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Tom Cruise shot the Burj Khalifa scene in Mission: Impossible Ghost Protocol without knowing why his character was on the building “I didn't know why I was on the side of the Burj. I was like, we'll figure that out later. Problems for another day, problems for another day.”...

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Tom Cruise created Frank Mackey by performing the entire character for the director in his living room before a single camera rolled “He wanted me in like Izod shirts and khaki. I was like, 'I don't think that's this guy. Let me just show you my instincts on this.'” “In my screening room, I had him, I said, 'Just sit down right here.' And I lit it, and I had the whole music and I basically wrote the opening monologue, my version.” “As I was doing it, I could just see his face. He's like, 'What the fuck?'” “I create characters like that. You just go — I can do it. And you just, you work on it. Les Grossman, I knew what to do.”
1:25

Tom Cruise created Frank Mackey by performing the entire character for the director in his living room before a single camera rolled “He wanted me in like Izod shirts and khaki. I was like, 'I don't think that's this guy. Let me just show you my instincts on this.'” “In my screening room, I had him, I said, 'Just sit down right here.' And I lit it, and I had the whole music and I basically wrote the opening monologue, my version.” “As I was doing it, I could just see his face. He's like, 'What the fuck?'” “I create characters like that. You just go — I can do it. And you just, you work on it. Les Grossman, I knew what to do.”

ramagazzi

37,247 görüntüleme • 2 ay önce

Wiz Khalifa says he rewrote his second verse for “See You Again” after Paul Walker's death, just one week before Furious 7 was released “It was right when he passed. He was filming for the movie, and they were like, ‘Something happened. We need to do a whole little redirection, and you're going to be a part of that” “So they're like, ‘This is the last scene of the movie. He's in the movie, but we're generating his face on a couple scenes. And this is going to be one of them where it's going to be him riding off into the sunset, but it's going to represent his departure’” “But by the time the movie had come out, it was like a week before the movie came out, they were like, ‘We need to finish the song, and we're going to shoot the video, and we just want you and Charlie Puth on there. Everybody else we don't want, so you need to write another verse.’ So I quickly came in there. I watched the scene, because I already did the first verse just based off what they told me it was going to be like. Then for the second verse, they were like watch the scene and write it based off that” “I watched the scene, wrote my verse real quick, recorded it, we shot the video the next week, and then it comes out with the movie. It's just supposed to be a soundtrack song, but as soon as it got on the radio, it went number one and stayed there for like 12 or 13 weeks. I never knew it was going to do all of that at all” “It's unfortunate that Paul Walker lost his life, and his legacy is always going to live on. I met his family and they loved it. But I think ‘See You Again’ connects because you can tell everybody goes through those losses, and you can feel that in those verses. I've taken losses, and I've personally felt what that feels like. So to be able to channel that through the music, tell his story, help his legacy live on, and also connect with other people who go through similar things, that was my main goal. That's what I knew I could do through my personal experiences, and I'm glad that the world”
2:32

Wiz Khalifa says he rewrote his second verse for “See You Again” after Paul Walker's death, just one week before Furious 7 was released “It was right when he passed. He was filming for the movie, and they were like, ‘Something happened. We need to do a whole little redirection, and you're going to be a part of that” “So they're like, ‘This is the last scene of the movie. He's in the movie, but we're generating his face on a couple scenes. And this is going to be one of them where it's going to be him riding off into the sunset, but it's going to represent his departure’” “But by the time the movie had come out, it was like a week before the movie came out, they were like, ‘We need to finish the song, and we're going to shoot the video, and we just want you and Charlie Puth on there. Everybody else we don't want, so you need to write another verse.’ So I quickly came in there. I watched the scene, because I already did the first verse just based off what they told me it was going to be like. Then for the second verse, they were like watch the scene and write it based off that” “I watched the scene, wrote my verse real quick, recorded it, we shot the video the next week, and then it comes out with the movie. It's just supposed to be a soundtrack song, but as soon as it got on the radio, it went number one and stayed there for like 12 or 13 weeks. I never knew it was going to do all of that at all” “It's unfortunate that Paul Walker lost his life, and his legacy is always going to live on. I met his family and they loved it. But I think ‘See You Again’ connects because you can tell everybody goes through those losses, and you can feel that in those verses. I've taken losses, and I've personally felt what that feels like. So to be able to channel that through the music, tell his story, help his legacy live on, and also connect with other people who go through similar things, that was my main goal. That's what I knew I could do through my personal experiences, and I'm glad that the world”

