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Will Ferrell reveals why he turned down a massive payday for the ELF sequel "I was offered a crazy amount of money" "there was a lot of movement after the film initially came out, of which I maintained that it's going to be really hard because it's a classic...

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Rixlerr

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1,007,553 görüntüleme • 22 gün önce •via X (Twitter)

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Jelly Hoshiumi has made a short statement at the beginning of her stream. "So I just want to take this moment to, um, say that... Okay, it's really no big deal but I am sorry to-to my friends and my company for making it- I wrote this all on my own by the way- for, you know, making it kind of, you know, suck on twitter. com. (...) I-I'm sorry for inconveniencing you and stressing you out most importantly. (...) I feel kind of bad for, you know, stressing you out with everything and also not streaming and I feel bad for that. That is what I feel bad for. Also just to clarify, I'm not a racist, I'm not a bigot. And most importantly I would like to thank you for the support" "I feel like I have to elaborate a bit because I was a bit nervous when I was making the statement (...) Right, so I feel like now that everything's calmed down a little bit, I feel like I can kind of say that, everything is actually cool between me and the company. (...) Sakana did personally send me an apology, so we're actually pretty good. We've been talking, I sent- I took a picture of a book and I sent it to him, I asked if he wanted it. He said yeah. So everything is actually fine, So don't worry about it, okay? It's good. I don't want you guys to be angry, I don't want you guys to be upset on behalf of me if anything, I just want you guys to be chill. Just like me and just let it go."
2:12

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Jelly Hoshiumi has made a short statement at the beginning of her stream. "So I just want to take this moment to, um, say that... Okay, it's really no big deal but I am sorry to-to my friends and my company for making it- I wrote this all on my own by the way- for, you know, making it kind of, you know, suck on twitter. com. (...) I-I'm sorry for inconveniencing you and stressing you out most importantly. (...) I feel kind of bad for, you know, stressing you out with everything and also not streaming and I feel bad for that. That is what I feel bad for. Also just to clarify, I'm not a racist, I'm not a bigot. And most importantly I would like to thank you for the support" "I feel like I have to elaborate a bit because I was a bit nervous when I was making the statement (...) Right, so I feel like now that everything's calmed down a little bit, I feel like I can kind of say that, everything is actually cool between me and the company. (...) Sakana did personally send me an apology, so we're actually pretty good. We've been talking, I sent- I took a picture of a book and I sent it to him, I asked if he wanted it. He said yeah. So everything is actually fine, So don't worry about it, okay? It's good. I don't want you guys to be angry, I don't want you guys to be upset on behalf of me if anything, I just want you guys to be chill. Just like me and just let it go."

Rima Evenstar

42,650 görüntüleme • 5 ay önce

Ben Affleck revealed he had to get Michael Jordan’s approval before making Air, including what could and couldn’t be in the movie. Ben Affleck: ...not going to do anything that you're not down with. So, if you want to give me a couple hours, sit down and tell me like what's real, what's not, and what you care about, you know, I... and he was like, "All right, cool. Come out to my golf course." So, flew out there... Matt Barnes: How was that? Ben Affleck: It was sick. You know what I mean? Like, damn, it's good to be Michael Jordan, it turns out. Stephen Jackson: 36 holes, right? Ben Affleck: It's crazy, yeah. Nobody's there except him and his boys. It's just like that thing, you know? And um, he... I went, waited for my man to finish, you know what I mean? They're like, "Mike will be like soon." I was like, "I'm not going anywhere. I'm cool." And when he got done, he was like, "So, what... what is this?" you know? And I said, "Look, it's the story of your Nike deal, basically, and you know, what happened around then, and here's..." I had sent him the script, and I kind of talked him through it a little bit.
2:08

Ben Affleck revealed he had to get Michael Jordan’s approval before making Air, including what could and couldn’t be in the movie. Ben Affleck: ...not going to do anything that you're not down with. So, if you want to give me a couple hours, sit down and tell me like what's real, what's not, and what you care about, you know, I... and he was like, "All right, cool. Come out to my golf course." So, flew out there... Matt Barnes: How was that? Ben Affleck: It was sick. You know what I mean? Like, damn, it's good to be Michael Jordan, it turns out. Stephen Jackson: 36 holes, right? Ben Affleck: It's crazy, yeah. Nobody's there except him and his boys. It's just like that thing, you know? And um, he... I went, waited for my man to finish, you know what I mean? They're like, "Mike will be like soon." I was like, "I'm not going anywhere. I'm cool." And when he got done, he was like, "So, what... what is this?" you know? And I said, "Look, it's the story of your Nike deal, basically, and you know, what happened around then, and here's..." I had sent him the script, and I kind of talked him through it a little bit.

