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#WATCH | Mumbai, Maharashtra: Answering a question by ANI on working with Christopher Nolan and adapting IMAX shooting style, Actor Tom Holland says, "Shooting with IMAX requires a great deal of collaboration, not just between the actors and the director, but the actors and the crew, and then in...

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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 views • 8 months ago

this is interesting 😆 “was there any action scene that was actually a different kind of “love scene” between Lom and Blew? P’Fuse: actually, I only added a little bit of it, but it did have a slightly dreamy feel to it. for example, why did LomBlew have to huddle together when Lom was shooting at the bad guys? or those moments when their faces were really close to each other. Also, there were moments on the banana truck when they turned and looked at each other, sth like that. I know they were technically their escape scenes, but it created moments where the audiences can feel that they were in love, that they had to endure and get through this together. #FreenBecky
0:29

this is interesting 😆 “was there any action scene that was actually a different kind of “love scene” between Lom and Blew? P’Fuse: actually, I only added a little bit of it, but it did have a slightly dreamy feel to it. for example, why did LomBlew have to huddle together when Lom was shooting at the bad guys? or those moments when their faces were really close to each other. Also, there were moments on the banana truck when they turned and looked at each other, sth like that. I know they were technically their escape scenes, but it created moments where the audiences can feel that they were in love, that they had to endure and get through this together. #FreenBecky

Por

16,835 views • 21 days ago

“Because I think a lot of people are familiar with you know, pop stars have these alter egos on stage and then they're also a little bit potentially different behind the scenes. Can you talk about what the difference is between those two personas?” ROSÉ: I think, you know, like I started off as, my whole career started as Blackpink and I feel like it was so much fun creating this character on stage because I'm just from like Australia, like in my bedroom, but like it was so much fun creating this like pop star, like character. It was so much fun. And then I think creating my first solo album, it was my discover of like, you know, who am I? And like when I was naming the album, I really thought a lot about it. There was like options like, you know, number one girl. And then a lot of people did like, what about Rosie? And at first I was like, it seems a bit like narcissistic. I'm not sure. And then it slowly grew on me. And then, you know, just the idea of it being Rosie because Rosé has been such a big part of my life. And that's what we present ourselves as Blackpink, Blackpink Rosé. And I felt like this was very opposite. And so I noticed that it was closer to kind of introducing a different version of me, like because it combined all the stories I would talk about with my friends and family. And they call me Rosie at home. And of course, the online name that the company had made for me from at the beginning of Blackpink, I remember when it happened was like the day before they released my picture, profile picture, they were like, Rosé. And like the name got announced.
2:55

“Because I think a lot of people are familiar with you know, pop stars have these alter egos on stage and then they're also a little bit potentially different behind the scenes. Can you talk about what the difference is between those two personas?” ROSÉ: I think, you know, like I started off as, my whole career started as Blackpink and I feel like it was so much fun creating this character on stage because I'm just from like Australia, like in my bedroom, but like it was so much fun creating this like pop star, like character. It was so much fun. And then I think creating my first solo album, it was my discover of like, you know, who am I? And like when I was naming the album, I really thought a lot about it. There was like options like, you know, number one girl. And then a lot of people did like, what about Rosie? And at first I was like, it seems a bit like narcissistic. I'm not sure. And then it slowly grew on me. And then, you know, just the idea of it being Rosie because Rosé has been such a big part of my life. And that's what we present ourselves as Blackpink, Blackpink Rosé. And I felt like this was very opposite. And so I noticed that it was closer to kind of introducing a different version of me, like because it combined all the stories I would talk about with my friends and family. And they call me Rosie at home. And of course, the online name that the company had made for me from at the beginning of Blackpink, I remember when it happened was like the day before they released my picture, profile picture, they were like, Rosé. And like the name got announced.

