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What happens when a creative director experiments with Flow? Our very own Christian Haas shared insight into how he created his short film called, "Found." #MadeWithFlow “I used Flow almost as an actor, trying things out to see what was funnier or more charming. In the scene where the...

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Christopher Nolan on working with Tom Holland for the first time in ‘THE ODYSSEY’: “Tom Holland is an actor whose work I’ve admired for years, and I felt very confident, you know, he could take on this this coming-of-age story. But I have to say, he dazzled me with with his ability. He’s an extraordinary actor, beyond what I even hoped for or imagined. That’s such a thrill as a director when you you have somebody doing something even more than you saw in the character. He’s really a remarkable young actor.”
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Christopher Nolan on working with Tom Holland for the first time in ‘THE ODYSSEY’: “Tom Holland is an actor whose work I’ve admired for years, and I felt very confident, you know, he could take on this this coming-of-age story. But I have to say, he dazzled me with with his ability. He’s an extraordinary actor, beyond what I even hoped for or imagined. That’s such a thrill as a director when you you have somebody doing something even more than you saw in the character. He’s really a remarkable young actor.”

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I used Seko Talk to bring an AI character to life, playing piano in ways I didn’t expect. No sheet music, no pre-programmed notes. Just a flow, a rhythm, and the idea of what it could feel like if an AI truly felt music. This is only the beginning — AI creating with soul.
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I used Seko Talk to bring an AI character to life, playing piano in ways I didn’t expect. No sheet music, no pre-programmed notes. Just a flow, a rhythm, and the idea of what it could feel like if an AI truly felt music. This is only the beginning — AI creating with soul.

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Mark Briscoe tells us that he has never had a hatred for a man like he has for MJF. “I think it’s one of the things that’s just like too obvious to not happen. It’s like Flair and Dusty, you know what mean? It’s like blue collar, white collar. There’s this conceited prick versus, I tried my best to be a humble, hardworking man. So like water and oil, where it’s so different that we got the clash. It’s got ‘we got to see what happens when you put these two in the same room at the same time and see what happens. Give them both a microphone. Let him say stuff to him. Let him say stuff to him. See how it pans out. Let him get in the ring with each other. See what they can do.’ If he’s on fire, I would not piss on him to put him out, I promise you I would not. I’d pull my phone out and I’d take videos, and I’d hoot and holler because I can’t stand the man. I’ve never had a hatred for a man like I have for MJF. That’s one of the milestones in my AEW journey was when I crossed paths with him because I was having such a good time. I really was. I was having such a good time, and I can still have a good time, but whenever I see his face, man, it just goes out the window. All I feel is I want to inflict pain on this man. I want to eliminate this man.”
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Mark Briscoe tells us that he has never had a hatred for a man like he has for MJF. “I think it’s one of the things that’s just like too obvious to not happen. It’s like Flair and Dusty, you know what mean? It’s like blue collar, white collar. There’s this conceited prick versus, I tried my best to be a humble, hardworking man. So like water and oil, where it’s so different that we got the clash. It’s got ‘we got to see what happens when you put these two in the same room at the same time and see what happens. Give them both a microphone. Let him say stuff to him. Let him say stuff to him. See how it pans out. Let him get in the ring with each other. See what they can do.’ If he’s on fire, I would not piss on him to put him out, I promise you I would not. I’d pull my phone out and I’d take videos, and I’d hoot and holler because I can’t stand the man. I’ve never had a hatred for a man like I have for MJF. That’s one of the milestones in my AEW journey was when I crossed paths with him because I was having such a good time. I really was. I was having such a good time, and I can still have a good time, but whenever I see his face, man, it just goes out the window. All I feel is I want to inflict pain on this man. I want to eliminate this man.”

