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When Toshirô Mifune (三船敏郎) first auditioned for 'TOHO', he was about to be rejected by the selection committee. They felt his demeanour was disrespectful. Akira Kurosawa (黒澤明), who was impressed by his acting, intervened & proposed to change their evaluation method. The Rest is History. Akira Kurosawa... reciting the above story in his own words: "IT’S NOT POSSIBLE for me to talk about 'Drunken Angel', which was released in 1948, without devoting some attention to the actor Mifune Toshiro. In June of 1946, in order to get into the spirit of postwar activity, Toho conducted open auditions to recruit new contract actors. Using the headline “Wanted: New Faces,” they got a tremendous number of applicants. On the day of the interviews and screen tests I was in the middle of the shooting of No Regrets for Our Youth, so I couldn’t participate in the judging. But during lunch break I stepped off the set and was immediately accosted by actress Takamine Hideko, who had been the star of Yamamoto Kajirō’s Horses when I was chief assistant director. “There’s one who’s really fantastic. But he’s something of a roughneck, so he just barely passed. Won’t you come have a look?” I bolted my lunch and went to the studio where the tests were being given. I opened the door and stopped dead in amazement. A young man was reeling around the room in a violent frenzy. It was as frightening as watching a wounded or trapped savage beast trying to break loose. I stood transfixed. But it turned out that this young man was not really in a rage, but had drawn “anger” as the emotion he had to express in his screen test. He was acting. When he finished his performance, he regained his chair with an exhausted demeanor, flopped down and began to glare menacingly at the judges. Now, I knew very well that this kind of behavior was a cover for shyness, but the jury seemed to be interpreting it as disrespect. I found this young man strangely attractive, and concern over the judges’ decision began to distract me from my work. I returned to my set and wrapped up the shooting early. Then I proceeded to look in on the room where the jury were deliberating. Despite Yamasan’s strong recommendation of the young man, the voting was against him. Suddenly I heard myself shouting, “Please wait a minute." The jury was made up of two groups: movie-industry specialists (directors, cinematographers, producers and actors) and representatives of the labor union. The two groups were equally represented. At that time the union was gaining in strength daily, and union representatives appeared wherever something was happening. Because of them, all decisions had to be made by voting, but I felt that for them to voice their opinions on the selection of actors was really going too far. Even the expression “going too far” doesn’t do justice to the suppressed anger boiling in me. I called for a time out. I said that in order to judge the quality of an actor and predict his future capacities you need the talents and experience of an expert. In the selection of an actor it isn’t right to equate the vote of an expert and the vote of a complete outsider. It’s like appraising a gemstone—you wouldn’t give a greengrocer’s appraisal the same weight you would a jeweler’s. In evaluating an actor, an expert’s vote should have at least three if not five times the weight of an amateur’s. I emphasized that I wanted a recount of the votes with more appropriate weight assigned to the experts’ opinions. The jury was thrown into an uproar. “It’s anti-democratic, it’s monopoly by directors!” someone shouted. But all of the production people on the jury raised their hands in approval of my suggestion, and even some labor-union representatives nodded their assent. Finally Yama-san, who was head of the jury, said that as a movie director he would take responsibility for his opinion of the quality and potential of the young actor in question. With Yama-san’s pronouncement the young man squeaked through. He was, of course, Mifune Toshiro." (Excerpt taken from "Something like an autobiography", Akira Kurosawa) Clip from: Drunken Angel (1948) Director: Akira Kurosawashow more

DepressedBergman

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Press Trust of India

252,302 просмотров • 3 месяцев назад

Sean Penn nearly didn't get cast as Jeff Spicoli in "Fast Times at Ridgemont High" (1982) because of his "terrible" audition. Penn believed he performed poorly in the audition due to his arrogant attitude even though he was a young, struggling actor. In an interview, he said, "Long before I had a penny in my pocket, I had kind of a feeling of entitlement as an actor. Not because I thought I was so good, but because I thought the rest were not so good. And that gave me an awful lot of confidence. I read this part and I thought, 'I know this thing'. But this was true of all auditions. I resented every audition, and hence I was terrible at it... I wanted them to just give it to me, trust me. When he went to read for the part of Spicoli, Penn performed "terribly, and flat," and was dismissed. However, casting director Don Phillips ran out to the parking lot to retrieve him, telling Penn, "Get back in here, and audition your ass off." "As a result of that faith, I kind of gave it a little bit, and off of that, they took a gamble, and then we had a great time making the movie" ("Sean Penn recalls his 'terrible' Fast Times at Ridgemont High audition", Tyler Aquilina, Entertainment Weekly, 2020) P.S: On this day, 44 years ago, "Fast Times at Ridgemont High" (1982) was released in the USA and Canada.