dank

38,260 görüntüleme • 1 ay önce

Denzel Washington’s epic monologue towards the end of Training Day was largely improvised on set. Director Antoine Fuqua was so blown away by his performance, he says he thinks he "forgot to yell cut”. He explains… “That’s Denzel. He was just in his zone. I mean, that was one of those moment...people talk about AI. Those are the moments where you go...it's a great tool. It's gonna be a great tool, I think...but the emotion, and the moment that an actor can bring - you can't predict that. That's something that's just inside of Denzel. And when that came out, I was just like - I hope I got it. I just turned to my operator - who was shaking- I looked over at the guy - I was like, “please tell me you got that.” Because that was the take. That was it. There was no other take - I mean, how do you tell an actor like that, that that wasn't good enough? …He walked over to me, and he just had this look in his eyes. I was like, “you good?” He said, “you good?” I said, “Yeah…” Some of that was in the script, but he flipped it the way he did it. "Putting cases on all you." He kind of added some things in there. And then he just went into a whole other zone with the whole King Kong thing- with Pelican Bay - Denzel started that. That was Denzel. That was him, man. He just kind of lit up, and I think I forgot to yell cut. I was just watching it, because everybody started walking away, and I'm just watching him, and then he lights a cigarette - and he's talking - and I'm just watching him. I think at some point he probably looked at me like, you going to cut? And I'm like, “oh yeah, yeah, cut.” He was still in it. That's the thing with Denzel. He was so Alonso…I'm just watching him for a while because I didn't know what else he was going to do. It was just so magical. And then I think he looked up at me and I was like, “Okay, cut, cut.”
2:31

Denzel Washington’s epic monologue towards the end of Training Day was largely improvised on set. Director Antoine Fuqua was so blown away by his performance, he says he thinks he "forgot to yell cut”. He explains… “That’s Denzel. He was just in his zone. I mean, that was one of those moment...people talk about AI. Those are the moments where you go...it's a great tool. It's gonna be a great tool, I think...but the emotion, and the moment that an actor can bring - you can't predict that. That's something that's just inside of Denzel. And when that came out, I was just like - I hope I got it. I just turned to my operator - who was shaking- I looked over at the guy - I was like, “please tell me you got that.” Because that was the take. That was it. There was no other take - I mean, how do you tell an actor like that, that that wasn't good enough? …He walked over to me, and he just had this look in his eyes. I was like, “you good?” He said, “you good?” I said, “Yeah…” Some of that was in the script, but he flipped it the way he did it. "Putting cases on all you." He kind of added some things in there. And then he just went into a whole other zone with the whole King Kong thing- with Pelican Bay - Denzel started that. That was Denzel. That was him, man. He just kind of lit up, and I think I forgot to yell cut. I was just watching it, because everybody started walking away, and I'm just watching him, and then he lights a cigarette - and he's talking - and I'm just watching him. I think at some point he probably looked at me like, you going to cut? And I'm like, “oh yeah, yeah, cut.” He was still in it. That's the thing with Denzel. He was so Alonso…I'm just watching him for a while because I didn't know what else he was going to do. It was just so magical. And then I think he looked up at me and I was like, “Okay, cut, cut.”

Gangster Cinema Central

42,262 görüntüleme • 2 ay önce

Tom Holland admits he thought Christopher Nolan hated his first Odyssey scene "We finished the day. You gave me a hug and a pat on the back. And when I left that day, it wasn't until I left that I was like, oh, I can totally do this, I can swim in these waters" "Working with the IMAX camera for the first time is an experience. It is unlike anything I have ever seen before" "And I didn't know that it only ran for 3 minutes. So I remember you would continue cutting, and I was with John like, why does he keep cutting?" "I was like, why is he doing that? In my head I'm like, does he not like what we're doing?" "And then I remember it was actually George Cottle that was like, no no no, there's only 3 minutes in the mag. And I was like, oh thank god"
0:49