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Elon Musk says IF he could, he would slow down the advancements of AI & Robotics: “I just want to separate out from what I wish would happen versus what I predict will happen, because people get confused about that. They think that what I predict will happen is what I want it to happen. What I predict to happen is not the same as what I want to happen. If I could, I would certainly slow down AI and robotics, but I can’t. It seems to be advancing at a very rapid pace, whether I like it or not.”
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Treasonous Obama ADMITTED what he was going to do years ago… Obama: “If I could make an arrangement where I had a stand-in…and I was just in my basement…I’d be fine with that.” The ‘JOKE’ was the blueprint The 2020 Election was STOLEN and they used Sleepy Joe as the Puppet
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Treasonous Obama ADMITTED what he was going to do years ago… Obama: “If I could make an arrangement where I had a stand-in…and I was just in my basement…I’d be fine with that.” The ‘JOKE’ was the blueprint The 2020 Election was STOLEN and they used Sleepy Joe as the Puppet

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xQc on what would happen if Asmongold came out and admitted to using the N word “With what Asmon says these days and his views on things, what if he said ya I said the N word what about it?..he would gain viewers and increase his support from ppl and the ppl would like him more”
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xQc on what would happen if Asmongold came out and admitted to using the N word “With what Asmon says these days and his views on things, what if he said ya I said the N word what about it?..he would gain viewers and increase his support from ppl and the ppl would like him more”

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Jean Silva explains his decision to 'surf' on Arnold Allen at UFC 324: "For people to understand my state of mind at this time, I was in the flow... We trained it because if you see the the Arnold Allen fight against Evloev, it's very hard to keep him down. My strategy is not to keep him down, and he knew what my strategy was for the fight, so he always put 2 hands on the canvas and keep going up. I always train in different positions, like surfing positions. If you see my old videos, you're going to see I do this with my colleagues and training."
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Jean Silva explains his decision to 'surf' on Arnold Allen at UFC 324: "For people to understand my state of mind at this time, I was in the flow... We trained it because if you see the the Arnold Allen fight against Evloev, it's very hard to keep him down. My strategy is not to keep him down, and he knew what my strategy was for the fight, so he always put 2 hands on the canvas and keep going up. I always train in different positions, like surfing positions. If you see my old videos, you're going to see I do this with my colleagues and training."

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🇬🇧 Josh Kerr shared an injury update on Instagram about his calf injury and what happened in the World Championships 1500m final. "What happened to me was the last 10 meters or so of the semifinal – obviously a lot of hustle and bustle and a big pack of guys trying to get to the line as racing is. During the fall over the line, I overstretched and I kicked my calf and then strained it with the overstretch and fall. A reasonably mild strain – nothing like crazy. A lot of bruising, but it felt like with the right amount of adrenaline, I could figure out how to make the final happen and still come out with the result I wanted. Relied a lot on my medical team and we got pretty close. Felt pretty confident going into the final. I was just ready to send it. With 600m to go in the World final, I fully pulled my calf. Grade 2 is what I'm getting told. Adrenaline pumping, I was like, 'You're staying in this race.' The plan was to stay in for the full 1500m. I committed to that, but obviously, you saw the result of what that looked like. Definitely did some more damage to that in that last 600m than right away but my job is to get to the finish line as quickly as possible and that's what I wanted to commit to. You never know what can happen with these races."
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Canary In The Coal Mine

385,535 views • 6 months ago

While filming this crucial scene in "No Way Out" (1987), Kevin Costner had disagreement with the director on staging of the scene & how Gene Hackman's character reacts to Costner's character. Costner was pissed when things didn't go as he had hoped. When the director asked what Gene Hackman should do, Costner replied, "Gene can do whatever he wants, it's up to Gene what he wants to do." After the shoot for the day ended, Gene Hackman met Costner in the parking lot & asked if he could talk to him. Costner feared that Hackman was going to say, "if you ever do that to another f**ing director in front of me again, I'll ki!! you." Instead Hackman said, "I watched you today and I have been through a divorce and for three years, I've been doing a lot of shitty movies and I've been trying to pay for this divorce. I kind of didn't feel about acting the way I felt for a long time. I watched you today & [I remembered] I used to feel like that. I was really happy to see you do that." He then drove off. Costner considers this conversation with Gene Hackman an important moment in his life. ["Kevin Costner on Working with Gene Hackman | Conversations at the SAG-AFTRA Foundation", 2025]
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While filming this crucial scene in "No Way Out" (1987), Kevin Costner had disagreement with the director on staging of the scene & how Gene Hackman's character reacts to Costner's character. Costner was pissed when things didn't go as he had hoped. When the director asked what Gene Hackman should do, Costner replied, "Gene can do whatever he wants, it's up to Gene what he wants to do." After the shoot for the day ended, Gene Hackman met Costner in the parking lot & asked if he could talk to him. Costner feared that Hackman was going to say, "if you ever do that to another f**ing director in front of me again, I'll ki!! you." Instead Hackman said, "I watched you today and I have been through a divorce and for three years, I've been doing a lot of shitty movies and I've been trying to pay for this divorce. I kind of didn't feel about acting the way I felt for a long time. I watched you today & [I remembered] I used to feel like that. I was really happy to see you do that." He then drove off. Costner considers this conversation with Gene Hackman an important moment in his life. ["Kevin Costner on Working with Gene Hackman | Conversations at the SAG-AFTRA Foundation", 2025]

