have to say that the test was not so good either. In other words, there are things going on that the public wasn’t informed [about], and I think somebody is going to have to speak to his doctor—if it’s the same or even if it’s two separate doctors. Why wasn’t the cognitive ability—why wasn’t that discussed? And I think the doctor said he’s just fine, and it’s turned out that’s not so. It’s very dangerous… this is dangerous for our country. Look at the mess we are in. You talk about all these questions on Ukraine and Russia. That would’ve never happened, as an example, if I were president. It would’ve never happened. The other thing—you have to say: Why did it take so long? I mean, this takes a long time. It can take years to get to this level of danger. It’s a very, very sad situation. I feel very badly about it. And I think people should try and find out what happened. Because I’ll tell you, I don’t know if it had anything to do with the hospital. Walter Reed is really good. They’re some of the best doctors I’ve ever seen. I don’t even know if they were involved. But a doctor was involved in each case. Maybe it was the same doctor. And somebody is not telling the facts. That’s a big problem.

Acyn

656,574 次观看 • 1 年前

#TAEYONG WEVERSE LIVE 🌹: "And there is one thing I’ve realized, that now when I’m alone, I don’t want to talk about the members anymore. Because I felt this even when I was in the military. Of course, I did do it a lot, but I think I came to think that talking about someone else when they aren’t around isn’t polite, no matter how much they are team members". 🌹: "We’re close and like brothers, but still, if you hear what you want to hear directly from the people involved, it’s much more comfortable for me, and I think it would be more comfortable for you all and the person involved too. (I’m trying not to talk about even that member’s TMI anymore. Actually, I did talk about it during the last interview. There was talk about the members, but because the other members might feel uncomfortable. I said that I wouldn’t talk about it. 🌹: "I asked for your understanding. So I hope you all understand. They did that for me . I hope you all understand, too. I think I regretted those things. Talking about the members' TMI or things like that in the past. They might have wanted to talk about it too, you know". 🌹: "And rather than just finding it fun for me to talk about, the people involved need to have something to say when they come. If I tell them everything, what are they going to talk about when they turn on the live stream again? If I tell them everything, they probably won't turn on the live stream at all. They won't even talk". *Pat pat* 🌹: "You all understand, right? Thank you" * Taeyong, I respect your decision. I hope those people who always do that can understand and respect your decision as well.
2:27

#TAEYONG WEVERSE LIVE 🌹: "And there is one thing I’ve realized, that now when I’m alone, I don’t want to talk about the members anymore. Because I felt this even when I was in the military. Of course, I did do it a lot, but I think I came to think that talking about someone else when they aren’t around isn’t polite, no matter how much they are team members". 🌹: "We’re close and like brothers, but still, if you hear what you want to hear directly from the people involved, it’s much more comfortable for me, and I think it would be more comfortable for you all and the person involved too. (I’m trying not to talk about even that member’s TMI anymore. Actually, I did talk about it during the last interview. There was talk about the members, but because the other members might feel uncomfortable. I said that I wouldn’t talk about it. 🌹: "I asked for your understanding. So I hope you all understand. They did that for me . I hope you all understand, too. I think I regretted those things. Talking about the members' TMI or things like that in the past. They might have wanted to talk about it too, you know". 🌹: "And rather than just finding it fun for me to talk about, the people involved need to have something to say when they come. If I tell them everything, what are they going to talk about when they turn on the live stream again? If I tell them everything, they probably won't turn on the live stream at all. They won't even talk". *Pat pat* 🌹: "You all understand, right? Thank you" * Taeyong, I respect your decision. I hope those people who always do that can understand and respect your decision as well.

🌹Nyo

134,601 次观看 • 1 个月前

Damon Wayans Was Supposed To Play Richard Pryor But Ex Wife Ruined It “I don’t think it’s his life—I think it’s his ex-wife who wants to make it her story. Because I read her book, A Fallen Angel, which was a good book, but Richard was abusive, and she wants it to be more about that. And I met with Jennifer, and I was like, ‘Look, Richard Pryor is like Malcolm X with punchlines—that’s how Black people see him. They would lose their minds if they made this movie about you.”
8:21

Damon Wayans Was Supposed To Play Richard Pryor But Ex Wife Ruined It “I don’t think it’s his life—I think it’s his ex-wife who wants to make it her story. Because I read her book, A Fallen Angel, which was a good book, but Richard was abusive, and she wants it to be more about that. And I met with Jennifer, and I was like, ‘Look, Richard Pryor is like Malcolm X with punchlines—that’s how Black people see him. They would lose their minds if they made this movie about you.”