rosie

47,583 views • 8 months ago

Q: “Because I think a lot of people are familiar with, you know, pop stars have these alter egos on stage and then they're also a little bit potentially different behind the scenes. Can you talk about what the difference is between those two personas?” ROSÉ: “I think, you know, like I started off as, my whole career started as Blackpink and I feel like it was so much fun creating this character on stage because I'm just from like Australia, like in my bedroom, but like it was so much fun creating this like pop star, like character. It was so much fun. And then I think creating my first solo album, it was my discover of like, you know, who am I? And like when I was naming the album, I really thought a lot about it. There was like options like, you know, number one girl. And then a lot of people did like, what about Rosie? And at first I was like, it seems a bit like narcissistic. ..I'm not sure. And then it slowly grew on me. And then, you know, just the idea of it being Rosie because Rosé has been such a big part of my life. And that's what we present ourselves as Blackpink, Blackpink Rosé. And I felt like this was very opposite. And so I noticed that it was closer to kind of introducing a different version of me, like because it combined all the stories I would talk about with my friends and family. And they call me Rosie at home. And of course, the online name that the company had made for me from at the beginning of Blackpink, I remember when it happened was like the day before they released my picture, profile picture, they were like, Rosé. And like the name got announced.”
2:59

Q: “Because I think a lot of people are familiar with, you know, pop stars have these alter egos on stage and then they're also a little bit potentially different behind the scenes. Can you talk about what the difference is between those two personas?” ROSÉ: “I think, you know, like I started off as, my whole career started as Blackpink and I feel like it was so much fun creating this character on stage because I'm just from like Australia, like in my bedroom, but like it was so much fun creating this like pop star, like character. It was so much fun. And then I think creating my first solo album, it was my discover of like, you know, who am I? And like when I was naming the album, I really thought a lot about it. There was like options like, you know, number one girl. And then a lot of people did like, what about Rosie? And at first I was like, it seems a bit like narcissistic. ..I'm not sure. And then it slowly grew on me. And then, you know, just the idea of it being Rosie because Rosé has been such a big part of my life. And that's what we present ourselves as Blackpink, Blackpink Rosé. And I felt like this was very opposite. And so I noticed that it was closer to kind of introducing a different version of me, like because it combined all the stories I would talk about with my friends and family. And they call me Rosie at home. And of course, the online name that the company had made for me from at the beginning of Blackpink, I remember when it happened was like the day before they released my picture, profile picture, they were like, Rosé. And like the name got announced.”

hiro

35,872 views • 8 months ago

Kid Cudi says he got MGMT so drunk and high they made nothing all night, then "Pursuit of Happiness" happened in the doorway as they were walking out "I had them come in the studio, and this day was actually the day that Michael Jackson died. And I was kind of in mourning for the rest of the session. I was in a funky mood, and we were trying to create. But I got them too drunk and high. They got so blitzed." "I remember Andrew was playing on a keyboard and him and Ben just giggling like little kids. And I was like, oh my god, we ain't making [expletive] tonight. I was like, I f*cked up. I got him too geeked." "So we were getting ready to leave. We were there for like hours, man. And we couldn't make anything." "When they first got there, they wanted to hear the vibe of the album. So I played them a couple songs. And Pursuit of Happiness, I remember they asked me to play that twice." "So before they were leaving, I was like, 'Guys, I really want y'all on the album. Maybe you guys want to sing this hook with me on this song you asked me to play twice, Pursuit of Happiness.' And they were like, 'Okay, cool. Let's try it.' And they went in, laid it down, and that's how I got them on the album. Just like that." "It was almost, they were about to leave. It almost didn't happen."
1:13

Kid Cudi says he got MGMT so drunk and high they made nothing all night, then "Pursuit of Happiness" happened in the doorway as they were walking out "I had them come in the studio, and this day was actually the day that Michael Jackson died. And I was kind of in mourning for the rest of the session. I was in a funky mood, and we were trying to create. But I got them too drunk and high. They got so blitzed." "I remember Andrew was playing on a keyboard and him and Ben just giggling like little kids. And I was like, oh my god, we ain't making [expletive] tonight. I was like, I f*cked up. I got him too geeked." "So we were getting ready to leave. We were there for like hours, man. And we couldn't make anything." "When they first got there, they wanted to hear the vibe of the album. So I played them a couple songs. And Pursuit of Happiness, I remember they asked me to play that twice." "So before they were leaving, I was like, 'Guys, I really want y'all on the album. Maybe you guys want to sing this hook with me on this song you asked me to play twice, Pursuit of Happiness.' And they were like, 'Okay, cool. Let's try it.' And they went in, laid it down, and that's how I got them on the album. Just like that." "It was almost, they were about to leave. It almost didn't happen."