DepressedBergman

811,069 views • 3 months ago

Ling: It was the first time I've ever been out in public and felt like I needed to find a weapon. I was looking through my bag to see what I had, and I found a sturdy handheld fan. The thought in my head was that if they came at me, I’d have to smash it over their head Orm: P’Ling is about to transform into P’Tawan Orm: I mean I saw what happened, and more or less I knew what had happened. Then P'Ling told me afterward exactly what had happened. If it hasnt happened to you personally, you really cant understand it. It was really terrifying. In all my life, I’ve never had people run straight at me like that before. It even looked like they were trying to get into her car. We didnt know whether they had weapons or not. They came as a group, too. Thats very frightening for a woman They talked about the SSFs thing 😭 you could see all the concern on Orm’s face as she listened to Ling talk about it...
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Ling: It was the first time I've ever been out in public and felt like I needed to find a weapon. I was looking through my bag to see what I had, and I found a sturdy handheld fan. The thought in my head was that if they came at me, I’d have to smash it over their head Orm: P’Ling is about to transform into P’Tawan Orm: I mean I saw what happened, and more or less I knew what had happened. Then P'Ling told me afterward exactly what had happened. If it hasnt happened to you personally, you really cant understand it. It was really terrifying. In all my life, I’ve never had people run straight at me like that before. It even looked like they were trying to get into her car. We didnt know whether they had weapons or not. They came as a group, too. Thats very frightening for a woman They talked about the SSFs thing 😭 you could see all the concern on Orm’s face as she listened to Ling talk about it...

jamie kwong

33,085 views • 2 months ago

Charlton Heston on why 'Soylent Green' (1973) was one of the best movies he acted in: "'Soylent Green' (1973) was one of the best movies I ever did, primarily because of Eddie [Robinson]. He was a wonderful actor and lovely man to work with. He was so good in it. He was dying at the time … and he was undertaking to die in the scene. And talking to him, I was weeping. Because of what it was like for him as an actor to lie there, knowing you were never again going to put on makeup and wardrobe and say words for a film. That must have been what he was thinking" ("Hollywood Flashback: ‘Soylent Green’ Depicted an Overpopulated Planet With a Dark Secret", Seth Abramovitch, The Hollywood Reporter, 2023)
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Charlton Heston on why 'Soylent Green' (1973) was one of the best movies he acted in: "'Soylent Green' (1973) was one of the best movies I ever did, primarily because of Eddie [Robinson]. He was a wonderful actor and lovely man to work with. He was so good in it. He was dying at the time … and he was undertaking to die in the scene. And talking to him, I was weeping. Because of what it was like for him as an actor to lie there, knowing you were never again going to put on makeup and wardrobe and say words for a film. That must have been what he was thinking" ("Hollywood Flashback: ‘Soylent Green’ Depicted an Overpopulated Planet With a Dark Secret", Seth Abramovitch, The Hollywood Reporter, 2023)