Ruzy.hl

1,135,298 görüntüleme • 27 gün önce

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)
1:46

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 görüntüleme • 7 ay önce

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q
1:15

“So originally, Paint by Numbers was like track one of the album. And at that time, the album was very different. It was like sonically sounding very different. It was like very introspective. I think I was really starting to feel like, you know, I think I loved the idea of opening the album with, oh, what a gift it is to be noticed, but it's nothing to do with me. I just loved, I was like so dedicated to that being the opening line. And I felt so like powerful in a lot of ways to be able to acknowledge that it's not really about me, you know. I mean the opening, the whole opening of the song is, oh, what a gift is to be noticed, but it's nothing to do with me. You've got to wonder if there's a reason to believe it's a lifetime of learning to Paint By Numbers and watching colors run.” - Harry about ‘Paint by Numbers’ on Q

HSNews

179,234 görüntüleme • 4 ay önce

"I never liked ['Be Joe Pyfer']. It's fake love, man. It was always cringe to me just because I don't want people walk up and telling me, 'Be Joe Pyfer.' It's corny. I did like the message of it. I didn't like it for the reasons people interpreted it. I liked it for the way that [Dana White] said it and he was saying, if you want to be in the UFC and this is where you want to be, act like Joe Pyfer, which was, I was passionate, I was vulgar, I screamed at him, I knocked the guy out, and I called my shot. I was a resilient motherfucker." - Bodybagz_Pyfer
1:27

"I never liked ['Be Joe Pyfer']. It's fake love, man. It was always cringe to me just because I don't want people walk up and telling me, 'Be Joe Pyfer.' It's corny. I did like the message of it. I didn't like it for the reasons people interpreted it. I liked it for the way that [Dana White] said it and he was saying, if you want to be in the UFC and this is where you want to be, act like Joe Pyfer, which was, I was passionate, I was vulgar, I screamed at him, I knocked the guy out, and I called my shot. I was a resilient motherfucker." - Bodybagz_Pyfer

Ariel Helwani

191,322 görüntüleme • 1 yıl önce

James Cameron admits that he secretly worked on Titanic entirely for free just to stop studio executives from destroying the film "I offered that to the studio on a quid pro quo basis with them not doing stupid things to chop out scenes that were critical to the film" "I would rather have had a film that made sense and represented what I imagined it should be then get paid. That was more important" "it's not about the money, it's not about what I got paid. It's about the realization of an idea, a storytelling idea" "I didn't want them to knee-jerk and do stupid things like let's take out the entire engine room, not only would it significantly harm the movie, but it would therefore obviate all of the energy that we had put into it up to that point"
1:19

James Cameron admits that he secretly worked on Titanic entirely for free just to stop studio executives from destroying the film "I offered that to the studio on a quid pro quo basis with them not doing stupid things to chop out scenes that were critical to the film" "I would rather have had a film that made sense and represented what I imagined it should be then get paid. That was more important" "it's not about the money, it's not about what I got paid. It's about the realization of an idea, a storytelling idea" "I didn't want them to knee-jerk and do stupid things like let's take out the entire engine room, not only would it significantly harm the movie, but it would therefore obviate all of the energy that we had put into it up to that point"