katsu

64,584 views • 1 month ago

George Clooney says “Gravity” was supposed to be an eight-week, $30 million “little art space film,” but Alfonso Cuarón spent a year and a half building technology from scratch until the budget hit around $100 million so much so that Warner Bros. thought the movie was a disaster and sold off a huge chunk of it the day before it opened, only for it to make over $1 billion. “When we were doing Gravity, we thought we were shooting here, and we thought we were going to be here for, like, that was an eight-week shoot.” “Like this little art I’m not kidding. This is absolutely true little art space film.” “We were going to shoot it for like 30 million dollars.” “And bit by bit he’s creating this technology while we were shooting, building a plane while you’re flying it, you know.” “And bit by bit you’re like, ‘Oh shit, this is getting bigger.’” “And it was a year and a half, literally.” “Yeah, a year and a half.” “And then Warner Brothers was like, ‘I think this is a disaster,’ and nobody wanted to show it.” “And Warner Brothers, the day before the movie opened, sold off a huge chunk of the movie because they were like, ‘We’re going to eat’” “I think it cost 100 million, which sounds like a lot, but for a movie that size it was really not much.” “And they were like, ‘Well, we’ll sell off 50 million back from this other group.’” “And then it opened and it was, you know, made a billion dollars and they all look like idiots.” “But it was Alfonso working as if it was a small little film and then getting swallowed up by a lot of technology.” “But it was still watching him in that room talking about behavior between two people and talking about events, you know.”
1:22

George Clooney says “Gravity” was supposed to be an eight-week, $30 million “little art space film,” but Alfonso Cuarón spent a year and a half building technology from scratch until the budget hit around $100 million so much so that Warner Bros. thought the movie was a disaster and sold off a huge chunk of it the day before it opened, only for it to make over $1 billion. “When we were doing Gravity, we thought we were shooting here, and we thought we were going to be here for, like, that was an eight-week shoot.” “Like this little art I’m not kidding. This is absolutely true little art space film.” “We were going to shoot it for like 30 million dollars.” “And bit by bit he’s creating this technology while we were shooting, building a plane while you’re flying it, you know.” “And bit by bit you’re like, ‘Oh shit, this is getting bigger.’” “And it was a year and a half, literally.” “Yeah, a year and a half.” “And then Warner Brothers was like, ‘I think this is a disaster,’ and nobody wanted to show it.” “And Warner Brothers, the day before the movie opened, sold off a huge chunk of the movie because they were like, ‘We’re going to eat’” “I think it cost 100 million, which sounds like a lot, but for a movie that size it was really not much.” “And they were like, ‘Well, we’ll sell off 50 million back from this other group.’” “And then it opened and it was, you know, made a billion dollars and they all look like idiots.” “But it was Alfonso working as if it was a small little film and then getting swallowed up by a lot of technology.” “But it was still watching him in that room talking about behavior between two people and talking about events, you know.”

agim𓍯

358,657 views • 1 month ago

"Coyote vs. Acme" director David Green says the cast and crew had a "funeral screening" when they thought the movie was shelved for good: “That screening for us was emotional in so many ways. It was a bit of a party because we were able to share the movie with friends and other filmmakers who had never seen the movie. And I got to share it with Will [Forte] and Lana, who never got to see the final movie. So that moment was so charged and electric, and the room played so hot.”
1:26

"Coyote vs. Acme" director David Green says the cast and crew had a "funeral screening" when they thought the movie was shelved for good: “That screening for us was emotional in so many ways. It was a bit of a party because we were able to share the movie with friends and other filmmakers who had never seen the movie. And I got to share it with Will [Forte] and Lana, who never got to see the final movie. So that moment was so charged and electric, and the room played so hot.”