DepressedBergman

112,933 views • 8 months ago

François Truffaut on why he got more pleasure in directing a child actor than an adult in his debut film, "The 400 Blows" (1959): "To shoot a film with children is very enticing beforehand, entails a lot of panic while it is happening (because it is a fearsomely challenging business that is always slipping through one’s fingers), and is immensely satisfying afterwards. Even when I have a feeling that everything is going adrift, there is always something that is salvageable, and no matter what happens, it is always the child who comes across best on the screen. I also think that I get more pleasure from directing a child than an adult because I am just starting out as a director, whereas adults have already had experience at acting. I tend to be intimidated by their “seniority,” and when they don’t want to do what I tell them, I sometimes give up the struggle, or else allow myself to be pulled along when they do their thing, and I am never sure I’m right. A child’s sincerity is something I think I can feel absolutely. For example, through the whole length of the film, I had to wrestle with Jean-Pierre Léaud. He was terrific, but he was scared that he was going to come across as unlikeable, which meant that he continually wanted to smile. For three whole months I prevented him from smiling … and I’m sure I was right. That said, I was amazingly lucky to come across that kid. He was the character. Better still, he improved the film. I had been seeing Antoine as more fragile, more timid, less aggressive, whereas Jean-Pierre gave him his robustness, his truculence, his courage. He was an invaluable collaborator. He was able to find the right gestures spontaneously, he adjusted the script, always for the better, and he used the words that he wanted to use." (Truffaut's interview to Arts, 1959) P.S: On this day, 67 years ago, "The 400 Blows" (1959) premiered at the Cannes Film Festival.
1:04

François Truffaut on why he got more pleasure in directing a child actor than an adult in his debut film, "The 400 Blows" (1959): "To shoot a film with children is very enticing beforehand, entails a lot of panic while it is happening (because it is a fearsomely challenging business that is always slipping through one’s fingers), and is immensely satisfying afterwards. Even when I have a feeling that everything is going adrift, there is always something that is salvageable, and no matter what happens, it is always the child who comes across best on the screen. I also think that I get more pleasure from directing a child than an adult because I am just starting out as a director, whereas adults have already had experience at acting. I tend to be intimidated by their “seniority,” and when they don’t want to do what I tell them, I sometimes give up the struggle, or else allow myself to be pulled along when they do their thing, and I am never sure I’m right. A child’s sincerity is something I think I can feel absolutely. For example, through the whole length of the film, I had to wrestle with Jean-Pierre Léaud. He was terrific, but he was scared that he was going to come across as unlikeable, which meant that he continually wanted to smile. For three whole months I prevented him from smiling … and I’m sure I was right. That said, I was amazingly lucky to come across that kid. He was the character. Better still, he improved the film. I had been seeing Antoine as more fragile, more timid, less aggressive, whereas Jean-Pierre gave him his robustness, his truculence, his courage. He was an invaluable collaborator. He was able to find the right gestures spontaneously, he adjusted the script, always for the better, and he used the words that he wanted to use." (Truffaut's interview to Arts, 1959) P.S: On this day, 67 years ago, "The 400 Blows" (1959) premiered at the Cannes Film Festival.

DepressedBergman

25,571 views • 3 months ago

Jim Jarmusch on how he got the inspiration to make 'Ghost Dog: The Way of the Samurai' (1999): "Interviewer: Can you tell me where the initial idea for 'Ghost Dog' (1999) came from? Jarmusch: I can’t really because I did everything backwards. I started with a really vague idea, but wanting to work with Forest Whitaker was really the beginning. So I was trying to think of what kind of character I could make for the qualities in him as an actor that I liked. That contradiction he has of being both gentle and imposing. So it really started from here. I thought of a warrior character, but with a spiritual side so that I could get both aspects of him as an actor. Then the samurai thing became interesting to me. Unlike Western warriors, who trained just as warriors, Eastern warriors like samurai—or more particularly, Shaolin monks in China—are also priests and teachers. Although samurai are not priests, there is a spiritual depth to their training. So it seemed like an interesting thing. Then to make a kind of Don Quixote character who follows an ancient code that is not part of the modern world seemed interesting to me. I started collecting ideas, as I always do, and eventually I sit down and weave them together and see what the hell I’ve come up with." (Jim Jarmusch's interview with Chris Campion, 2000)
1:36