Rixlerr

76,738 görüntüleme • 5 gün önce

"You know, I don't, I have not changed. I really make the movies for myself. I really, really do." Q: "For no one else, or just sort of like what you ultimately want to see in them?" "Yeah, I think so." Q: "As a fan yourself, too? "What I want to see, yeah, like as a, like, you only have the benchmark of yourself. Like, if you ever try and make a movie for someone other than yourself... I feel like you're going to blow it. "Because you can't, you don't know how anyone else is going to feel. So like, you know, you go, 'okay, do I find that emotionally real? Do I find that interesting? Is that the Krypton I want to go to? Is that the Superman I want to see fight?' "You know, those are the questions you ask yourself constantly. And I think once you, if you're constantly answering yes to that, then you'll end up the more, the film will end up being more interesting to you. "And ultimately, the film being interesting to you allows you to make the movie better because you're interested. "If you make it for someone else over a two-year period, you're just going to not give a sh*t at some point because you're just like, 'I don't care. This is not my movie. I don't care about this movie because I made it for someone else.'" Q: "I imagine that's a very hard thing to do in Hollywood, though, is to keep your vision clear with so much collaboration, with so much going on, with so many other people in the mix." "It really depends on the project. For instance, it was hard on Guardians, you know, where I feel like what ended up happening on that movie was people, we did end up, they did end up asking me like, 'this is for kids, right?' "And I got to honestly say that I knew it was for kids, but I didn't want to make it for kids. You know what I mean? And I think that's what happened to that movie. It did get like second guessed at the end and turned more into a movie for kids. "My point of view is I can think like a child if I want. I have that enthusiasm for movies and what I think is cool. You, the collective you, don't need to try and second guess me and go, 'this is what we think a kid would like.' "And then it's like, 'oh, a song' or whatever. Then you're just like, 'okay, whatever.'"
2:14

"You know, I don't, I have not changed. I really make the movies for myself. I really, really do." Q: "For no one else, or just sort of like what you ultimately want to see in them?" "Yeah, I think so." Q: "As a fan yourself, too? "What I want to see, yeah, like as a, like, you only have the benchmark of yourself. Like, if you ever try and make a movie for someone other than yourself... I feel like you're going to blow it. "Because you can't, you don't know how anyone else is going to feel. So like, you know, you go, 'okay, do I find that emotionally real? Do I find that interesting? Is that the Krypton I want to go to? Is that the Superman I want to see fight?' "You know, those are the questions you ask yourself constantly. And I think once you, if you're constantly answering yes to that, then you'll end up the more, the film will end up being more interesting to you. "And ultimately, the film being interesting to you allows you to make the movie better because you're interested. "If you make it for someone else over a two-year period, you're just going to not give a sh*t at some point because you're just like, 'I don't care. This is not my movie. I don't care about this movie because I made it for someone else.'" Q: "I imagine that's a very hard thing to do in Hollywood, though, is to keep your vision clear with so much collaboration, with so much going on, with so many other people in the mix." "It really depends on the project. For instance, it was hard on Guardians, you know, where I feel like what ended up happening on that movie was people, we did end up, they did end up asking me like, 'this is for kids, right?' "And I got to honestly say that I knew it was for kids, but I didn't want to make it for kids. You know what I mean? And I think that's what happened to that movie. It did get like second guessed at the end and turned more into a movie for kids. "My point of view is I can think like a child if I want. I have that enthusiasm for movies and what I think is cool. You, the collective you, don't need to try and second guess me and go, 'this is what we think a kid would like.' "And then it's like, 'oh, a song' or whatever. Then you're just like, 'okay, whatever.'"

Zack Snyder Film

334,960 görüntüleme • 7 ay önce

“I went out there and I tried, but I was playing with one arm. like legitimately my whole shoulder was popped out, torn. I was putting a needle in it every other day trying to get the pain down. But regardless, I went out there and I tried to play after the shoulder injury and I just wasn't able to be myself and I wasn't able to help the team and um you know that hurts.”
1:05

“I went out there and I tried, but I was playing with one arm. like legitimately my whole shoulder was popped out, torn. I was putting a needle in it every other day trying to get the pain down. But regardless, I went out there and I tried to play after the shoulder injury and I just wasn't able to be myself and I wasn't able to help the team and um you know that hurts.”

Tatiana

324,657 görüntüleme • 1 yıl önce

"To be fair, I should have knocked her out. This is not an excuse, but I felt like the canvas was a little bit slippy. I was like not committing to half of my shots because I didn't feel planted on the floor enough. I don't know whether that was the difference in a lot of things, but I'm going to give it her, she's a tough girl. I'm gonna say she was just tough." - Dakota Ditcheva
1:01

"To be fair, I should have knocked her out. This is not an excuse, but I felt like the canvas was a little bit slippy. I was like not committing to half of my shots because I didn't feel planted on the floor enough. I don't know whether that was the difference in a lot of things, but I'm going to give it her, she's a tough girl. I'm gonna say she was just tough." - Dakota Ditcheva