Variety

28,925 views • 1 month ago

Christopher Nolan interviewing Michael Mann, Al Pacino and Robert De Niro on the iconic coffee shop meeting in Heat... Nolan: So for all three of you, I mean, one of the great and memorable scenes in the film - there are many - but the iconic coffee shop meeting that people were so struck by when the film came out, seeing two such great actors who had not acted in the same scene together before, together. There was such mythology around it at the time. I remember several friends of mine being convinced that you'd shot it on different days because there was no two-shot… (Michael Mann laughs) Nolan: Was it single camera? Was it two cameras? Did you have two cameras so you could shoot both close-ups at the same time? How did you approach that momentous event? Mann: It started with this consummate respect for the great artists that these two guys are. We talked about the scene and we analysed the scene… We didn't want to do the scene until we were at Cape Mandelini's. And then it was so ingrained that I knew that in all the little tiny organic details it would be different from take to take. So what I wanted to do was shoot with two cameras, two over the shoulders – I knew that there would be an organic unity to one take, and it would be a slightly different organic unity to another; because if you look at it very carefully, if Bob shifts his hand like this a little bit, right in the middle of dialogue, Al is doing something to counter it - because maybe he's shifting his positions so he can get closer to a weapon… Nolan: What do you remember about that shoot? Pacino: I do remember that Bob said – at first I wondered about it and then I thought how right he is – he said, “let’s not rehearse it.” Nolan: Because you love to rehearse. Pacino: Oh yeah. And Bob does too. De Niro: No, I do too at times, but this kind of scene we didn't have to. Pacino: But the thing is, what Bob said is so true about rehearsal – and that is that there is no sense in rehearsing if the people around you don't know how to rehearse. That is an important factor. Might as well not rehearse or rehearse very little. But it's true because it's a certain kind of thing and people either respond to it or they don't. And so, they could be great actors, of course, but they don't want to rehearse. I've had experiences like that… De Niro: Well, it was also that we were stationary. So, it wasn't we had to sort of rehearse blocking or anything and discover how our physical moves would be. We were kind of, there, though there were subtle moves in the scene itself, obviously. But anyway, and we started late and.... we didn't start till after lunch or dinner, which was really like one o'clock in the morning...I loved the scene and I wanted, you know, really wanted it to be as best as it could be. So I was a little unhappy that we started so late in the middle of the night... Mann: It was actually intentional... De Niro: I know, he wanted to tire us out. Nolan: But getting into a scene like that, that you know is going to be such a significant part of the film, huge expectation from both of you as you sit down to perform it. At the end of that night, did you know you had it? Did you feel it? Pacino: I never knew that. De Niro: You never know that. Mann: I knew we had it. Nolan: You knew. That's your job. Pacino: I'd like to do it again actually. Mann: (laughs) We’ll re-shoot it… We normally would rehearse scenes. That scene we talked about, we all as a group decided, you know, we wanted to just talk it through and save it for the event of shooting it, which was the only scene we probably did that with. But I tend to not want to rehearse things to the point where I feel like I wish I'd shot it. That's a disaster – I think things will be perfect once, and they'll never be perfect. They'll never be 100% twice. They'll only be 100% once. You want that happening in front of the camera. From a panel discussion following a special screening of Heat at the Samuel Goldwyn Theater on September 7, 2016.
6:17