Jim Jarmusch on how he got the inspiration to make 'Ghost Dog: The Way of the Samurai' (1999): "Interviewer: Can you tell me where the initial idea for 'Ghost Dog' (1999) came from? Jarmusch: I can’t really because I did everything backwards. I started with a really vague idea, but wanting to work with Forest Whitaker was really the beginning. So I was trying to think of what kind of character I could make for the qualities in him as an actor that I liked. That contradiction he has of being both gentle and imposing. So it really started from here. I thought of a warrior character, but with a spiritual side so that I could get both aspects of him as an actor. Then the samurai thing became interesting to me. Unlike Western warriors, who trained just as warriors, Eastern warriors like samurai—or more particularly, Shaolin monks in China—are also priests and teachers. Although samurai are not priests, there is a spiritual depth to their training. So it seemed like an interesting thing. Then to make a kind of Don Quixote character who follows an ancient code that is not part of the modern world seemed interesting to me. I started collecting ideas, as I always do, and eventually I sit down and weave them together and see what the hell I’ve come up with." (Jim Jarmusch's interview with Chris Campion, 2000)

DepressedBergman

275,394 views • 7 months ago

#SethMacFarlane says AI was “the right tool for the right job” to transform himself into Bill Clinton on #Ted Season 2: “It’s a really interesting example of how, in the future, AI can be used as a tool without trampling any of the traditional art that we do. I think there is a balance. Sinatra used an RCA ribbon mic for years, and then suddenly the Neumann U47 came along. That’s what he used because it was a better tool for what he needed in the moment. That’s how things are going to land, at least in the immediate future.”
1:19

#SethMacFarlane says AI was “the right tool for the right job” to transform himself into Bill Clinton on #Ted Season 2: “It’s a really interesting example of how, in the future, AI can be used as a tool without trampling any of the traditional art that we do. I think there is a balance. Sinatra used an RCA ribbon mic for years, and then suddenly the Neumann U47 came along. That’s what he used because it was a better tool for what he needed in the moment. That’s how things are going to land, at least in the immediate future.”

Variety

114,339 views • 5 months ago

Yesterday, after failing to find the man who had built a structure on top of a tree along Jogoo Road, I went back today and was glad to find him. I engaged with him and he shared with me his story, explaining why he had chosen the tree as his home. He shared his desire: if only he could get a mkokoteni, he would use it to transport goods for pay and earn a decent living enough to rent a house rather than continue staying on the tree. With the little I had, I purchased a mkokoteni for him. In addition, I will ensure he secures a rental house with four months’ rent fully paid, giving him a fresh start and a safe place to call home. I was deeply moved to see him smile, and it reminded me how powerful even a small act of kindness can be. If you are out there and have the ability to help someone in need, please do it could change a life.
12:42

Yesterday, after failing to find the man who had built a structure on top of a tree along Jogoo Road, I went back today and was glad to find him. I engaged with him and he shared with me his story, explaining why he had chosen the tree as his home. He shared his desire: if only he could get a mkokoteni, he would use it to transport goods for pay and earn a decent living enough to rent a house rather than continue staying on the tree. With the little I had, I purchased a mkokoteni for him. In addition, I will ensure he secures a rental house with four months’ rent fully paid, giving him a fresh start and a safe place to call home. I was deeply moved to see him smile, and it reminded me how powerful even a small act of kindness can be. If you are out there and have the ability to help someone in need, please do it could change a life.

Geoffrey Mosiria

30,384 views • 11 months ago

Josh Safdie asked Tyler, The Creator if his creative process as an actor is the same in his other creations: “[...] you built that blueprint for me to jump off of. And I just tried to give it the right care that I would if you gave me a color palette and I had to make you a hat and a sweater and figure out what that look was. The same love and passion went into that”, Tyler said.
2:12

Josh Safdie asked Tyler, The Creator if his creative process as an actor is the same in his other creations: “[...] you built that blueprint for me to jump off of. And I just tried to give it the right care that I would if you gave me a color palette and I had to make you a hat and a sweater and figure out what that look was. The same love and passion went into that”, Tyler said.