Club Shay Shay

578,116 次观看 • 1 年前

Salma Hayek took her parents & brother for the premiere of Robert Rodriguez's "Desperado" (1995), but when the sex scene played, she made them leave the theater with her as she didn't want her family to watch that scene. Here is Salma Hayek explaining how the scene was filmed: "Interviewer: Do you remember how Carolina was described in the script? Hayek: No. I mean, usually, [it’s] the age. They’re beautiful and sexy, probably. Mexican. It sounded like me. Interviewer: [Laughs] It is perfect casting. Today, there are often intimacy coordinators to help provide safe spaces for actors. How did you feel about doing a major sex scene in this movie at such a pivotal point in your career? Hayek: It was a very difficult thing for me. It was not in the original script, I have to say. I think it was one of the notes that came after they showed the screen test, which made it harder for me. I was already like, “No, that was not in there the first time.” Interviewer: But you went through with it. Hayek: They were amazing. What I can tell you is that I was very lucky because they set up the lights and the sound. [It was] Robert, Antonio, Elizabeth and I. Robert was operating the camera. I think there was no sound. Elizabeth was moving cable. [There] was not even a [monitor]. And I flipped out. I wouldn’t do it. They were very patient. It was two hours, and I was still not [working] up the courage. Then it was very, very nice. They closed the set. They did everything that could possibly be done. But it was one long scene with dialogue and… it was different. There were little moments before I would flip out again. I walked out of the premiere when they played it and I took my brother, father, and mother with me. I didn't want any of them to see it. They were happy to walk out right away and then we came back again. I don't think they noticed anything." (Salma Hayek's interview with Candice Frederick, Elle, 2020)
1:13

Sensitive content

Salma Hayek took her parents & brother for the premiere of Robert Rodriguez's "Desperado" (1995), but when the sex scene played, she made them leave the theater with her as she didn't want her family to watch that scene. Here is Salma Hayek explaining how the scene was filmed: "Interviewer: Do you remember how Carolina was described in the script? Hayek: No. I mean, usually, [it’s] the age. They’re beautiful and sexy, probably. Mexican. It sounded like me. Interviewer: [Laughs] It is perfect casting. Today, there are often intimacy coordinators to help provide safe spaces for actors. How did you feel about doing a major sex scene in this movie at such a pivotal point in your career? Hayek: It was a very difficult thing for me. It was not in the original script, I have to say. I think it was one of the notes that came after they showed the screen test, which made it harder for me. I was already like, “No, that was not in there the first time.” Interviewer: But you went through with it. Hayek: They were amazing. What I can tell you is that I was very lucky because they set up the lights and the sound. [It was] Robert, Antonio, Elizabeth and I. Robert was operating the camera. I think there was no sound. Elizabeth was moving cable. [There] was not even a [monitor]. And I flipped out. I wouldn’t do it. They were very patient. It was two hours, and I was still not [working] up the courage. Then it was very, very nice. They closed the set. They did everything that could possibly be done. But it was one long scene with dialogue and… it was different. There were little moments before I would flip out again. I walked out of the premiere when they played it and I took my brother, father, and mother with me. I didn't want any of them to see it. They were happy to walk out right away and then we came back again. I don't think they noticed anything." (Salma Hayek's interview with Candice Frederick, Elle, 2020)

DepressedBergman

31,706 次观看 • 4 个月前

I think it’s safe to say that 2025 was a very interesting year. And I think I see it very differently than most. You probably saw a lot of headlines about AI and tech stocks. While that was a big story, I don’t think it was the most important thing. The big story in the investment world was the depreciation of the value of fiat money and how that impacted the price of gold. That’s how 2025 looked through my eyes, at least. I’m curious to hear if you see things the same way.
0:58

I think it’s safe to say that 2025 was a very interesting year. And I think I see it very differently than most. You probably saw a lot of headlines about AI and tech stocks. While that was a big story, I don’t think it was the most important thing. The big story in the investment world was the depreciation of the value of fiat money and how that impacted the price of gold. That’s how 2025 looked through my eyes, at least. I’m curious to hear if you see things the same way.