Christopher Nolan interviewing Michael Mann, Al Pacino and Robert De Niro on the iconic coffee shop meeting in Heat... Nolan: So for all three of you, I mean, one of the great and memorable scenes in the film - there are many - but the iconic coffee shop meeting that people were so struck by when the film came out, seeing two such great actors who had not acted in the same scene together before, together. There was such mythology around it at the time. I remember several friends of mine being convinced that you'd shot it on different days because there was no two-shot… (Michael Mann laughs) Nolan: Was it single camera? Was it two cameras? Did you have two cameras so you could shoot both close-ups at the same time? How did you approach that momentous event? Mann: It started with this consummate respect for the great artists that these two guys are. We talked about the scene and we analysed the scene… We didn't want to do the scene until we were at Cape Mandelini's. And then it was so ingrained that I knew that in all the little tiny organic details it would be different from take to take. So what I wanted to do was shoot with two cameras, two over the shoulders – I knew that there would be an organic unity to one take, and it would be a slightly different organic unity to another; because if you look at it very carefully, if Bob shifts his hand like this a little bit, right in the middle of dialogue, Al is doing something to counter it - because maybe he's shifting his positions so he can get closer to a weapon… Nolan: What do you remember about that shoot? Pacino: I do remember that Bob said – at first I wondered about it and then I thought how right he is – he said, “let’s not rehearse it.” Nolan: Because you love to rehearse. Pacino: Oh yeah. And Bob does too. De Niro: No, I do too at times, but this kind of scene we didn't have to. Pacino: But the thing is, what Bob said is so true about rehearsal – and that is that there is no sense in rehearsing if the people around you don't know how to rehearse. That is an important factor. Might as well not rehearse or rehearse very little. But it's true because it's a certain kind of thing and people either respond to it or they don't. And so, they could be great actors, of course, but they don't want to rehearse. I've had experiences like that… De Niro: Well, it was also that we were stationary. So, it wasn't we had to sort of rehearse blocking or anything and discover how our physical moves would be. We were kind of, there, though there were subtle moves in the scene itself, obviously. But anyway, and we started late and.... we didn't start till after lunch or dinner, which was really like one o'clock in the morning...I loved the scene and I wanted, you know, really wanted it to be as best as it could be. So I was a little unhappy that we started so late in the middle of the night... Mann: It was actually intentional... De Niro: I know, he wanted to tire us out. Nolan: But getting into a scene like that, that you know is going to be such a significant part of the film, huge expectation from both of you as you sit down to perform it. At the end of that night, did you know you had it? Did you feel it? Pacino: I never knew that. De Niro: You never know that. Mann: I knew we had it. Nolan: You knew. That's your job. Pacino: I'd like to do it again actually. Mann: (laughs) We’ll re-shoot it… We normally would rehearse scenes. That scene we talked about, we all as a group decided, you know, we wanted to just talk it through and save it for the event of shooting it, which was the only scene we probably did that with. But I tend to not want to rehearse things to the point where I feel like I wish I'd shot it. That's a disaster – I think things will be perfect once, and they'll never be perfect. They'll never be 100% twice. They'll only be 100% once. You want that happening in front of the camera. From a panel discussion following a special screening of Heat at the Samuel Goldwyn Theater on September 7, 2016.

Gangster Cinema Central

36,895 views • 4 months ago

🚨| Sir Lewis Hamilton: "It was a really good session in general except for the last lap." "I've been so so happy with the work that my engineers have been doing, mechanics. I felt the best in the car this weekend and I really feel like this small tweak we made into qualifying was just right and we're making tweaks as we're going through this session just with wing and Q3 run one felt good and I did a really good prep laps and then when I started my lap my SM wasn't on and I was down already like a tenth and a half or two tenths into turn one so that and then I had turn seven because I was trying to floor it back so you know but it's nice I think we probably could have fought for third I think that was the case yesterday as well but it means like a perfect lap out of our car and um but the good thing is that we're kind of we are improving and I really hope that I can take this sort of performance home for the season." F1 2026 || Canada
0:59

🚨| Sir Lewis Hamilton: "It was a really good session in general except for the last lap." "I've been so so happy with the work that my engineers have been doing, mechanics. I felt the best in the car this weekend and I really feel like this small tweak we made into qualifying was just right and we're making tweaks as we're going through this session just with wing and Q3 run one felt good and I did a really good prep laps and then when I started my lap my SM wasn't on and I was down already like a tenth and a half or two tenths into turn one so that and then I had turn seven because I was trying to floor it back so you know but it's nice I think we probably could have fought for third I think that was the case yesterday as well but it means like a perfect lap out of our car and um but the good thing is that we're kind of we are improving and I really hope that I can take this sort of performance home for the season." F1 2026 || Canada

sim

66,663 views • 4 months ago

Tom Holland reveals he and Zendaya got a whole crew sent home to rewrite a Spider-Man scene that wasn't working "I would never, ever dream of saying this to an actress that I wasn't with." "I said to her, do you think that this scene is working? And she was like, no, I don't think this scene is working at all." "I then went and sat down with Destin and said, hey man, I know we've been shooting for hours, but I don't think that this scene is working." "He said to the crew, everyone can go home, we're gonna sit down and rewrite this scene. We came in the next day, reshot it, and I'm so glad we did, because it sings in the movie." "It was just so funny, I was thinking about, like, if this wasn't Zendaya that I was sitting across from. Imagine on someone else's coverage being like, do you think this is working?"
2:20

