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"When I saw #Shiva, I left that script for two years and it kept haunting me. Then I thought of making the screenplay of #OM in a different way." – #Upendra | #NagarjunaAkkineni

Whynot Cinemas

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166,374 views • 7 months ago •via X (Twitter)

Comedy Arts #Shiva #OM #Upendra #NagarjunaAkkineni

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Kim Goeun at #ThePriceOfConfession presscon, about how she joined the work. > Actually, I first saw the script around 4 or 5 years ago when they were still in the early stage of planning. So at that time, it wasn’t something final. Just a casual ‘Do you want to just take a look at it?’ so I read it briefly. After that, I got busy working on other projects. Then I heard Jeon Doyeon sunbaenim was going to do it and I received the script again. And reading it this time, it felt completely different from how it felt when I first read it years ago. It’s not like I’m worrying about it. I just focused on what the script looks like. Then I thought “Ah I can do this well. I can do it well no matter what”. That’s how I joined this work. I said to them “Please let me in. I can do it well”. <

Kim Goeun at #ThePriceOfConfession presscon, about how she joined the work. > Actually, I first saw the script around 4 or 5 years ago when they were still in the early stage of planning. So at that time, it wasn’t something final. Just a casual ‘Do you want to just take a look at it?’ so I read it briefly. After that, I got busy working on other projects. Then I heard Jeon Doyeon sunbaenim was going to do it and I received the script again. And reading it this time, it felt completely different from how it felt when I first read it years ago. It’s not like I’m worrying about it. I just focused on what the script looks like. Then I thought “Ah I can do this well. I can do it well no matter what”. That’s how I joined this work. I said to them “Please let me in. I can do it well”. <

tan🫐

16,913 views • 7 months ago

"So originally, (tornado) was just piano that kind of had a sweet feeling, I shared it on ig. Then I thought, what if I add a little bit of 808 bass here (?).. so I added that. I thought it might sound a little strange, like ahh, this might be a bit weird, but should we try it? and then with Shintaro magic, and it was good. So from there, I made the top line but the words that kept coming out of my mouth were 'tornado.' I kept saying it, though I don’t normally use the word tornado a lot, but for some reason I kept saying it, so I thought..ahh, I just need to go with this. It just feels so natural. So I kept trying some things, adding more, writing lyrics, and in the end we finished the demo in one day in about seven hours"

"So originally, (tornado) was just piano that kind of had a sweet feeling, I shared it on ig. Then I thought, what if I add a little bit of 808 bass here (?).. so I added that. I thought it might sound a little strange, like ahh, this might be a bit weird, but should we try it? and then with Shintaro magic, and it was good. So from there, I made the top line but the words that kept coming out of my mouth were 'tornado.' I kept saying it, though I don’t normally use the word tornado a lot, but for some reason I kept saying it, so I thought..ahh, I just need to go with this. It just feels so natural. So I kept trying some things, adding more, writing lyrics, and in the end we finished the demo in one day in about seven hours"

•ᴗ•

68,453 views • 10 months ago

" I thought they were policemen when I first saw them. All of a sudden, two of them started raining bullèts on me, but I don't know how God did it. The bullèts didn't penetràtè"

" I thought they were policemen when I first saw them. All of a sudden, two of them started raining bullèts on me, but I don't know how God did it. The bullèts didn't penetràtè"

ÓMÒÉLÉRÍNJÁRÉ

711,901 views • 4 months ago

op asked xnghan when the first time was he thought being an idol was the right job for him 📹 🍀 this was way back then but was it in 2nd year of middle school 🤔 when i was a trainee i won first place in the monthly evaluation since then i kinda.. since that moment i kind of thought ah this is what i want to do. that was the first time i had this thought

op asked xnghan when the first time was he thought being an idol was the right job for him 📹 🍀 this was way back then but was it in 2nd year of middle school 🤔 when i was a trainee i won first place in the monthly evaluation since then i kinda.. since that moment i kind of thought ah this is what i want to do. that was the first time i had this thought

🚽

13,972 views • 10 months ago

I mean I thought it would be in a different way 😂 For context, Denson was bullied by a kid that hasn’t been 18 years old for a full week yet

I mean I thought it would be in a different way 😂 For context, Denson was bullied by a kid that hasn’t been 18 years old for a full week yet

🟢 Woke Super Hero 🦸🏾‍♂️🟠

1,651,469 views • 10 months ago

FLASHBACK: When I worked in a Shanghai COVID quarantine hotel for a day, way back in 2020. This is how China kept COVID out – and life relatively normal for most people – for the first two years of the pandemic.