Sean Penn nearly didn't get cast as Jeff Spicoli in "Fast Times at Ridgemont High" (1982) because of his "terrible" audition. Penn believed he performed poorly in the audition due to his arrogant attitude even though he was a young, struggling actor. In an interview, he said, "Long before I had a penny in my pocket, I had kind of a feeling of entitlement as an actor. Not because I thought I was so good, but because I thought the rest were not so good. And that gave me an awful lot of confidence. I read this part and I thought, 'I know this thing'. But this was true of all auditions. I resented every audition, and hence I was terrible at it... I wanted them to just give it to me, trust me. When he went to read for the part of Spicoli, Penn performed "terribly, and flat," and was dismissed. However, casting director Don Phillips ran out to the parking lot to retrieve him, telling Penn, "Get back in here, and audition your ass off." "As a result of that faith, I kind of gave it a little bit, and off of that, they took a gamble, and then we had a great time making the movie" ("Sean Penn recalls his 'terrible' Fast Times at Ridgemont High audition", Tyler Aquilina, Entertainment Weekly, 2020) P.S: On this day, 44 years ago, "Fast Times at Ridgemont High" (1982) was released in the USA and Canada.

DepressedBergman

45,557 просмотров • 5 дней назад

Selena Gomez reveals how Benny Blanco proposed to her. “I thought we had a shoot that day, so I had hair and makeup done, and I was just going about my regular day. I got into the car, and I was thinking to myself, ‘Where are we going?’ Because at that point, I felt like I knew all the studios I usually go to” “It was just me and my security guard, and he was laughing because he was just like, ‘I don’t know. It’s a new space’” “We got out. I walked in, and all of a sudden, I saw no one in the room. I looked at my assistant, and she just shut the door. And I was like, ‘Uhhh…’” “I think you envision all the things you would do and say when someone proposes to you. But it is actually the craziest feeling. It was really special” “He said the sweetest things, but I was so shocked that it just felt unreal for a long time. I’ve always dreamed of that moment, and he couldn’t have made it more perfect. It was one of the best days of my life, for sure”

Selena Gomez reveals how Benny Blanco proposed to her. “I thought we had a shoot that day, so I had hair and makeup done, and I was just going about my regular day. I got into the car, and I was thinking to myself, ‘Where are we going?’ Because at that point, I felt like I knew all the studios I usually go to” “It was just me and my security guard, and he was laughing because he was just like, ‘I don’t know. It’s a new space’” “We got out. I walked in, and all of a sudden, I saw no one in the room. I looked at my assistant, and she just shut the door. And I was like, ‘Uhhh…’” “I think you envision all the things you would do and say when someone proposes to you. But it is actually the craziest feeling. It was really special” “He said the sweetest things, but I was so shocked that it just felt unreal for a long time. I’ve always dreamed of that moment, and he couldn’t have made it more perfect. It was one of the best days of my life, for sure”

Buggy

289,329 просмотров • 17 дней назад

Austin Reaves on his interaction with the ref: "I felt like I was respectful to all of them all night. A million times in the past, I've said way worse stuff. And when we were doing the whole tip ball and they were switching spots, I wanted to get on the other side because they had a guy on the other side, was just trying to keep an advantage. And he turned around and yelled in my face. I just thought it was disrespectful. The whole time that was going on over there, I don't think he said much to them. I know Ben (Taylor) stepped in and said something. But at the end of the day, we're grown men and I just didn't feel like he needed to yell in my face like that. I told him that. I wasn't disrespectful. I told him if I did that to him first, I would've gotten a tech. I feel like the only reason I didn't get a tech was because he knew he was in the wrong. I felt disrespected"

Austin Reaves on his interaction with the ref: "I felt like I was respectful to all of them all night. A million times in the past, I've said way worse stuff. And when we were doing the whole tip ball and they were switching spots, I wanted to get on the other side because they had a guy on the other side, was just trying to keep an advantage. And he turned around and yelled in my face. I just thought it was disrespectful. The whole time that was going on over there, I don't think he said much to them. I know Ben (Taylor) stepped in and said something. But at the end of the day, we're grown men and I just didn't feel like he needed to yell in my face like that. I told him that. I wasn't disrespectful. I told him if I did that to him first, I would've gotten a tech. I feel like the only reason I didn't get a tech was because he knew he was in the wrong. I felt disrespected"