Tom Holland admits he thought Christopher Nolan hated his first Odyssey scene "We finished the day. You gave me a hug and a pat on the back. And when I left that day, it wasn't until I left that I was like, oh, I can totally do this, I can swim in these waters" "Working with the IMAX camera for the first time is an experience. It is unlike anything I have ever seen before" "And I didn't know that it only ran for 3 minutes. So I remember you would continue cutting, and I was with John like, why does he keep cutting?" "I was like, why is he doing that? In my head I'm like, does he not like what we're doing?" "And then I remember it was actually George Cottle that was like, no no no, there's only 3 minutes in the mag. And I was like, oh thank god"

sara

99,406 görüntüleme • 1 ay önce

Amanda Seyfried reveals Harvey Weinstein bought Lovelace after she stopped his car, then his brother's company trashed the movie and threw it away Amanda: "I remember seeing him drive away. This was pre everybody admitting that he was the way everybody knew he was" Adam Brody: "I knew he was scary, but I actually didn't know to the extent" Amanda: "I had heard a few rumors" "I remember seeing him in a car and I'm like, 'Harvey.' Oh, I'm so stupid. Slow motion, he's rolling down his window and I'm like, 'Are you gonna come to Lovelace tomorrow?'" "He's like, 'I'm supposed to fly out in the morning. When is it?' And I was like, 'It's at boop boop boop.' And he was like, 'I'll make it there.' And I was like, 'He's gonna come'" "Then he came, he showed up, he's like, 'I bought it.' And I gave him the biggest hug. And I'm like, 'Oh my God, thank you'" "It was actually his brother's company, who just f*cking trashed it, and threw it away, and didn't do anything with it" "But it was just the excitement with which the whole room was buzzing. Harvey bought it and he was like the big papa of the room. But it's just the way it was" "We all needed him to want our project if it was an indie, because that meant it was gonna go somewhere"
1:29

Amanda Seyfried reveals Harvey Weinstein bought Lovelace after she stopped his car, then his brother's company trashed the movie and threw it away Amanda: "I remember seeing him drive away. This was pre everybody admitting that he was the way everybody knew he was" Adam Brody: "I knew he was scary, but I actually didn't know to the extent" Amanda: "I had heard a few rumors" "I remember seeing him in a car and I'm like, 'Harvey.' Oh, I'm so stupid. Slow motion, he's rolling down his window and I'm like, 'Are you gonna come to Lovelace tomorrow?'" "He's like, 'I'm supposed to fly out in the morning. When is it?' And I was like, 'It's at boop boop boop.' And he was like, 'I'll make it there.' And I was like, 'He's gonna come'" "Then he came, he showed up, he's like, 'I bought it.' And I gave him the biggest hug. And I'm like, 'Oh my God, thank you'" "It was actually his brother's company, who just f*cking trashed it, and threw it away, and didn't do anything with it" "But it was just the excitement with which the whole room was buzzing. Harvey bought it and he was like the big papa of the room. But it's just the way it was" "We all needed him to want our project if it was an indie, because that meant it was gonna go somewhere"

sara

835,948 görüntüleme • 1 ay önce

Joe Rogan said Chris Rock getting slapped by Will Smith in the Oscars was like the best thing that ever happened to him. Adam Sandler: His live special was fuck! I loved it. I loved it. Joe Rogan: Yeah, and it was also like the build-up because of getting slapped by Will Smith and all that crazy shit. Yeah, yeah, yeah. I think that was like the best thing that ever happened to him, because then he became like wild again. Like, his stand-up was like outrageous. It was like the Rock of old. Adam Sandler: That night was like watching a fucking Super Bowl. You were just like, "What? it's a live event. Holy fuck, what the fuck?" And then he was a badass, and then I think he had some white shit on, and he looked cool as fuck. You were waiting for him to talk about it, and then he got to it and he got fucking excited to say it.
2:19

Joe Rogan said Chris Rock getting slapped by Will Smith in the Oscars was like the best thing that ever happened to him. Adam Sandler: His live special was fuck! I loved it. I loved it. Joe Rogan: Yeah, and it was also like the build-up because of getting slapped by Will Smith and all that crazy shit. Yeah, yeah, yeah. I think that was like the best thing that ever happened to him, because then he became like wild again. Like, his stand-up was like outrageous. It was like the Rock of old. Adam Sandler: That night was like watching a fucking Super Bowl. You were just like, "What? it's a live event. Holy fuck, what the fuck?" And then he was a badass, and then I think he had some white shit on, and he looked cool as fuck. You were waiting for him to talk about it, and then he got to it and he got fucking excited to say it.