Archive Tyler, The Creator

588,374 views • 8 months ago

According to Terry Gilliam, Robin Williams' character in "'The Fisher King' (1991) is in many ways the closest one to Robin, just that range — the madness, the damage, the pain, the sweetness, the outrageousness. That was the role I think that stretched him to the limits." Gilliam considered the filming of this important scene in the movie to be easy as far as effects were concerned, but as for acting, it was very hard as Robin Williams was tearing himself out emotionally. About how Robin Williams approached the scene, Gilliam said, "The interesting thing about Robin in all of those scenes was that he always wanted to do another take. He felt he had even more anguish and pain to spill out of the character. And I had to really stop him. I had to say, ‘Robin, you’ve reached a point here, way beyond what we expected. We’ve got what we needed. Now you’re just hurting yourself. That happened a couple of times while we were shooting this scene. The most worrisome moment for me was after he’s been chased by the Red Knight, when he’s running through the streets, and then he comes to the river, where the teenage punks arrive and knife him. We had to do other things on that night shoot, too, and things were going very slowly. Suddenly, we realized that we had like an hour until the dawn [would arrive]. The last shot we had to do was Robin running at the end of this scene, in this hysterical state. You can even see the light ever so slightly beginning to come on the river in the background. But Robin was so angry because it was such a crucial moment, and he felt he’d been cheated of his ability to really give this moment his all. And Robin was an incredibly strong guy: When he’d worked himself into this state of madness for the part, nobody could approach him. The first assistant, the stunt guy … nobody wanted to get near him. They were terrified. So, I had to go up there and tell him, ‘Robin, what we have here is very good. And if we look at the rushes and it isn’t, I promise you I will reshoot it.’ And I had to hug him basically, and hold him. I could feel these muscles that were so tense and so strong, they felt like they could easily r!p my he@d off. But that’s what was so extraordinary about him — how he would commit everything and more to what he had to do." ("Terry Gilliam Breaks Down a Particularly Hard Night With Robin Williams on The Fisher King", Bilge Ebiri, Vulture, 2014) P.S: Remembering the great American actor, Robin Williams, on his 75th birthday!
1:13

According to Terry Gilliam, Robin Williams' character in "'The Fisher King' (1991) is in many ways the closest one to Robin, just that range — the madness, the damage, the pain, the sweetness, the outrageousness. That was the role I think that stretched him to the limits." Gilliam considered the filming of this important scene in the movie to be easy as far as effects were concerned, but as for acting, it was very hard as Robin Williams was tearing himself out emotionally. About how Robin Williams approached the scene, Gilliam said, "The interesting thing about Robin in all of those scenes was that he always wanted to do another take. He felt he had even more anguish and pain to spill out of the character. And I had to really stop him. I had to say, ‘Robin, you’ve reached a point here, way beyond what we expected. We’ve got what we needed. Now you’re just hurting yourself. That happened a couple of times while we were shooting this scene. The most worrisome moment for me was after he’s been chased by the Red Knight, when he’s running through the streets, and then he comes to the river, where the teenage punks arrive and knife him. We had to do other things on that night shoot, too, and things were going very slowly. Suddenly, we realized that we had like an hour until the dawn [would arrive]. The last shot we had to do was Robin running at the end of this scene, in this hysterical state. You can even see the light ever so slightly beginning to come on the river in the background. But Robin was so angry because it was such a crucial moment, and he felt he’d been cheated of his ability to really give this moment his all. And Robin was an incredibly strong guy: When he’d worked himself into this state of madness for the part, nobody could approach him. The first assistant, the stunt guy … nobody wanted to get near him. They were terrified. So, I had to go up there and tell him, ‘Robin, what we have here is very good. And if we look at the rushes and it isn’t, I promise you I will reshoot it.’ And I had to hug him basically, and hold him. I could feel these muscles that were so tense and so strong, they felt like they could easily r!p my he@d off. But that’s what was so extraordinary about him — how he would commit everything and more to what he had to do." ("Terry Gilliam Breaks Down a Particularly Hard Night With Robin Williams on The Fisher King", Bilge Ebiri, Vulture, 2014) P.S: Remembering the great American actor, Robin Williams, on his 75th birthday!

DepressedBergman

31,441 views • 1 month ago