Oh No He Didn't

1,084,632 просмотров • 3 месяцев назад

Paul Sorvino, who played Paulie in Goodfellas, nearly backed out of the film two days before production. The self-described “softie” had spent months agonizing over the role, convinced he didn’t have what it took to play a mafia boss. He explains… “I didn’t think I could do it, because it was not the kind of role that I felt I really had an affinity for. The externals were easy: middle-aged Italian man. The difficulty was in the lethality that I felt I didn’t possess. And so even though I wanted to do it, I was sort of faking when I went to the meeting and giving Martin the impression that I knew exactly what to do with it - when I had no idea what to do with it. But I wanted so much to be in a Scorsese movie. I guess he just figured I was capable of it. It was about two months of preparation to try to get this quality that I knew it called for. I was kind of agonizing over it - I was thinking, “I’m gonna ruin this movie.” I was looking for something to get out of it till two days before we started production. By virtue of constantly searching to find that kind of quality that killers have, I was preparing to go out one night, passed by the mirror to check for spinach in the teeth, and I jumped back. I literally frightened myself. I saw a look in my eyes that frightened me. ‘Who was that?’ I said, ‘That’s Paulie.’ And once I found it, the role became just a duck in water. It just was so easy to do.”

Paul Sorvino, who played Paulie in Goodfellas, nearly backed out of the film two days before production. The self-described “softie” had spent months agonizing over the role, convinced he didn’t have what it took to play a mafia boss. He explains… “I didn’t think I could do it, because it was not the kind of role that I felt I really had an affinity for. The externals were easy: middle-aged Italian man. The difficulty was in the lethality that I felt I didn’t possess. And so even though I wanted to do it, I was sort of faking when I went to the meeting and giving Martin the impression that I knew exactly what to do with it - when I had no idea what to do with it. But I wanted so much to be in a Scorsese movie. I guess he just figured I was capable of it. It was about two months of preparation to try to get this quality that I knew it called for. I was kind of agonizing over it - I was thinking, “I’m gonna ruin this movie.” I was looking for something to get out of it till two days before we started production. By virtue of constantly searching to find that kind of quality that killers have, I was preparing to go out one night, passed by the mirror to check for spinach in the teeth, and I jumped back. I literally frightened myself. I saw a look in my eyes that frightened me. ‘Who was that?’ I said, ‘That’s Paulie.’ And once I found it, the role became just a duck in water. It just was so easy to do.”

Gangster Cinema Central

567,725 просмотров • 2 месяцев назад

stefan van de graaff on what kit connor brought to the set of “one of us”: “so his agent had told me that he was the most professional person ever. and honestly, even that was a bit of an understatement. there’s a lot of signals that you can get from actors that sort of you perceive as the director, their level of commitment and passion for a project. and kit exhibited all of those in spades. as an example, you know, when you’re trying to get actors to come on set, and you have your ADs going to go fetch them, and they’ve been in the green room or whatever, waiting to kind of deliver their lines, sometimes it takes a while to usher them out. kit was, like, first guy on set every time, never had to be asked. he was just ready to go. and then the last guy, he was always the last one. he’d come to me and say, ‘do you want another one? do we do it again?’ you know, every time he was always the first and last. and that, on top of everything else, of just how kind he was, how he, i mean, he just ushered the set in so many respects of bringing the talent of everybody up to his level. and i think that everybody saw something almost superhuman happening when he would deliver those soliloquies after essentially memorizing them the night before flawlessly. i mean, literally, not asking for a line ever, rarely asking for a second take unless i was the one asking for it. i think that everybody was just kind of in awe of that, and that just elevated the production.” 🎥: mollyandanna_ on tiktok

stefan van de graaff on what kit connor brought to the set of “one of us”: “so his agent had told me that he was the most professional person ever. and honestly, even that was a bit of an understatement. there’s a lot of signals that you can get from actors that sort of you perceive as the director, their level of commitment and passion for a project. and kit exhibited all of those in spades. as an example, you know, when you’re trying to get actors to come on set, and you have your ADs going to go fetch them, and they’ve been in the green room or whatever, waiting to kind of deliver their lines, sometimes it takes a while to usher them out. kit was, like, first guy on set every time, never had to be asked. he was just ready to go. and then the last guy, he was always the last one. he’d come to me and say, ‘do you want another one? do we do it again?’ you know, every time he was always the first and last. and that, on top of everything else, of just how kind he was, how he, i mean, he just ushered the set in so many respects of bringing the talent of everybody up to his level. and i think that everybody saw something almost superhuman happening when he would deliver those soliloquies after essentially memorizing them the night before flawlessly. i mean, literally, not asking for a line ever, rarely asking for a second take unless i was the one asking for it. i think that everybody was just kind of in awe of that, and that just elevated the production.” 🎥: mollyandanna_ on tiktok