Ray Dalio

150,009 次观看 • 5 个月前

.Naval: There was a story that I read about Elon Musk that really affected me, which was when he was talking to Bill Gates, and Bill Gates had just taken out some huge short on Tesla. It was like a billion dollar short or something. And, Elon was like, “Why would you do that? Why would you short Tesla?” And Bill goes, “Well, you know, I talked to my financial advisors and I looked at the math and there’s no way it’s overvalued. And so I’m going to make money on the short.” And Elon goes, “What do you care about making money? I thought you were into electric cars and climate change and saving the world. What are you doing trying to save a few bucks and betting against Tesla?”. And he just walked away in disgust. And I think he never talked to Bill Gates after that. And that’s when I realized, like, Elon’s a purist. He means what he says. The money is a tool for him to get what he’s trying to do. And so I take him at face value, which is the crazy thing, because a lot of people who set these audacious goals to inspire people, you kind of know they don’t really mean it. Elon, I take at face value. So I really do think he intends to get to Mars. I don’t think he’s joking about that. And I think he means to get there within a defined window of time. And I don’t think it’s just like an inspirational, faraway goal. I think he’s very, very concretely going to do whatever it takes. Because Elon doesn’t want to go down in history as the electric car guy or even the guy who saved America guy. He wants to go down as a guy who got humanity to the stars. Again, I’ll give him more credit than that. I don’t even think he wants to go down as the “I got humanity to the stars” guy. He’s just like, “I want to get to the stars, and so I have to make it happen in this lifetime. The only way that I get to experience the science fiction world in my head is if I get to the stars.” And so that’s so inspirational. I think that drives everything. So I think the government was just a thing that got in his way.
1:42

.Naval: There was a story that I read about Elon Musk that really affected me, which was when he was talking to Bill Gates, and Bill Gates had just taken out some huge short on Tesla. It was like a billion dollar short or something. And, Elon was like, “Why would you do that? Why would you short Tesla?” And Bill goes, “Well, you know, I talked to my financial advisors and I looked at the math and there’s no way it’s overvalued. And so I’m going to make money on the short.” And Elon goes, “What do you care about making money? I thought you were into electric cars and climate change and saving the world. What are you doing trying to save a few bucks and betting against Tesla?”. And he just walked away in disgust. And I think he never talked to Bill Gates after that. And that’s when I realized, like, Elon’s a purist. He means what he says. The money is a tool for him to get what he’s trying to do. And so I take him at face value, which is the crazy thing, because a lot of people who set these audacious goals to inspire people, you kind of know they don’t really mean it. Elon, I take at face value. So I really do think he intends to get to Mars. I don’t think he’s joking about that. And I think he means to get there within a defined window of time. And I don’t think it’s just like an inspirational, faraway goal. I think he’s very, very concretely going to do whatever it takes. Because Elon doesn’t want to go down in history as the electric car guy or even the guy who saved America guy. He wants to go down as a guy who got humanity to the stars. Again, I’ll give him more credit than that. I don’t even think he wants to go down as the “I got humanity to the stars” guy. He’s just like, “I want to get to the stars, and so I have to make it happen in this lifetime. The only way that I get to experience the science fiction world in my head is if I get to the stars.” And so that’s so inspirational. I think that drives everything. So I think the government was just a thing that got in his way.