Mue Deborah

1,911,485 görüntüleme • 2 ay önce

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010
6:40

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

Gangster Cinema Central

85,366 görüntüleme • 2 ay önce

Alan Ritchson says he was basically handed the role of Thor but he blew it because he was too overconfident "I got terrible feedback, it was constructive in the sense that the casting director felt like I was such a sure thing if I just had the craft as she put it and I didn't show up that day ready" "The question is like 'is our ego gonna get in the way?' and like, they don't understand me, they don't understand my art" "I took a step back from the business to learn what the craft means. And man, am I better for it" "Sometimes you it's more about buckling down and being willing to humble yourself and learn what you don't know"
0:52

Alan Ritchson says he was basically handed the role of Thor but he blew it because he was too overconfident "I got terrible feedback, it was constructive in the sense that the casting director felt like I was such a sure thing if I just had the craft as she put it and I didn't show up that day ready" "The question is like 'is our ego gonna get in the way?' and like, they don't understand me, they don't understand my art" "I took a step back from the business to learn what the craft means. And man, am I better for it" "Sometimes you it's more about buckling down and being willing to humble yourself and learn what you don't know"

Rixlerr

65,499 görüntüleme • 1 ay önce

ABC News photojournalist Chris Plater, a witness to the scene after two National Guardsmen were shot in D.C.: "One person said something like, you know, man, the guy went up there and started shooting at the National Guard. I didn't get to talk to him, but I didn't get to, you know, know who he was. But it seemed like he suggested that somebody went up and started shooting at the National Guard." "One National Guard was lying on his side. They were rendering aid to him. He wasn't moving, but he was on his side. And then I looked at the the other National Guard member that was down, and I saw compressions going on. I, you know, it was -- it was a lot of people around there. So I don't think it was the person that had done the shooting. And all I could tell you is that I identified two National Guard members that were being worked on. Eventually, the one National Guard that was on the side, he got to move a little bit while he was on his side. And they were still, you know, kind of, you know, working with him. But the other national Guard member, I just saw compression going on with him in the chest area, and that's that's all I can tell you."
1:25

ABC News photojournalist Chris Plater, a witness to the scene after two National Guardsmen were shot in D.C.: "One person said something like, you know, man, the guy went up there and started shooting at the National Guard. I didn't get to talk to him, but I didn't get to, you know, know who he was. But it seemed like he suggested that somebody went up and started shooting at the National Guard." "One National Guard was lying on his side. They were rendering aid to him. He wasn't moving, but he was on his side. And then I looked at the the other National Guard member that was down, and I saw compressions going on. I, you know, it was -- it was a lot of people around there. So I don't think it was the person that had done the shooting. And all I could tell you is that I identified two National Guard members that were being worked on. Eventually, the one National Guard that was on the side, he got to move a little bit while he was on his side. And they were still, you know, kind of, you know, working with him. But the other national Guard member, I just saw compression going on with him in the chest area, and that's that's all I can tell you."

Curtis Houck

697,899 görüntüleme • 9 ay önce

Scottie Scheffler says they didn’t find his ball on 17 and he actually asked people to stop searching for it: “The rules official said it landed just barely left of the grandstand thing. I don't know what you call that, like a sponsor area or something. And Teddy had a beat right on where it was coming down. So when we get up there, it's past the fence that marks the TIO, so he said anything that's in there is it part of the TIO. So then we said -- we tried to figure it out. I said, if I find it, does that help me; can I drop it -- since that would be about 50 yards closer to the hole. He said, yes, you can then use that spot, but you might have to go to the other side of the TIO, which I didn't know exactly where that would be, and that's not a great angle coming across there. “So decided to stop the search and go back and drop it doing point-of-entry TIO relief. Actually I did that once this year during the Byron as well. Not something I'm proud of but I was familiar with.” He went on to say: “I stopped them. They had guys pointing from up there, like it landed right here, and I just kind of hauled up there, and I was like, guys, get out of there, stop, do not find the ball. Fortunately it was my security guy that I've had for a few years here. His name is Brucey. And then Woody was up there as well. So both those guys are pretty -- I know them quite well, so when I said, please don't look for the ball, they got out of there.” The Open
1:19