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Andy Boreham 安柏然

24,586 views • 1 year ago

Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000

Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000

RadiantFilm

93,086 views • 8 months ago

#ManiRatnam in Recent Interview - #KamalHaasan sir had written a full script called Amar. - So when I told him an idea and he thought that it could be a very difficult project which we can do later. - Then I asked him to give me the script. #ThugLife

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173,422 views • 1 year ago

SIKANDAR SCRIPT CHANGED DURING THE MAKING. "#Sikandar, I remember talking to #ARMurugadoss sir, ofcourse later what happened was very different. But when I heard the script, it was indeed quite a different script" - #RashmikaMandanna #SalmanKhan

SIKANDAR SCRIPT CHANGED DURING THE MAKING. "#Sikandar, I remember talking to #ARMurugadoss sir, ofcourse later what happened was very different. But when I heard the script, it was indeed quite a different script" - #RashmikaMandanna #SalmanKhan

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409,541 views • 6 months ago

when i lived in Paris i bought a pair of heeled boots only to later discover they gave me 2 left boots but the idea of leaving work to navigate a return in French was so daunting that i wore two right boots for the next 5 years and lost 2.5 toenails

when i lived in Paris i bought a pair of heeled boots only to later discover they gave me 2 left boots but the idea of leaving work to navigate a return in French was so daunting that i wore two right boots for the next 5 years and lost 2.5 toenails

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812,752 views • 4 months ago

George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)

George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)

DepressedBergman

56,916 views • 6 months ago

carlos making max laugh by believing he had pole for a second there 😭😭😭 🗣️: just how good was that final lap, first of all? carlos: yeah, it was a very good lap. i thought it was a pole-worthy lap. when i closed the lap i saw myself in P1 and then i realized i was the first car across the flag. and yeah, maybe that was not going to last very long with these two guys coming behind. but it felt like a really good quali.

carlos making max laugh by believing he had pole for a second there 😭😭😭 🗣️: just how good was that final lap, first of all? carlos: yeah, it was a very good lap. i thought it was a pole-worthy lap. when i closed the lap i saw myself in P1 and then i realized i was the first car across the flag. and yeah, maybe that was not going to last very long with these two guys coming behind. but it felt like a really good quali.

yoyo 🦄

351,082 views • 8 months ago

#NamtanTipnaree #GMMTVLiveHouse 🤍: At first, I didn't know I had to be here. But then I saw the hints. I read them and wondered, "Huh, why does this seem like me? Probably me." 👤: When did you find out? 🤍: When I saw the hints. I was like, "Huh? Is it me?" Then I saw people guessing it was Namtan Tipnaree, so I thought, "That must be me for sure." I found out at the same time as everyone else. Let's look at the first hint.

#NamtanTipnaree #GMMTVLiveHouse 🤍: At first, I didn't know I had to be here. But then I saw the hints. I read them and wondered, "Huh, why does this seem like me? Probably me." 👤: When did you find out? 🤍: When I saw the hints. I was like, "Huh? Is it me?" Then I saw people guessing it was Namtan Tipnaree, so I thought, "That must be me for sure." I found out at the same time as everyone else. Let's look at the first hint.

Columbus 🚀

65,955 views • 11 months ago

On this day, 61 years ago, Sidney J. Furie's "The Ipcress File" (1965) was released in the U.K. On the first day of shooting, director Sidney J. Furie gathered the cast and said, "This is what I think of the script." He then set it on fire. Michael Caine on the incident: "The driver picked me up for the first day of shooting and asked me if I was an actor in the movie, and if I had read Len Deighton’s book. When I told him I was the lead in it, he told me, ‘The whole thing is a load of rubbish, isn’t it?’ Then, when I arrived on set, Sidney had everyone gather around. He asked if anyone had any matches, and I smoked at that time, so I handed mine over. Sidney took the script, lit the match, looked at everyone and said, ‘Here’s what I think of this script’ and set the match to it. That was his copy of the script, so he asked if anyone had another copy to consult after he had burned his own, so I gave him mine. But it was a gesture, an illustration. It was a hell of a way to be christened into being the lead in a film." Sidney J. Furie on the reason for the movie's peculiar style: "I was very depressed always when we started shooting, thinking that it was going to be really lousy and I didn’t know what to do, so I told myself I would come up with a style of shooting that is different. I put shoulders across the screen, I shot up at things, I shot down, just to make it different, to give it ambiance. It was done out of insecurity, with a little cognac spiked in my morning coffee to give me courage." ("Sidney J. Furie: Life and Films", Daniel Kremer, 2015)