Arjun Khemani

2,736,093 次观看 • 1 年前

WATCH: Very newsy exchange at the White House Tuesday afternoon between President Trump and CBS’s Ed O'Keefe about Iran, revealing the U.S. was gifted “a present” from whatever remains of the new/old Iranian regime that is “oil and gas related”.... President Trump: “Do you have another question? You haven’t been here in a while.” O’Keefe: “Well, on Iran, can you give us any more sense of who exactly in Iran it is, either Witkoff or Kushner you’re speaking with?” Trump: “Yeah. We had — I hate to say this in front of these young people — they’re not children. I spoke to most of them. They sound like adults to me. Even though they are sort of children, right? They’ll always be your children. But I hate to say it, but we killed all their leadership. And then they met to choose new leaders, and we killed all of them. And now, we have a new group and we can easily do that. But let’s see how they turn out. It’s — we have, really, regime change. You know, this is a change in the regime because the leaders are all very different than the ones that we started off with that created all those problems. So this was — I think we can say, Jason, this is regime change, right?” O’Keefe: “What makes you trust them?” Trump: “I don’t trust anybody. I don’t trust you. I mean, that’s only because I know you, but if I didn’t know you, I’d probably have more trust. But I don’t trust anyone.” O’Keefe: “Why bother talking to them?” Trump: “Why do you — why do you say that? Why do you say what makes you — do you think I trust them? I don’t trust them.” O’Keefe: “Then why bother talking to them?” Trump: “Because they’re going to make a deal. They’re going to make a deal. They did something yesterday that was amazing. Actually. They gave us a present. And the president arrived today and it was a very big present worth a tremendous amount of money. And I’m not going to tell you what that present is, but it was a very significant prize. And they gave it to us, and they said they were going to give it, so that meant one thing to me. We’re dealing with the right people —” O’Keefe: “Was it nuclear related.” Trump: “No, it wasn’t nuclear related. It was oil and gas related. And it was a very nice thing they did. But what it showed me is that we’re dealing with the right people because, you know, you don’t know because the leadership was killed, all gone. Khamenei, all gone. As the expression goes, the past Supreme Leader and then the new Supreme Leader was racked up at a minimum, racked up pretty good, and everyone else was gone. And then many of the people in the third tier are gone. But we’re dealing with a group of people that I think turn out and the — the present, the gift they made to us was very significant. And they said they were going to do it and it happened. And they’re the only ones that could have done it.”
2:36

WATCH: Very newsy exchange at the White House Tuesday afternoon between President Trump and CBS’s Ed O'Keefe about Iran, revealing the U.S. was gifted “a present” from whatever remains of the new/old Iranian regime that is “oil and gas related”.... President Trump: “Do you have another question? You haven’t been here in a while.” O’Keefe: “Well, on Iran, can you give us any more sense of who exactly in Iran it is, either Witkoff or Kushner you’re speaking with?” Trump: “Yeah. We had — I hate to say this in front of these young people — they’re not children. I spoke to most of them. They sound like adults to me. Even though they are sort of children, right? They’ll always be your children. But I hate to say it, but we killed all their leadership. And then they met to choose new leaders, and we killed all of them. And now, we have a new group and we can easily do that. But let’s see how they turn out. It’s — we have, really, regime change. You know, this is a change in the regime because the leaders are all very different than the ones that we started off with that created all those problems. So this was — I think we can say, Jason, this is regime change, right?” O’Keefe: “What makes you trust them?” Trump: “I don’t trust anybody. I don’t trust you. I mean, that’s only because I know you, but if I didn’t know you, I’d probably have more trust. But I don’t trust anyone.” O’Keefe: “Why bother talking to them?” Trump: “Why do you — why do you say that? Why do you say what makes you — do you think I trust them? I don’t trust them.” O’Keefe: “Then why bother talking to them?” Trump: “Because they’re going to make a deal. They’re going to make a deal. They did something yesterday that was amazing. Actually. They gave us a present. And the president arrived today and it was a very big present worth a tremendous amount of money. And I’m not going to tell you what that present is, but it was a very significant prize. And they gave it to us, and they said they were going to give it, so that meant one thing to me. We’re dealing with the right people —” O’Keefe: “Was it nuclear related.” Trump: “No, it wasn’t nuclear related. It was oil and gas related. And it was a very nice thing they did. But what it showed me is that we’re dealing with the right people because, you know, you don’t know because the leadership was killed, all gone. Khamenei, all gone. As the expression goes, the past Supreme Leader and then the new Supreme Leader was racked up at a minimum, racked up pretty good, and everyone else was gone. And then many of the people in the third tier are gone. But we’re dealing with a group of people that I think turn out and the — the present, the gift they made to us was very significant. And they said they were going to do it and it happened. And they’re the only ones that could have done it.”