Scottie Scheffler says they didn’t find his ball on 17 and he actually asked people to stop searching for it: “The rules official said it landed just barely left of the grandstand thing. I don't know what you call that, like a sponsor area or something. And Teddy had a beat right on where it was coming down. So when we get up there, it's past the fence that marks the TIO, so he said anything that's in there is it part of the TIO. So then we said -- we tried to figure it out. I said, if I find it, does that help me; can I drop it -- since that would be about 50 yards closer to the hole. He said, yes, you can then use that spot, but you might have to go to the other side of the TIO, which I didn't know exactly where that would be, and that's not a great angle coming across there. “So decided to stop the search and go back and drop it doing point-of-entry TIO relief. Actually I did that once this year during the Byron as well. Not something I'm proud of but I was familiar with.” He went on to say: “I stopped them. They had guys pointing from up there, like it landed right here, and I just kind of hauled up there, and I was like, guys, get out of there, stop, do not find the ball. Fortunately it was my security guy that I've had for a few years here. His name is Brucey. And then Woody was up there as well. So both those guys are pretty -- I know them quite well, so when I said, please don't look for the ball, they got out of there.” The Open

Flushing It

1,780,345 görüntüleme • 1 ay önce

Charlie Sheen reveals Oliver Stone gave the Born on the Fourth of July role they had agreed on to Tom Cruise and confronted him drunk in a bar about it years later “The thing that was weird is he said, you know, I want you to do Born on the Fourth and we had meetings about it and we had a dinner with Ron Kovic, and then he just I stopped hearing from him.” “I love that Emilio thought I needed to be seated to get news he thought was going to make me faint. I mean, what are we doing here? It's a movie.” “It was also the betrayal factor of it, you know.” “I was like, Well, we didn't see you. How do you know how much passion I lost if we never talked about it again? He was like, Yeah, you know, my instincts told me.”
2:14

Charlie Sheen reveals Oliver Stone gave the Born on the Fourth of July role they had agreed on to Tom Cruise and confronted him drunk in a bar about it years later “The thing that was weird is he said, you know, I want you to do Born on the Fourth and we had meetings about it and we had a dinner with Ron Kovic, and then he just I stopped hearing from him.” “I love that Emilio thought I needed to be seated to get news he thought was going to make me faint. I mean, what are we doing here? It's a movie.” “It was also the betrayal factor of it, you know.” “I was like, Well, we didn't see you. How do you know how much passion I lost if we never talked about it again? He was like, Yeah, you know, my instincts told me.”

Hribi

219,120 görüntüleme • 2 ay önce

Shia LaBeouf reveals he loaded a gun and sat at his table ready to kill himself after reading an email that told him his career was over “When it landed I forgot how to breathe, because the email, the subtext of the email was your hustle's over.” “And I forgot how to breathe, and the next thing I did after two minutes of sitting there looking at staring at a computer screen was I went and loaded up a gun and sat at my table and was gonna kill myself. I was out of here. I didn't know what to do anymore, like all my ideas had failed.” “And there were no options. It was like there was nowhere to go.” “People driving down the street rolling down the window like f*** off and die, you know, this is where I was in the early days of this s***.” “I wound up signing on to this meeting and I heard one of the dudes who was speaking that night say: if you're new and you just entered, you don't have everything you want right now, but you got everything you need right now. Now.” “And he did that for like two minutes. And the first minute I'm thinking you can't spend the whole rest of your share just snapping your fingers and saying 'now' — like this s*** is ludicrous.” “And after two minutes, like, I felt like a giggle start to rise inside of me and I felt something like presence. I stopped thinking about the email, stopped thinking about my hustle. The gun almost disappeared.”
2:57

Shia LaBeouf reveals he loaded a gun and sat at his table ready to kill himself after reading an email that told him his career was over “When it landed I forgot how to breathe, because the email, the subtext of the email was your hustle's over.” “And I forgot how to breathe, and the next thing I did after two minutes of sitting there looking at staring at a computer screen was I went and loaded up a gun and sat at my table and was gonna kill myself. I was out of here. I didn't know what to do anymore, like all my ideas had failed.” “And there were no options. It was like there was nowhere to go.” “People driving down the street rolling down the window like f*** off and die, you know, this is where I was in the early days of this s***.” “I wound up signing on to this meeting and I heard one of the dudes who was speaking that night say: if you're new and you just entered, you don't have everything you want right now, but you got everything you need right now. Now.” “And he did that for like two minutes. And the first minute I'm thinking you can't spend the whole rest of your share just snapping your fingers and saying 'now' — like this s*** is ludicrous.” “And after two minutes, like, I felt like a giggle start to rise inside of me and I felt something like presence. I stopped thinking about the email, stopped thinking about my hustle. The gun almost disappeared.”