kit connor updates

13,057 просмотров • 4 месяцев назад

John Huston on working with Clark Gable in "The Misfits" (1961): "One of the myths attached to 'The Misfits' was that Clark Gable d!ed of a heart attack because of over-exertion in this film. That is utter nonsense. Toward the end of the picture there was a contest between Clark and the stallion the cowboys had captured. It looked like rough work, and it was, but it was the stunt men who were thrown around, not Clark. I got on well with Clark. I spent many hours with him in his trailer— thanks to Marilyn. He thought of himself as an actor, not a screen personality. He liked reminiscing about his early days in the theater—old-time actors’ talk. I saw very soon that Clark knew exactly what he was doing. Two or three times I thought I saw ways to improve his performance. I was mistaken. Each time I had him go back to his own way. He was nonplussed by Marilyn’s behavior. It was as though she’d revealed some horrid fact of life that just couldn’t be accepted in his scheme of things. Because I edit as I go along, Clark got to see the first cut of the film, and he was delighted. The picture was way over budget. It would cost about $4,000,000—and that was a lot of money in those days for a black- and-white film. Clark said, “Hell, John! If the studio is unhappy about the cost, I’ll buy this picture for four million dollars. I think it’s the best thing I've ever done. Now all I want is to see that kid of mine born!” That was on November 4, and he was due to become a father in February. It wasn’t to be. He suffered a heart attack on November 5 and died less than two weeks later. Because of Clark’s death and the tragedy of seeing Marilyn slowly destroying herself, my memories of 'The Misfits' are mostly melancholy. But there were some good moments, too." ("An Open Book", John Huston, 1980) P.S: Remembering the legendary American filmmaker John Huston on his 120th birthday!

John Huston on working with Clark Gable in "The Misfits" (1961): "One of the myths attached to 'The Misfits' was that Clark Gable d!ed of a heart attack because of over-exertion in this film. That is utter nonsense. Toward the end of the picture there was a contest between Clark and the stallion the cowboys had captured. It looked like rough work, and it was, but it was the stunt men who were thrown around, not Clark. I got on well with Clark. I spent many hours with him in his trailer— thanks to Marilyn. He thought of himself as an actor, not a screen personality. He liked reminiscing about his early days in the theater—old-time actors’ talk. I saw very soon that Clark knew exactly what he was doing. Two or three times I thought I saw ways to improve his performance. I was mistaken. Each time I had him go back to his own way. He was nonplussed by Marilyn’s behavior. It was as though she’d revealed some horrid fact of life that just couldn’t be accepted in his scheme of things. Because I edit as I go along, Clark got to see the first cut of the film, and he was delighted. The picture was way over budget. It would cost about $4,000,000—and that was a lot of money in those days for a black- and-white film. Clark said, “Hell, John! If the studio is unhappy about the cost, I’ll buy this picture for four million dollars. I think it’s the best thing I've ever done. Now all I want is to see that kid of mine born!” That was on November 4, and he was due to become a father in February. It wasn’t to be. He suffered a heart attack on November 5 and died less than two weeks later. Because of Clark’s death and the tragedy of seeing Marilyn slowly destroying herself, my memories of 'The Misfits' are mostly melancholy. But there were some good moments, too." ("An Open Book", John Huston, 1980) P.S: Remembering the legendary American filmmaker John Huston on his 120th birthday!

DepressedBergman

48,985 просмотров • 12 дней назад

Usher expresses his regret over passing up the chance to join the cast of Dreamgirls in a conversation with Keke Palmer. He says part of the reason he passed was the standard artists and creatives were being paid, and the other was he was getting ready to launch a tour and wasn’t willing to disappoint his staff and fans. “Part of it was kind of the standard of how artistes and creatives are paid, the other was hey I'm in the middle of getting ready to launch a tour, and there's a huge overhead that I carry for all of the people that I'm getting ready to cancel for, the fans, as well as all of the people whom I employ. I just need to be able to have enough in order to offset what I'm getting ready to say no to. I really want to do this, but i gotta cancel an entire tour, I had to pass. I had everybody calling me, i had Eddy Murphy calling me, I had Beyonce, everybody was like you need to really do this movie”

Usher expresses his regret over passing up the chance to join the cast of Dreamgirls in a conversation with Keke Palmer. He says part of the reason he passed was the standard artists and creatives were being paid, and the other was he was getting ready to launch a tour and wasn’t willing to disappoint his staff and fans. “Part of it was kind of the standard of how artistes and creatives are paid, the other was hey I'm in the middle of getting ready to launch a tour, and there's a huge overhead that I carry for all of the people that I'm getting ready to cancel for, the fans, as well as all of the people whom I employ. I just need to be able to have enough in order to offset what I'm getting ready to say no to. I really want to do this, but i gotta cancel an entire tour, I had to pass. I had everybody calling me, i had Eddy Murphy calling me, I had Beyonce, everybody was like you need to really do this movie”