Tom Holland reveals he and Zendaya got a whole crew sent home to rewrite a Spider-Man scene that wasn't working "I would never, ever dream of saying this to an actress that I wasn't with." "I said to her, do you think that this scene is working? And she was like, no, I don't think this scene is working at all." "I then went and sat down with Destin and said, hey man, I know we've been shooting for hours, but I don't think that this scene is working." "He said to the crew, everyone can go home, we're gonna sit down and rewrite this scene. We came in the next day, reshot it, and I'm so glad we did, because it sings in the movie." "It was just so funny, I was thinking about, like, if this wasn't Zendaya that I was sitting across from. Imagine on someone else's coverage being like, do you think this is working?"

Bavi

4,487,075 views • 2 months ago

Cognition President Russell Kaplan reveals the Cerebras chips they deployed ran their own models so fast at about 950 tokens per second that the team was confused by the test results, and it enabled them to ship a product experience that wouldn't have been possible otherwise. "One thing that was really fun working on SWE is we were the first kind of Western firm to deploy Cerebras at scale. You know, when we tested their chips, we were really confused because we were like, this is really good. You know, it operates a unique point on the Pareto curve of price and throughput." "And, you know, we were getting about 950 tokens per second on our own models, which was many x faster than what we could get on GPUs for the same size of model. And it was a little bit more expensive for us to serve. They were great partners, and they enabled us to ship a product experience that basically wouldn't have been possible otherwise." "And now Cerebras is more popular. You know, now, you know, OpenAI also uses Cerebras for Spark. I think more people are considering them. But we want to constantly be basically pushing the frontier of, well, what's the next most possible thing that wasn't possible previously? And yeah, doing our own RL and post-training helps with that."
0:52

Cognition President Russell Kaplan reveals the Cerebras chips they deployed ran their own models so fast at about 950 tokens per second that the team was confused by the test results, and it enabled them to ship a product experience that wouldn't have been possible otherwise. "One thing that was really fun working on SWE is we were the first kind of Western firm to deploy Cerebras at scale. You know, when we tested their chips, we were really confused because we were like, this is really good. You know, it operates a unique point on the Pareto curve of price and throughput." "And, you know, we were getting about 950 tokens per second on our own models, which was many x faster than what we could get on GPUs for the same size of model. And it was a little bit more expensive for us to serve. They were great partners, and they enabled us to ship a product experience that basically wouldn't have been possible otherwise." "And now Cerebras is more popular. You know, now, you know, OpenAI also uses Cerebras for Spark. I think more people are considering them. But we want to constantly be basically pushing the frontier of, well, what's the next most possible thing that wasn't possible previously? And yeah, doing our own RL and post-training helps with that."

Fireside Alpha

22,175 views • 2 months ago

Tom Holland reveals he had a long, intense talk with Robert Downey Jr. before stepping onto the set of The Odyssey. “I spoke with Robert at length before I started the movie and i was lucky that I had Anne, we had some of our first days together. I was lucky that I had Matt and Chris is an artist director, he's so helpful, he's so kind. One of the things that I love, and Matt has said this while we've been on tour that every movie he has made has led to this moment, and the same for Chris. So for me as a young actor to get to see these titans of our business use every tool that they had in the workshop to build this movie is just a treasure trove of lessons. And I really feel I left this experience a better actor”
0:48

Tom Holland reveals he had a long, intense talk with Robert Downey Jr. before stepping onto the set of The Odyssey. “I spoke with Robert at length before I started the movie and i was lucky that I had Anne, we had some of our first days together. I was lucky that I had Matt and Chris is an artist director, he's so helpful, he's so kind. One of the things that I love, and Matt has said this while we've been on tour that every movie he has made has led to this moment, and the same for Chris. So for me as a young actor to get to see these titans of our business use every tool that they had in the workshop to build this movie is just a treasure trove of lessons. And I really feel I left this experience a better actor”