ramagazzi

643,107 görüntüleme • 1 ay önce

Nicholas Hoult reveals he was driving when he heard on the radio that Robert Pattinson had landed the Batman role, even though his own screen test was scheduled for the following weekend Nicholas Hoult: You know, cause there's plenty of times that people go and audition for things and you never hear about it, you never know, and it's like that's happening all the time. But now there's this weird thing where it's like and it's only public for people that care, most people day-to-day don't care about this stuff, but like it feels weird then, cause you're like, "Oh..." It's one thing to have your failures, it's another thing to have them like publicly broadcast seemingly to everyone. Josh Horowitz: Not to mention it's happening like almost in real time. It's like these things like leak out and you're like, "He's meeting on Friday," and it's like, "What? You're in the middle of it!" I can only imagine... Nicholas Hoult: That definitely adds an element of drama to it, I suppose. But that's also interesting. I mean, I remember, you know, a week before we did the Batman test, I was driving in my car and I had the radio on, and they were talking on the radio about how Rob was going to be the new Batman. And I was like, "Well... it's not confirmed yet!" I was like, "I'm auditioning next weekend! Give me a chance!"
2:02

Nicholas Hoult reveals he was driving when he heard on the radio that Robert Pattinson had landed the Batman role, even though his own screen test was scheduled for the following weekend Nicholas Hoult: You know, cause there's plenty of times that people go and audition for things and you never hear about it, you never know, and it's like that's happening all the time. But now there's this weird thing where it's like and it's only public for people that care, most people day-to-day don't care about this stuff, but like it feels weird then, cause you're like, "Oh..." It's one thing to have your failures, it's another thing to have them like publicly broadcast seemingly to everyone. Josh Horowitz: Not to mention it's happening like almost in real time. It's like these things like leak out and you're like, "He's meeting on Friday," and it's like, "What? You're in the middle of it!" I can only imagine... Nicholas Hoult: That definitely adds an element of drama to it, I suppose. But that's also interesting. I mean, I remember, you know, a week before we did the Batman test, I was driving in my car and I had the radio on, and they were talking on the radio about how Rob was going to be the new Batman. And I was like, "Well... it's not confirmed yet!" I was like, "I'm auditioning next weekend! Give me a chance!"

𝖬𝖸𝖪𝖤𝖫 ♰

281,547 görüntüleme • 1 ay önce

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'
3:56

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder Film

23,149 görüntüleme • 7 ay önce

steven talking about the time he saw iu’s bleuming lyrics at the same filming location he had back in the day 🦊: you know, i really like IU sunbaenim's songs a lot~ back in the day, there was this shoot i had to do and the day before, IU sunbaenim had a filming there (in the same location). and there was this a4 paper so i looked at it and at the top it said 'blueming' and the lyrics were written all the way down.. but since it was just lyrics, there was no lee jieun written, no IU sunbaenim or anything like that either, so i was just like 'what is this? no way...' but in the song lyrics there was.. jieun—anyway sunbaenim's name was written on it. yeah so i was like 'ah i think this is it' but even after realizing that i didn't really get that flutter of excitement or anything. because i didn't know the song so i was just like 'ah the lyrics are good~' and that was it. and i probably tore that paper and threw it away 🐯: you did really well, you disposed it on her behalf 🦊: ㅎㅎㅎㅎ it's cute and funny how steven just tore up the paper since the song wasn't released yet at the time ᄏᄏᄏᄏ #아홉 #AHOF #스티븐 #STEVEN
1:14

steven talking about the time he saw iu’s bleuming lyrics at the same filming location he had back in the day 🦊: you know, i really like IU sunbaenim's songs a lot~ back in the day, there was this shoot i had to do and the day before, IU sunbaenim had a filming there (in the same location). and there was this a4 paper so i looked at it and at the top it said 'blueming' and the lyrics were written all the way down.. but since it was just lyrics, there was no lee jieun written, no IU sunbaenim or anything like that either, so i was just like 'what is this? no way...' but in the song lyrics there was.. jieun—anyway sunbaenim's name was written on it. yeah so i was like 'ah i think this is it' but even after realizing that i didn't really get that flutter of excitement or anything. because i didn't know the song so i was just like 'ah the lyrics are good~' and that was it. and i probably tore that paper and threw it away 🐯: you did really well, you disposed it on her behalf 🦊: ㅎㅎㅎㅎ it's cute and funny how steven just tore up the paper since the song wasn't released yet at the time ᄏᄏᄏᄏ #아홉 #AHOF #스티븐 #STEVEN