Curtis Houck

108,556 次观看 • 3 个月前

Baier: I just got off the phone with the president…. I asked, “what you are saying is you know there is somebody on the ground in Iran that is going to rise up?” He said, “yeah, I feel there is. I feel that and some of them are no longer with us to be honest because it was 49 leaders that were taken out. That was going to take four weeks we thought to get rid of the Iranian leadership and it is always, you know, if they hide, it is a lot longer than four weeks. They would have been hiding. We were shocked when we heard what was going on. We knew exactly what was happening… they are talking about using people now that nobody ever heard of—even they don't know. They are using people, studying people to be the leader that even they don't know who they are. Can you believe that?” I said it's a tough succession plan in Iran. He said, “49 leaders is deep. It's very deep. When they met, they met for breakfast. They assumed it was good for a lot of reasons. Number one they didn't think we knew. You never attack in the morning having to do with wind and sun and a lot of things. It was amazing that we knew everything we knew.”
1:48

Baier: I just got off the phone with the president…. I asked, “what you are saying is you know there is somebody on the ground in Iran that is going to rise up?” He said, “yeah, I feel there is. I feel that and some of them are no longer with us to be honest because it was 49 leaders that were taken out. That was going to take four weeks we thought to get rid of the Iranian leadership and it is always, you know, if they hide, it is a lot longer than four weeks. They would have been hiding. We were shocked when we heard what was going on. We knew exactly what was happening… they are talking about using people now that nobody ever heard of—even they don't know. They are using people, studying people to be the leader that even they don't know who they are. Can you believe that?” I said it's a tough succession plan in Iran. He said, “49 leaders is deep. It's very deep. When they met, they met for breakfast. They assumed it was good for a lot of reasons. Number one they didn't think we knew. You never attack in the morning having to do with wind and sun and a lot of things. It was amazing that we knew everything we knew.”

Acyn

1,065,464 次观看 • 4 个月前

Luke Greenfield on why "The Girl Next Door" (2004) failed at the Box Office: "The Studio executives were expecting something the realm of 'American Pie' (1999) didn't know how to explain to them that it was going to be a lot more real and a lot more edgy and a lot more volatile and unpredictable. I kept saying that, and I don't think they understood it until they saw my director's cut." Greenfield's director's cut was met with mixed reactions from executives because of its adu!t content and dangerous situations. When they got to scenes such as Timothy Olyphant beating the sh!t out of Emile Hirsch and bloodying his face, I remember one of the studio people saying, 'Okay, this is f**king not 'American Pie'. We were really lucky [with the test audience]. We tested the director's cut, and it tested enormously high. So high, in fact, that hardly any changes were made. Arnon Milchon [the head of New Regency] and Tom Rothman, they were literally telling me it was a guaranteed hit. The movie was going to make so much money that it was going to be Arnon Milchon's next 'Pretty Woman' (1990). It was going to hit every demographic. Everyone was talking such an enormous game. Our movie, there was such a challenge, because we're at 20th Century Fox, which at the time was a very conservative studio. The idea that they had to go out there and sell an R-rated movie about teenagers and about a kid falling in love with a p0rn star? They tried. They spent money. They didn't know how to do it. I got in there and I was trying to cut trailers too. We had worked with some of the best trailer editors. In the end, what's really funny is that -- everyone knows this, no one is at fault -- the marketing destroyed the movie. Two weeks prior to coming out, we were tracking that the people who wanted to see the movie were 14 year old girls, The young males, 18 to 30, wanted nothing to do with the film. They thought it looked cheesy and stupid. Never in a million years were they going to see it. I cannot say I was not disappointed when the movie came out. It was a big marketing challenge and they couldn't reach that audience." ("The Juice Was Worth The Squeeze: Looking Back On 'The Girl Next Door'", Christopher Rosen, Huff Post, 2014)
0:38