👽

3,889,386 views • 2 months ago

The turning point in PondPhuwin’s relationship 👀 #PondPhuwin #ปอนด์ภูวินทร์ #GMMTVFANDAY29 🐻: I think the big change was when we finished filming the third TV series. Yeah, I think it was a big change because we had another deep talk after finishing the third series as well. And I think this is what really changed us until now. 👤: What changed after that? 🐻: We tried to do something apart from work, you know. For the whole We Are series, we had been working for around three or four years, but we never went out together or hung out like that. 🐼: Yeah, we started treating our conversations on stage as if they were off stage. So we tried to, you know, when we’re on stage, doing interviews or whatever, we tried to get rid of the “mask”, that boundary. And I think that helped a lot. Since then, every interaction became like 100% genuine between each other, and I think that really helped drive the relationship.
1:17

The turning point in PondPhuwin’s relationship 👀 #PondPhuwin #ปอนด์ภูวินทร์ #GMMTVFANDAY29 🐻: I think the big change was when we finished filming the third TV series. Yeah, I think it was a big change because we had another deep talk after finishing the third series as well. And I think this is what really changed us until now. 👤: What changed after that? 🐻: We tried to do something apart from work, you know. For the whole We Are series, we had been working for around three or four years, but we never went out together or hung out like that. 🐼: Yeah, we started treating our conversations on stage as if they were off stage. So we tried to, you know, when we’re on stage, doing interviews or whatever, we tried to get rid of the “mask”, that boundary. And I think that helped a lot. Since then, every interaction became like 100% genuine between each other, and I think that really helped drive the relationship.

Narawins 🇧🇷

97,389 views • 6 months ago

Carson Palmer says he and Chad Ochocinco would argue about whether or not he was open on the previous drive, so they drove to Indianapolis to study what Peyton Manning, Marvin Harrison and Reggie Wayne did on the sidelines “Chad and I were having a lot of success on the field, but then we’d come off the field and he’d be, ‘Dude, I’m wide open.’ And I’d go look at the picture like, ‘There’s 19 guys covering you. You’re not.’” “So we went down there to see what those guys were doing when the defense was on the field. What was Peyton doing? Was Peyton sitting by himself? Was he looking at pictures? What was Marvin doing? Was Marvin goofing off like Chad was?” “So we went to learn. We saw them communicate. They literally talked every series after. And it was never Marvin going over to Peyton. It was Peyton coming over to Marvin and Reggie.” “That was just something we implemented. We saw what they were doing on the field, obviously, but you don’t get to see what they’re doing when they’re getting Gatorade in between series.” “Seeing that constant dialogue and talking about this, talking through that — that was something that helped Chad and I get even more on the same page.” “We wanted to see what was going on. What kind of communication was it? Once a quarter? It was every series.” “They went three-and-out, there’s three runs, they would come over and talk about something because they’re always, ‘All right, we ran the ball three times. Here’s the run action we gave them. We’re going to hit them with the play-action post or the play-action corner,’ whatever it was.” “They were getting ready for that next series. And that’s something that Chad and I implemented into our games.”
1:22

Carson Palmer says he and Chad Ochocinco would argue about whether or not he was open on the previous drive, so they drove to Indianapolis to study what Peyton Manning, Marvin Harrison and Reggie Wayne did on the sidelines “Chad and I were having a lot of success on the field, but then we’d come off the field and he’d be, ‘Dude, I’m wide open.’ And I’d go look at the picture like, ‘There’s 19 guys covering you. You’re not.’” “So we went down there to see what those guys were doing when the defense was on the field. What was Peyton doing? Was Peyton sitting by himself? Was he looking at pictures? What was Marvin doing? Was Marvin goofing off like Chad was?” “So we went to learn. We saw them communicate. They literally talked every series after. And it was never Marvin going over to Peyton. It was Peyton coming over to Marvin and Reggie.” “That was just something we implemented. We saw what they were doing on the field, obviously, but you don’t get to see what they’re doing when they’re getting Gatorade in between series.” “Seeing that constant dialogue and talking about this, talking through that — that was something that helped Chad and I get even more on the same page.” “We wanted to see what was going on. What kind of communication was it? Once a quarter? It was every series.” “They went three-and-out, there’s three runs, they would come over and talk about something because they’re always, ‘All right, we ran the ball three times. Here’s the run action we gave them. We’re going to hit them with the play-action post or the play-action corner,’ whatever it was.” “They were getting ready for that next series. And that’s something that Chad and I implemented into our games.”