Ariel Helwani

25,518 görüntüleme • 1 yıl önce

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

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

Gangster Cinema Central

85,366 görüntüleme • 28 gün önce

Garrett Wilson was asked about his sideline exchange with Aaron Glenn at the end of the first half: "I just didn't know exactly what the plan was. Once I figured it out, I was disappointed. I'll just say that." Follow-up: "To not run a play, is that what you mean?" Wilson: "I didn't know exactly what the plan was. Once we converted the fourth down, I just thought we were going for the, trying to make the play. Obviously, we get to another fourth down and it's a tough spot to be in. In hindsight, I get why they did that, but in the moment, I was just like, 'man...'. I don't know. Yeah."
0:45

Garrett Wilson was asked about his sideline exchange with Aaron Glenn at the end of the first half: "I just didn't know exactly what the plan was. Once I figured it out, I was disappointed. I'll just say that." Follow-up: "To not run a play, is that what you mean?" Wilson: "I didn't know exactly what the plan was. Once we converted the fourth down, I just thought we were going for the, trying to make the play. Obviously, we get to another fourth down and it's a tough spot to be in. In hindsight, I get why they did that, but in the moment, I was just like, 'man...'. I don't know. Yeah."

SNY Jets

2,670,437 görüntüleme • 9 ay önce

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

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

Gangster Cinema Central

42,262 görüntüleme • 1 ay önce

joe locke: "i think at the moment i'm in this place where i feel like everything i get sent now is for another vulnerable skinny twink. which is great. and i know i can do that. and i'm really honored that the industry sees me as, like, the go-to guy to be the vulnerable gay guy. and it's holding space for both that feeling of, like, wow, this is an amazing thing, but also like, oh, but i know i can do other things, and i really want to be able to prove myself that i can, or prove to people that i can do other things. what's not, like, coming across like a bit of an asshole being like, oh, well, blah, blah, blah, blah, blah, because, you know, i'm so grateful that i'm in the opportunity to be able to be seen as that, but i also, i'm also someone who always wants to prove themselves, and so i want to be able to do that. so, i don't know what that, like, to me, what that is, whether it's like a film that has nothing to do with sexuality, a film where i play a straight guy, a film where i even play a gay character that's just not like charlie. but i think that it's almost that, like, it's that, like, classic, like, miley cyrus thing of, like, her post-disney days where she—but with less disrespect and with a torrent of respect to the character of charlie." 🎥:
1:41

joe locke: "i think at the moment i'm in this place where i feel like everything i get sent now is for another vulnerable skinny twink. which is great. and i know i can do that. and i'm really honored that the industry sees me as, like, the go-to guy to be the vulnerable gay guy. and it's holding space for both that feeling of, like, wow, this is an amazing thing, but also like, oh, but i know i can do other things, and i really want to be able to prove myself that i can, or prove to people that i can do other things. what's not, like, coming across like a bit of an asshole being like, oh, well, blah, blah, blah, blah, blah, because, you know, i'm so grateful that i'm in the opportunity to be able to be seen as that, but i also, i'm also someone who always wants to prove themselves, and so i want to be able to do that. so, i don't know what that, like, to me, what that is, whether it's like a film that has nothing to do with sexuality, a film where i play a straight guy, a film where i even play a gay character that's just not like charlie. but i think that it's almost that, like, it's that, like, classic, like, miley cyrus thing of, like, her post-disney days where she—but with less disrespect and with a torrent of respect to the character of charlie." 🎥:

daily joe locke

33,252 görüntüleme • 5 gün önce

Vince Carter says he would beat Michael Jordan in an NBA Slam Dunk Contest if both were in their primes “I'm winning. I don't know how, but I'm winning. I appreciate that because that's what the era was like. You know, it will be fun because MJ's going to put up a fight, and I know I would have to bring it” “Just like with Kobe, Dr. J, the greats of the game in dunking, I would love to have had the opportunity to dunk against those guys. I would have loved it” “Like T-Mac, I forced him to be in the dunk contest, but it's for a reason. I wanted the best competition, and I knew he would bring the best out of me. I wanted Kobe to be in it. He was like, ‘Nope,’ because he didn't want to lose. That's his mentality” “I was okay with losing to the greats of the game because, at the same time, I felt like if I'm able to win, what do you consider me”
1:40