윈드 ᰔᩚ

27,583 görüntüleme • 3 ay önce

The Miz on getting kicked out of the wwe locker room “I knew the person that told me that, "Hey, you're kicked out of the locker room." He said, "You're not coming in until I say so." Was that The Undertaker? “No, that person went away. So then when that person went away, I was like, oh boy, how am I gonna get back in the locker room? So I had to wait another three months. I asked Taker. I was like, ‘Man, I’ve been out of the locker room for a long time.’ He goes, ‘Oh, you have?’ Yeah, I’ve been out like six months. ‘What’d you do?’ I ate a piece of chicken in the locker room, and it got all over. I still believe it did not, but other people will tell you differently, and they can have their opinions. That is fine. I was under a microscope of, let’s get this guy. A lot of times in a locker room, someone could say he ate a piece of chicken over my thing. And, [someone else says] ‘Oh, man, what are you doing? Why are you doing this?’ And then another guy walks in. ‘Oh, you ate chicken over his his bag?’ Another guy walks in. ‘He did what?!’ Then another guy is outside the locker room. And then he heard he ate chicken and he got it all over the place. Then by the time the telephone game was played, I was throwing chicken all over the locker room, I was smearing it on stuff, that’s what it felt like. So yeah, I went to Taker and I said, I ate chicken over a bag. Yeah, it’s real.” (Chris Van Vliet)
2:58

The Miz on getting kicked out of the wwe locker room “I knew the person that told me that, "Hey, you're kicked out of the locker room." He said, "You're not coming in until I say so." Was that The Undertaker? “No, that person went away. So then when that person went away, I was like, oh boy, how am I gonna get back in the locker room? So I had to wait another three months. I asked Taker. I was like, ‘Man, I’ve been out of the locker room for a long time.’ He goes, ‘Oh, you have?’ Yeah, I’ve been out like six months. ‘What’d you do?’ I ate a piece of chicken in the locker room, and it got all over. I still believe it did not, but other people will tell you differently, and they can have their opinions. That is fine. I was under a microscope of, let’s get this guy. A lot of times in a locker room, someone could say he ate a piece of chicken over my thing. And, [someone else says] ‘Oh, man, what are you doing? Why are you doing this?’ And then another guy walks in. ‘Oh, you ate chicken over his his bag?’ Another guy walks in. ‘He did what?!’ Then another guy is outside the locker room. And then he heard he ate chicken and he got it all over the place. Then by the time the telephone game was played, I was throwing chicken all over the locker room, I was smearing it on stuff, that’s what it felt like. So yeah, I went to Taker and I said, I ate chicken over a bag. Yeah, it’s real.” (Chris Van Vliet)

J O H N

171,984 görüntüleme • 7 ay önce

Scarface is widely regarded as a classic today, but when it first came out, the reception was brutal. Steven Bauer, who played Manny, says it was so painful that for years he and Al Pacino barely even spoke about the film. He explains… “Scarface is great to be a part of now. For years, it was dismal - like everybody associated with Scarface was a leper - people got very wimpy about Scarface really quickly. As soon as the reviews were out… Our peers came to see the movie in the premiere, right? There were two premieres, one in New York, one in LA, and people came to see it and they were like, ‘Wow, what a movie…. The next day, the reviews are out, and all the papers — this is before the internet, okay? - so you get just the conventional news media outlets - and 90% of them gave Scarface a horrible review. Like horrible, really, really insulting, injurious stuff. Personal attacks on Pacino and Brian De Palma, the director, and on Oliver, the writer... It was really, really mean because the country was going through a politically correct sort of thing - they were like, "This is like a new wave of violence in the movies, oh!" It’s nice because when I see Al - we can finally talk about it, because...for years, we couldn’t even talk about it. We’d be like, “Oh yeah, Scarface, yeah, yeah...” It was so sad! Because the movie was so great! And then it was like this thud, and it lasted like 10 years… Anywhere I’d go, it was like, ‘You’re that guy who was really good in that really terrible movie.’ And I’d be like, ‘How could you say that?’ And they’d go, ‘Well, you were good.’ And I’m like, ‘Okay, but I don’t care. What about the movie?’ And they go, ‘Oh, come on, you gotta admit it. It was like way over the top. It was like so exaggerating,’ blah, blah, blah, blah.…and I’d be like, ‘You’re a pussy!”
5:30