Sensitive content

Luke Greenfield on why "The Girl Next Door" (2004) failed at the Box Office: "The Studio executives were expecting something the realm of 'American Pie' (1999) didn't know how to explain to them that it was going to be a lot more real and a lot more edgy and a lot more volatile and unpredictable. I kept saying that, and I don't think they understood it until they saw my director's cut." Greenfield's director's cut was met with mixed reactions from executives because of its adu!t content and dangerous situations. When they got to scenes such as Timothy Olyphant beating the sh!t out of Emile Hirsch and bloodying his face, I remember one of the studio people saying, 'Okay, this is f**king not 'American Pie'. We were really lucky [with the test audience]. We tested the director's cut, and it tested enormously high. So high, in fact, that hardly any changes were made. Arnon Milchon [the head of New Regency] and Tom Rothman, they were literally telling me it was a guaranteed hit. The movie was going to make so much money that it was going to be Arnon Milchon's next 'Pretty Woman' (1990). It was going to hit every demographic. Everyone was talking such an enormous game. Our movie, there was such a challenge, because we're at 20th Century Fox, which at the time was a very conservative studio. The idea that they had to go out there and sell an R-rated movie about teenagers and about a kid falling in love with a p0rn star? They tried. They spent money. They didn't know how to do it. I got in there and I was trying to cut trailers too. We had worked with some of the best trailer editors. In the end, what's really funny is that -- everyone knows this, no one is at fault -- the marketing destroyed the movie. Two weeks prior to coming out, we were tracking that the people who wanted to see the movie were 14 year old girls, The young males, 18 to 30, wanted nothing to do with the film. They thought it looked cheesy and stupid. Never in a million years were they going to see it. I cannot say I was not disappointed when the movie came out. It was a big marketing challenge and they couldn't reach that audience." ("The Juice Was Worth The Squeeze: Looking Back On 'The Girl Next Door'", Christopher Rosen, Huff Post, 2014)

DepressedBergman

129,130 次观看 • 2 个月前

James Cameron on spending his 40th birthday with Stanley Kubrick explaining to him how "True Lies" (1994) was made: "Meeting Stanley Kubrick was my 40th birthday present to myself. I was on vacation in Europe, and I called him up and said, "I'm coming over," and went to his house in England. My wife at the time was freaked out that I wasn't going to be back home for my birthday. But I said, "I'm going to meet Stanley Kubrick. There's no present, no surprise party, no nothing you could give me that would supersede that." So I went to see this reclusive guy knocking around this big house and he just totally wanted to know how 'True Lies' (1994) was made. He had a print of it on his KEM down in his basement, and made me sit there and tell him how I had done all the effects shots. So I spent the whole time talking about my movie with Stanley Kubrick, which was not where I thought the day was going to go. But I want to be like Stanley, I want to be that guy. When I'm 80, I want to still be the guy trying to figure it all out." (James Cameron's interview to Jeffrey Resner, DGA Quarterly, 2008) P.S: On this day, 32 years ago, "True Lies" (1994) premiered in Westwood, California, USA.
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James Cameron on spending his 40th birthday with Stanley Kubrick explaining to him how "True Lies" (1994) was made: "Meeting Stanley Kubrick was my 40th birthday present to myself. I was on vacation in Europe, and I called him up and said, "I'm coming over," and went to his house in England. My wife at the time was freaked out that I wasn't going to be back home for my birthday. But I said, "I'm going to meet Stanley Kubrick. There's no present, no surprise party, no nothing you could give me that would supersede that." So I went to see this reclusive guy knocking around this big house and he just totally wanted to know how 'True Lies' (1994) was made. He had a print of it on his KEM down in his basement, and made me sit there and tell him how I had done all the effects shots. So I spent the whole time talking about my movie with Stanley Kubrick, which was not where I thought the day was going to go. But I want to be like Stanley, I want to be that guy. When I'm 80, I want to still be the guy trying to figure it all out." (James Cameron's interview to Jeffrey Resner, DGA Quarterly, 2008) P.S: On this day, 32 years ago, "True Lies" (1994) premiered in Westwood, California, USA.

DepressedBergman

959,276 次观看 • 2 天前

Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?
20:01

Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

illuminatibot

48,483 次观看 • 2 个月前

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.
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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 次观看 • 3 个月前