Vince Carter says he would beat Michael Jordan in an NBA Slam Dunk Contest if both were in their primes “I'm winning. I don't know how, but I'm winning. I appreciate that because that's what the era was like. You know, it will be fun because MJ's going to put up a fight, and I know I would have to bring it” “Just like with Kobe, Dr. J, the greats of the game in dunking, I would love to have had the opportunity to dunk against those guys. I would have loved it” “Like T-Mac, I forced him to be in the dunk contest, but it's for a reason. I wanted the best competition, and I knew he would bring the best out of me. I wanted Kobe to be in it. He was like, ‘Nope,’ because he didn't want to lose. That's his mentality” “I was okay with losing to the greats of the game because, at the same time, I felt like if I'm able to win, what do you consider me”

dank

23,969 görüntüleme • 9 gün önce

Louis Tomlinson about pranking people! “Um, there's one, there's one that I can't go into 'cause um, no, I don't even want to say anything. The other person is still quite upset about it. Oh, wow. Um, I was, before I remembered that, I would say I kind of grown out of that stuff, but I haven't, truth be told, especially once you've had a bit of a drink. You know, you seem to think everything's really, really funny, especially if you've got a group that are going to laugh along with you, you know. Um, but I'd like to say it's a little bit, it's a little bit more sensible on tour. It's just occasionally. I think when it's, it's, it's a byproduct sometimes of tour is really exciting, right? But most days are quite similar. You wake up at a similar time, then you go into the dressing room, and you go and put the show. So, there is a little bit of monotony. That's when the pranks kind of come in, I suppose. Yeah. But I, I'd like to say I'm getting a bit better. There's certainly someone out there that disagree with me, but I'd like to say I'm getting a bit better. “
1:12

Louis Tomlinson about pranking people! “Um, there's one, there's one that I can't go into 'cause um, no, I don't even want to say anything. The other person is still quite upset about it. Oh, wow. Um, I was, before I remembered that, I would say I kind of grown out of that stuff, but I haven't, truth be told, especially once you've had a bit of a drink. You know, you seem to think everything's really, really funny, especially if you've got a group that are going to laugh along with you, you know. Um, but I'd like to say it's a little bit, it's a little bit more sensible on tour. It's just occasionally. I think when it's, it's, it's a byproduct sometimes of tour is really exciting, right? But most days are quite similar. You wake up at a similar time, then you go into the dressing room, and you go and put the show. So, there is a little bit of monotony. That's when the pranks kind of come in, I suppose. Yeah. But I, I'd like to say I'm getting a bit better. There's certainly someone out there that disagree with me, but I'd like to say I'm getting a bit better. “

OT5 Daily

65,826 görüntüleme • 9 ay önce

US President Trump: "[Zelensky] has to be realistic. And I do wonder about, you know, how long is it going to be until they have an election. You know, it's a democracy. It's a long time. They haven't had an election in a long time. He's losing a lot of people. And it's possible that the people - you know, if you look at the polls, I will say 82 percent. There was a poll that came out. 82 percent of the people are demanding a settlement to be made - Ukrainian people."
1:12

US President Trump: "[Zelensky] has to be realistic. And I do wonder about, you know, how long is it going to be until they have an election. You know, it's a democracy. It's a long time. They haven't had an election in a long time. He's losing a lot of people. And it's possible that the people - you know, if you look at the polls, I will say 82 percent. There was a poll that came out. 82 percent of the people are demanding a settlement to be made - Ukrainian people."

Status-6 (War & Military News)

54,407 görüntüleme • 7 ay önce

NEW: Joe Rogan speaks out about the blowback after he started talking about the COVID vaccine on his podcast. “They tried to crush my sponsors, they organized campaigns, there were PACs involved…I can’t talk about it but there were presidents involved, former presidents involved that were contacting Spotify trying to get me removed, when I turned out to be right, and not a single f**king apology, not a single retraction, not a single mea culpa, nor a single we were wrong. I lost a lot of sponsors and there was a time that it was working, it was pretty deep, it was nuts, but it didn’t work. But they tried. They spent a lot of money. A LOT of money. And there were a lot of people. That part was spooky.”
3:59

NEW: Joe Rogan speaks out about the blowback after he started talking about the COVID vaccine on his podcast. “They tried to crush my sponsors, they organized campaigns, there were PACs involved…I can’t talk about it but there were presidents involved, former presidents involved that were contacting Spotify trying to get me removed, when I turned out to be right, and not a single f**king apology, not a single retraction, not a single mea culpa, nor a single we were wrong. I lost a lot of sponsors and there was a time that it was working, it was pretty deep, it was nuts, but it didn’t work. But they tried. They spent a lot of money. A LOT of money. And there were a lot of people. That part was spooky.”