Scarface is widely regarded as a classic today, but when it first came out, the reception was brutal. Steven Bauer, who played Manny, says it was so painful that for years he and Al Pacino barely even spoke about the film. He explains… “Scarface is great to be a part of now. For years, it was dismal - like everybody associated with Scarface was a leper - people got very wimpy about Scarface really quickly. As soon as the reviews were out… Our peers came to see the movie in the premiere, right? There were two premieres, one in New York, one in LA, and people came to see it and they were like, ‘Wow, what a movie…. The next day, the reviews are out, and all the papers — this is before the internet, okay? - so you get just the conventional news media outlets - and 90% of them gave Scarface a horrible review. Like horrible, really, really insulting, injurious stuff. Personal attacks on Pacino and Brian De Palma, the director, and on Oliver, the writer... It was really, really mean because the country was going through a politically correct sort of thing - they were like, "This is like a new wave of violence in the movies, oh!" It’s nice because when I see Al - we can finally talk about it, because...for years, we couldn’t even talk about it. We’d be like, “Oh yeah, Scarface, yeah, yeah...” It was so sad! Because the movie was so great! And then it was like this thud, and it lasted like 10 years… Anywhere I’d go, it was like, ‘You’re that guy who was really good in that really terrible movie.’ And I’d be like, ‘How could you say that?’ And they’d go, ‘Well, you were good.’ And I’m like, ‘Okay, but I don’t care. What about the movie?’ And they go, ‘Oh, come on, you gotta admit it. It was like way over the top. It was like so exaggerating,’ blah, blah, blah, blah.…and I’d be like, ‘You’re a pussy!”

Gangster Cinema Central

430,404 görüntüleme • 2 ay önce

Edward Norton tells how Richard Gere told him to use his rent money to buy a guitar and the lesson he learned from that "Probably one of the biggest private guitar collections in the world at the time and he said what do you got" "I said I don't have anything you know and he was like what? we're going guitar shopping" "He took me this place called Voltage Guitars off sunset and I found this 1969 Martin D35 from the year i was born" "It was $1,395 and I was like that was so completely even that wasn't even considerable to me right at the time and Richard he was like" "I like that he goes that's the one and I was like oh man I can't do that and he goes are you taking your per diem and keeping it in an envelope?" "And I said yeah and he goes I'm gonna buy this, you're gonna bring me that envelope of cash tomorrow and give it to me because you only live once" "He was like you're gonna get this guitar" "It sounds silly, it sounds materialist everything, it was a nice thing, it was like him saying like hey you're gonna be fine trust yourself" "He was like this won't be, he said something to me like this won't be your last gig but he also he was like what are you saving it for rent money like get this thing there's gonna be a lot of joy in it" "It's my favorite guitar I've ever bought still and I look at it and I'm like he like launched me into something I can't explain it" Host: "He said that phase of your life is over, walk into your new phase, and walk with your shoulders back" "Yeah it was very.." Host: "I love that, me too like this new phase has abundance"
1:31

Edward Norton tells how Richard Gere told him to use his rent money to buy a guitar and the lesson he learned from that "Probably one of the biggest private guitar collections in the world at the time and he said what do you got" "I said I don't have anything you know and he was like what? we're going guitar shopping" "He took me this place called Voltage Guitars off sunset and I found this 1969 Martin D35 from the year i was born" "It was $1,395 and I was like that was so completely even that wasn't even considerable to me right at the time and Richard he was like" "I like that he goes that's the one and I was like oh man I can't do that and he goes are you taking your per diem and keeping it in an envelope?" "And I said yeah and he goes I'm gonna buy this, you're gonna bring me that envelope of cash tomorrow and give it to me because you only live once" "He was like you're gonna get this guitar" "It sounds silly, it sounds materialist everything, it was a nice thing, it was like him saying like hey you're gonna be fine trust yourself" "He was like this won't be, he said something to me like this won't be your last gig but he also he was like what are you saving it for rent money like get this thing there's gonna be a lot of joy in it" "It's my favorite guitar I've ever bought still and I look at it and I'm like he like launched me into something I can't explain it" Host: "He said that phase of your life is over, walk into your new phase, and walk with your shoulders back" "Yeah it was very.." Host: "I love that, me too like this new phase has abundance"

le.hl

375,633 görüntüleme • 1 ay önce