Heron

209,343 просмотров • 1 месяц назад

Why Elon didn't want to be CEO: "[Elon] is at core, an engineer and a product guy. He has this great line where he said: "I realized you couldn't be fully in control of the product unless you were also in control of the company." He says he made a moral error, early in Tesla, where he was trying to have his cake and eat it too. He wanted to control the company without running the company. And that was the 2002 to 2008 era, where Tesla was just off to a really messy start. He was providing the funding. He was chairman of the board. But Martin Eberhard was CEO. Eventually, when Tesla was on the verge of death in 2008....Elon was pushed into the position of: "I have to be CEO. I don't want to be. It comes with a lot of chores. It comes with a lot of responsibilities. But if I want this company to be successful, I have to fully internalize and take responsibility for it." And that's what he did, even though he was also in the same position at SpaceX. The fact that these companies are improbable, iconic, and that he funded and led them both in parallel...it's like running a two minute mile twice at the same time. It is such a higher degree of difficulty than most people can conceive of, and the fact that it worked is still unbelievable."

Why Elon didn't want to be CEO: "[Elon] is at core, an engineer and a product guy. He has this great line where he said: "I realized you couldn't be fully in control of the product unless you were also in control of the company." He says he made a moral error, early in Tesla, where he was trying to have his cake and eat it too. He wanted to control the company without running the company. And that was the 2002 to 2008 era, where Tesla was just off to a really messy start. He was providing the funding. He was chairman of the board. But Martin Eberhard was CEO. Eventually, when Tesla was on the verge of death in 2008....Elon was pushed into the position of: "I have to be CEO. I don't want to be. It comes with a lot of chores. It comes with a lot of responsibilities. But if I want this company to be successful, I have to fully internalize and take responsibility for it." And that's what he did, even though he was also in the same position at SpaceX. The fact that these companies are improbable, iconic, and that he funded and led them both in parallel...it's like running a two minute mile twice at the same time. It is such a higher degree of difficulty than most people can conceive of, and the fact that it worked is still unbelievable."

Ti Morse

47,497 просмотров • 4 месяцев назад

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 просмотров • 5 месяцев назад

🇮🇱 Former Israeli Soldier Breaks His Silence on Raiding Homes of Palestinians: "Made Sure the People in the House were Innocent" Transcript: "We would open up the maps and look at the specific house that looked into the right place that we had to enter a city center or a road. And after we would verify that the house has the best parameters, windows and geographical area, we made sure the people in the house were innocent. It so we would enter a house of an innocent Palestinian home in the middle of the night. But I would say that what motivated me eventually to break my silence was the piercing eyes of young Palestinians when I was barging into their house in the middle of the night. I could always justify it to myself. But those eyes, the anger, their fear, was what eventually helped me overcome that. A house of a physician in Nabilus, for example, that I entered in the middle of the night, taking him, his wife and his daughter and pushing them in a room if they wanted to use their bathroom or their kitchen or use their phone, they need permission from me. That specific house in Abelis stayed with me for a while because that physician himself was kind enough and generous enough to sit down and explain to me what it means to be a Palestinian. And I thought that I was a good moral soldier, but I was actually helping entrench the occupation in that sense."

🇮🇱 Former Israeli Soldier Breaks His Silence on Raiding Homes of Palestinians: "Made Sure the People in the House were Innocent" Transcript: "We would open up the maps and look at the specific house that looked into the right place that we had to enter a city center or a road. And after we would verify that the house has the best parameters, windows and geographical area, we made sure the people in the house were innocent. It so we would enter a house of an innocent Palestinian home in the middle of the night. But I would say that what motivated me eventually to break my silence was the piercing eyes of young Palestinians when I was barging into their house in the middle of the night. I could always justify it to myself. But those eyes, the anger, their fear, was what eventually helped me overcome that. A house of a physician in Nabilus, for example, that I entered in the middle of the night, taking him, his wife and his daughter and pushing them in a room if they wanted to use their bathroom or their kitchen or use their phone, they need permission from me. That specific house in Abelis stayed with me for a while because that physician himself was kind enough and generous enough to sit down and explain to me what it means to be a Palestinian. And I thought that I was a good moral soldier, but I was actually helping entrench the occupation in that sense."

Mario Nawfal

570,064 просмотров • 2 лет назад

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

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

Gangster Cinema Central

42,262 просмотров • 1 месяц назад