David Cronenberg on why "The Shining" (1980) is not a great film & the "Commercial-minded" nature of Stanley Kubrick: "I think I’m a more intimate and personal filmmaker than Kubrick ever was. That’s why I find 'The Shining' (1980) not to be a great film. I don’t think he understood the (horror) genre. I don’t think he understood what he was doing. There were some striking images in the book and he got that, but I don’t think he really felt it. In a weird way, although he’s revered as a high-level cinematic artist, I think he was much more commercial-minded and was looking for stuff that would click and that he could get financed. I think he was very obsessed with that, to an extent that I’m not. Or that Bergman or Fellini were." ("David Cronenberg at TIFF: Evolution, Mugwumps and Kubrick", Peter Howell, Toronto Star, 2013)
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David Cronenberg on why "The Shining" (1980) is not a great film & the "Commercial-minded" nature of Stanley Kubrick: "I think I’m a more intimate and personal filmmaker than Kubrick ever was. That’s why I find 'The Shining' (1980) not to be a great film. I don’t think he understood the (horror) genre. I don’t think he understood what he was doing. There were some striking images in the book and he got that, but I don’t think he really felt it. In a weird way, although he’s revered as a high-level cinematic artist, I think he was much more commercial-minded and was looking for stuff that would click and that he could get financed. I think he was very obsessed with that, to an extent that I’m not. Or that Bergman or Fellini were." ("David Cronenberg at TIFF: Evolution, Mugwumps and Kubrick", Peter Howell, Toronto Star, 2013)

DepressedBergman

287,769 次观看 • 4 个月前

They passed it in the middle of the night…and most of them didn’t even read it. Rep. Randy Fine RIPS THE MASK OFF the Senate bill after being asked why he opposes it. FINE: “Well, I don’t know how hard they did they work.” “They passed it at 3 o’clock in the morning, when there were 5 Senators there.” “We’ve been told many of the Senators didn’t even know about it because they started writing it after midnight.” “So I don’t know how hard it was.” “Now it’s clear that they wanted to get on vacation. I think that was the focus.” “But it didn’t do what you claim, that bill does not end the shutdown. The shutdown was going to continue for thousands and thousands of federal employees who work at ICE and Border Protection, including those who investigate child trafficking of little girls.” “So it wasn’t going to end. It was just going to be less.” “And we said, no, we either take care of the country or we keep on fighting.”
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They passed it in the middle of the night…and most of them didn’t even read it. Rep. Randy Fine RIPS THE MASK OFF the Senate bill after being asked why he opposes it. FINE: “Well, I don’t know how hard they did they work.” “They passed it at 3 o’clock in the morning, when there were 5 Senators there.” “We’ve been told many of the Senators didn’t even know about it because they started writing it after midnight.” “So I don’t know how hard it was.” “Now it’s clear that they wanted to get on vacation. I think that was the focus.” “But it didn’t do what you claim, that bill does not end the shutdown. The shutdown was going to continue for thousands and thousands of federal employees who work at ICE and Border Protection, including those who investigate child trafficking of little girls.” “So it wasn’t going to end. It was just going to be less.” “And we said, no, we either take care of the country or we keep on fighting.”

Overton

41,874 次观看 • 3 个月前

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 次观看 • 5 个月前

Rory McIlroy was asked if he’s okay with/understands that they may water between waves on Thursday and Friday. Provided an interesting nugget about Shinnecock watering every day at 2 p.m. for members. “It’s a unique golf course,” McIlroy said. “The members at Shinnecock will tell you they do that every single day—every single day at this course the members play they put water on the course at 2 p.m. So, it’s a unique golf course and it seems like it’s just something they have to do. “For me it’s more... my concern was you don’t want it to look as if you’ve lost the golf course, and you’re starting to put water on it, which I don’t think is what they’re going to do. I think, especially with the heaviness of the wind on Thursday, it’s probably prudent to do that. “Friday doesn’t look as windy, but I think just for, again, fairness and competitive integrity, they do it on Friday, too. But I think they’ve got enough bandwith on the weekend that they probably don’t need to do it. So, I understand it. When I first heard of it my first reaction was ‘that’s stupid, why are they doing that?’ But then once you actually listened and you let them break it down to you, you’re like, yeah, that makes sense.”
1:19

Rory McIlroy was asked if he’s okay with/understands that they may water between waves on Thursday and Friday. Provided an interesting nugget about Shinnecock watering every day at 2 p.m. for members. “It’s a unique golf course,” McIlroy said. “The members at Shinnecock will tell you they do that every single day—every single day at this course the members play they put water on the course at 2 p.m. So, it’s a unique golf course and it seems like it’s just something they have to do. “For me it’s more... my concern was you don’t want it to look as if you’ve lost the golf course, and you’re starting to put water on it, which I don’t think is what they’re going to do. I think, especially with the heaviness of the wind on Thursday, it’s probably prudent to do that. “Friday doesn’t look as windy, but I think just for, again, fairness and competitive integrity, they do it on Friday, too. But I think they’ve got enough bandwith on the weekend that they probably don’t need to do it. So, I understand it. When I first heard of it my first reaction was ‘that’s stupid, why are they doing that?’ But then once you actually listened and you let them break it down to you, you’re like, yeah, that makes sense.”