Autism Capital 🧩

67,097 görüntüleme • 1 ay önce

“The last time that we were touring and stuff, I think touring is quite an isolating experience. And on top of that, when we started touring, it was 2021, so it was kind of like still depths of the pandemic. We were like one of the first tours to go back out. So I think that tour started in that way where it was like, I was really bubbled up even kind of within the tour. And then staying on that tour, we put an album out and it ended up being like two and a half years type time. It's just a long time to be in like a bubble where you're not really spending that much time like in the world around you, other than shows and hotels and stuff. And when I finished, I kind of went off and was spending a lot of time in Italy, and was kind of like having this quiet time, and I was just feeling a lot of my life as I was kind of like, craving like quiet and kind of like private spaces. I was just feeling myself kind of like shut out a lot of the world, “I think, and I think the last couple of years for me was about, you know, there's a lot of things that I think I got used to saying no to, like invites from friends and like maybe a weekend trip or like a birthday party or something. I think I just got used to, you know, if I have a week at home, I don't want to go somewhere else for three days. I just want to stay home, you know. And I think when I got to Italy and was kind of out in this quiet place, I felt like, okay, if I'm going to spend all this time out here and I'm going to keep saying no to everything, I'm just going to like shut myself off from the world. And while parts of that sound appealing, I also like, I love people and I love like being in the world, you know, so it was kind of, I think for me, like there's been both the thing of like learning to set boundaries and stuff is a large part of that has also been learning when not to set boundaries and when to open up. Being intentional with the things that you don't do and being intentional with the things that you do do. So, you know, as a message in the album sleeve, where I said like thanks to all the people who helped me know when to say no and when to say yes. I think both of those have like greatly enriched my life.” - Harry about feeling isolated during his last tour and opening himself up to the world again on Q
3:02

“The last time that we were touring and stuff, I think touring is quite an isolating experience. And on top of that, when we started touring, it was 2021, so it was kind of like still depths of the pandemic. We were like one of the first tours to go back out. So I think that tour started in that way where it was like, I was really bubbled up even kind of within the tour. And then staying on that tour, we put an album out and it ended up being like two and a half years type time. It's just a long time to be in like a bubble where you're not really spending that much time like in the world around you, other than shows and hotels and stuff. And when I finished, I kind of went off and was spending a lot of time in Italy, and was kind of like having this quiet time, and I was just feeling a lot of my life as I was kind of like, craving like quiet and kind of like private spaces. I was just feeling myself kind of like shut out a lot of the world, “I think, and I think the last couple of years for me was about, you know, there's a lot of things that I think I got used to saying no to, like invites from friends and like maybe a weekend trip or like a birthday party or something. I think I just got used to, you know, if I have a week at home, I don't want to go somewhere else for three days. I just want to stay home, you know. And I think when I got to Italy and was kind of out in this quiet place, I felt like, okay, if I'm going to spend all this time out here and I'm going to keep saying no to everything, I'm just going to like shut myself off from the world. And while parts of that sound appealing, I also like, I love people and I love like being in the world, you know, so it was kind of, I think for me, like there's been both the thing of like learning to set boundaries and stuff is a large part of that has also been learning when not to set boundaries and when to open up. Being intentional with the things that you don't do and being intentional with the things that you do do. So, you know, as a message in the album sleeve, where I said like thanks to all the people who helped me know when to say no and when to say yes. I think both of those have like greatly enriched my life.” - Harry about feeling isolated during his last tour and opening himself up to the world again on Q

HSNews

90,121 görüntüleme • 4 ay önce

I have a dream. It's not a big dream. It's just a little dream & I hope you don't find this too crazy is that I would like the people of this community to feel that if God forbid there was a medical emergency that going to the hospital would actually be a WISE thing to do.
0:40

I have a dream. It's not a big dream. It's just a little dream & I hope you don't find this too crazy is that I would like the people of this community to feel that if God forbid there was a medical emergency that going to the hospital would actually be a WISE thing to do.

Greta Fox @theWHN #MaskFairy #NoMaskBans

11,776 görüntüleme • 3 yıl önce