Josh Chambers

1,214,820 views • 1 month ago

Bradley Cooper says he was ready to quit acting before The Hangover changed his career “I was going to quit. I remember I was doing a play, and I was like, ‘It's just not happening.’ I really wanted to be an actor. I loved it so much. I was making a living, which was a miracle. For the first three years, I was like, ‘This is amazing.’ Then I was like I just want to be three days on a movie, then you’re not, and then you're gone” “I wasn't really getting any other roles that were substantial. I met with Todd Phillips six months before for The Hangover, and then it was gone. The truth is, I think they had a cast, but the budget was too high. They said if you make it with a smaller budget, we'll do the movie” “Then I was doing a play in Williamstown called The Understudy by Theresa Rebeck. I remember I got an email from Todd Phillips, and I was like, ‘Whoa, how'd he get my email?’ He was like, ‘Let's do this, bitches’” “Then we went from there and started shooting. We went to Vegas that fall. I never would have gotten Limitless if I wasn't part of The Hangover. That changed everything”
1:17

Bradley Cooper says he was ready to quit acting before The Hangover changed his career “I was going to quit. I remember I was doing a play, and I was like, ‘It's just not happening.’ I really wanted to be an actor. I loved it so much. I was making a living, which was a miracle. For the first three years, I was like, ‘This is amazing.’ Then I was like I just want to be three days on a movie, then you’re not, and then you're gone” “I wasn't really getting any other roles that were substantial. I met with Todd Phillips six months before for The Hangover, and then it was gone. The truth is, I think they had a cast, but the budget was too high. They said if you make it with a smaller budget, we'll do the movie” “Then I was doing a play in Williamstown called The Understudy by Theresa Rebeck. I remember I got an email from Todd Phillips, and I was like, ‘Whoa, how'd he get my email?’ He was like, ‘Let's do this, bitches’” “Then we went from there and started shooting. We went to Vegas that fall. I never would have gotten Limitless if I wasn't part of The Hangover. That changed everything”

dank

323,138 views • 3 months ago

🗣️ Mikel Arteta on winning at Villa Park after losing last season: "Well that was the state in my tummy and I spoke to the players about it. That image when the players were on the floor totally gutted. "It was a really difficult one to take and we used that to bring energy, to bring more conviction and belief to understand the difficulty of the challenge that we had ahead, especially against a team that was so successful last year and then they lost a few days ago in a really big way. "You expect a reaction and this stadium is a really difficult one, one for the big matches and they make those moments count. Today when we had to suffer, we did suffer and when we had to be really dominant, we were. So I'm really pleased."
0:51

🗣️ Mikel Arteta on winning at Villa Park after losing last season: "Well that was the state in my tummy and I spoke to the players about it. That image when the players were on the floor totally gutted. "It was a really difficult one to take and we used that to bring energy, to bring more conviction and belief to understand the difficulty of the challenge that we had ahead, especially against a team that was so successful last year and then they lost a few days ago in a really big way. "You expect a reaction and this stadium is a really difficult one, one for the big matches and they make those moments count. Today when we had to suffer, we did suffer and when we had to be really dominant, we were. So I'm really pleased."

Connor Humm

46,765 views • 1 month ago

Daniel Radcliffe says grumpy older actors couldn’t be horrible on Harry Potter because the set was led by three happy kids "the whole movie was being led by three kids who were pretty happy go-lucky and having a really nice time" "when older actors were coming in who perhaps would be grumpier on other sets, I think it was quite hard for them to do that on a set with a bunch of happy kids" "the camera team or the costume team or the makeup team, they were like our family... older actors couldn’t come in and be horrible to anyone because they were like, oh no, these kids, this is their family"
0:48

Daniel Radcliffe says grumpy older actors couldn’t be horrible on Harry Potter because the set was led by three happy kids "the whole movie was being led by three kids who were pretty happy go-lucky and having a really nice time" "when older actors were coming in who perhaps would be grumpier on other sets, I think it was quite hard for them to do that on a set with a bunch of happy kids" "the camera team or the costume team or the makeup team, they were like our family... older actors couldn’t come in and be horrible to anyone because they were like, oh no, these kids, this is their family"

Yonan

2,615,690 views • 3 months ago