Christopher Powers

1,341,227 次观看 • 28 天前

George A. Romero explains why he didn't like "World War Z" (2013): "Interviewer: Zombies have surged in popularity again: the 'Dawn of the De@d' remake and 'The Walking De@d'. How do you feel about where it is now? Romero: Well, it’s just got terribly crowded, hasn’t it? Now you can’t sell a zombie film unless you promise to spend a lot of money. I think it belongs on a smaller, more intimate scale. I certainly don’t think you need 'World War Z' (2013) at all. I know Max Brooks, who wrote the book, didn’t like it at all. I didn’t like it when I first saw it. Interviewer: Do you feel a degree of ownership? Do you care about how zombies are used in popular culture? Romero: I don’t think so. I just used to be the only guy and it was my little private cache. I could bring the zombies out whenever I wanted to and do something with them that maybe had something to say. And then all of a sudden it just became another creature. And basically it’s a first-person shooter now… I think the popularity came from video games, not from films because up until 'Zombieland' (2009) there was no film that grossed more than 100 million bucks. The remake of Dawn did $75 million. Hollywood isn’t going to be particularly interested at that level. And then all of a sudden, I think it was Brad Pitt who went after Z, and he somehow convinced the studio to spend an exorbitant amount – unnecessarily. Interviewer: And the zombies aren’t loaded with the same sort of political meaning. Romero: Nothing. I mean I don’t see anything. It’s a disaster movie. They were even carefully avoiding the word. You had to extrapolate it from Z. People who didn’t know the book might figure World War Z means the final world war. They’ve finally got to the letter Z! Even in the advertising, they never used the world zombies; they never showed a shot that looked like zombies. They look like army ants, you know? Interviewer: Are you keen to keep up to date and watch a new zombie film if there is a big one out? Romero: No… I sort of had to watch that one. They invited me to watch it. They wanted me to say something nice, I think [laughs]." (George A. Romero's interview with James Blackford, Sight & Sound, 2014)
1:05

George A. Romero explains why he didn't like "World War Z" (2013): "Interviewer: Zombies have surged in popularity again: the 'Dawn of the De@d' remake and 'The Walking De@d'. How do you feel about where it is now? Romero: Well, it’s just got terribly crowded, hasn’t it? Now you can’t sell a zombie film unless you promise to spend a lot of money. I think it belongs on a smaller, more intimate scale. I certainly don’t think you need 'World War Z' (2013) at all. I know Max Brooks, who wrote the book, didn’t like it at all. I didn’t like it when I first saw it. Interviewer: Do you feel a degree of ownership? Do you care about how zombies are used in popular culture? Romero: I don’t think so. I just used to be the only guy and it was my little private cache. I could bring the zombies out whenever I wanted to and do something with them that maybe had something to say. And then all of a sudden it just became another creature. And basically it’s a first-person shooter now… I think the popularity came from video games, not from films because up until 'Zombieland' (2009) there was no film that grossed more than 100 million bucks. The remake of Dawn did $75 million. Hollywood isn’t going to be particularly interested at that level. And then all of a sudden, I think it was Brad Pitt who went after Z, and he somehow convinced the studio to spend an exorbitant amount – unnecessarily. Interviewer: And the zombies aren’t loaded with the same sort of political meaning. Romero: Nothing. I mean I don’t see anything. It’s a disaster movie. They were even carefully avoiding the word. You had to extrapolate it from Z. People who didn’t know the book might figure World War Z means the final world war. They’ve finally got to the letter Z! Even in the advertising, they never used the world zombies; they never showed a shot that looked like zombies. They look like army ants, you know? Interviewer: Are you keen to keep up to date and watch a new zombie film if there is a big one out? Romero: No… I sort of had to watch that one. They invited me to watch it. They wanted me to say something nice, I think [laughs]." (George A. Romero's interview with James Blackford, Sight & Sound, 2014)

DepressedBergman

31,339 次观看 • 2 个月前