On this day, 61 years ago, Sidney J. Furie's "The Ipcress File" (1965) was released in the U.K. On the first day of shooting, director Sidney J. Furie gathered the cast and said, "This is what I think of the script." He then set it on fire. Michael Caine on the incident: "The driver picked me up for the first day of shooting and asked me if I was an actor in the movie, and if I had read Len Deighton’s book. When I told him I was the lead in it, he told me, ‘The whole thing is a load of rubbish, isn’t it?’ Then, when I arrived on set, Sidney had everyone gather around. He asked if anyone had any matches, and I smoked at that time, so I handed mine over. Sidney took the script, lit the match, looked at everyone and said, ‘Here’s what I think of this script’ and set the match to it. That was his copy of the script, so he asked if anyone had another copy to consult after he had burned his own, so I gave him mine. But it was a gesture, an illustration. It was a hell of a way to be christened into being the lead in a film." Sidney J. Furie on the reason for the movie's peculiar style: "I was very depressed always when we started shooting, thinking that it was going to be really lousy and I didn’t know what to do, so I told myself I would come up with a style of shooting that is different. I put shoulders across the screen, I shot up at things, I shot down, just to make it different, to give it ambiance. It was done out of insecurity, with a little cognac spiked in my morning coffee to give me courage." ("Sidney J. Furie: Life and Films", Daniel Kremer, 2015)

DepressedBergman

55,813 views • 4 months ago

Steven Spielberg says when he made Close Encounters he hoped UFOs were a real phenomenon but now he knows they are “When I was making Close Encounters, which is 50 years ago, when I was making that film, I did a lot of research and I really got to the edge of really believing that something was happening in our skies that we weren't being told about. But the imaginative part of Close Encounters kind of captured me. And I wrote it from my heart. It was sort of a wish fulfillment story, hoping that maybe a little bit of what I'm talking about in this picture might be true, but wasn't sure back then. And then 50 years goes by and I made disclosure day because I really believe that things that I was only hoping were true back then are things that are actually happening now today.”

Steven Spielberg says when he made Close Encounters he hoped UFOs were a real phenomenon but now he knows they are “When I was making Close Encounters, which is 50 years ago, when I was making that film, I did a lot of research and I really got to the edge of really believing that something was happening in our skies that we weren't being told about. But the imaginative part of Close Encounters kind of captured me. And I wrote it from my heart. It was sort of a wish fulfillment story, hoping that maybe a little bit of what I'm talking about in this picture might be true, but wasn't sure back then. And then 50 years goes by and I made disclosure day because I really believe that things that I was only hoping were true back then are things that are actually happening now today.”

Red Panda Koala

147,879 views • 1 month ago

🦊 the thing i said the most while preparing for this album was “i’m no labels” “i have no labels” and i realized that there’s no need for me to be humble even when i’m making music, i just need to enjoy and express myself 🦊 i think i’ve always been a humble person so i tried to get rid of that (while making the album) and i feel like i was lacking in a lot more ways than i thought 🦊 working with a lot of producers and different people made me think “there are lot of things i’m lacking in, huh?” and it was an opportunity where i could really experience and learn a lot of things

🦊 the thing i said the most while preparing for this album was “i’m no labels” “i have no labels” and i realized that there’s no need for me to be humble even when i’m making music, i just need to enjoy and express myself 🦊 i think i’ve always been a humble person so i tried to get rid of that (while making the album) and i feel like i was lacking in a lot more ways than i thought 🦊 working with a lot of producers and different people made me think “there are lot of things i’m lacking in, huh?” and it was an opportunity where i could really experience and learn a lot of things

💬

49,288 views • 8 months ago

"since the day i let you go, there's not a thing that i can do. wandering through countless paths, i lose everything. just the way it was back then, i'm still here. thought i'd get over it if i just kept on walking. going in circles. over and over, trapped inside the traces you left behind. i can't take a single step away, i end up back with you. just the way it was back then" ❤️‍🩹

"since the day i let you go, there's not a thing that i can do. wandering through countless paths, i lose everything. just the way it was back then, i'm still here. thought i'd get over it if i just kept on walking. going in circles. over and over, trapped inside the traces you left behind. i can't take a single step away, i end up back with you. just the way it was back then" ❤️‍🩹

비니

47,371 views • 5 months ago