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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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1,007,702 görüntüleme • 2 ay önce •via X (Twitter)

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34 Yorum

Quarter Zip Sports profil fotoğrafı
Quarter Zip Sports2 ay önce

He did Anchorman 2. Settle down Will.

DolceDJ profil fotoğrafı
DolceDJ2 ay önce

How about doing it for the fans? I hate these entitled narcissistic actors. Do you think the barista wants to get you coffee? The Uber driver wants to give you a ride. No, it's their job, like your job is making the fans happy.

Rixlerr profil fotoğrafı
Rixlerr2 ay önce

The fans are the last people they consider, imagine admitting doing it for the money. Like, where's the passion? Where's the culture?

DolceDJ profil fotoğrafı
DolceDJ2 ay önce

Exactly, he could just tell people he's doing it for the fans, but that didn't even enter his mind.

Degenerate Ramblers profil fotoğrafı
Degenerate Ramblers2 ay önce

I don’t think there is any way so make a satisfying sequel to a movie like elf or the grinch. The story is already resolved. It’s best to leave it alone

waitingforgodotgodot profil fotoğrafı
waitingforgodotgodot2 ay önce

...and yet he made so many other trash movies? I mean...his imdb is full of "did it for the money cash grab".

Bob Prada profil fotoğrafı
Bob Prada2 ay önce

Wanted to keep the quality YET still makes some truly god awful stinkers.

Mackerel profil fotoğrafı
Mackerel2 ay önce

"That's what the money is for!"

Based in Christ profil fotoğrafı
Based in Christ2 ay önce

Will is just so virtuous, you know?

BrentJones profil fotoğrafı
BrentJones2 ay önce

Good for him. We don’t need more shitty sequels that don’t come close to the original

D profil fotoğrafı
D2 ay önce

How’s does he explain Anchorman 2?

Jesse Alan profil fotoğrafı
Jesse Alan2 ay önce

Then why did he make Anchorman 2? 😅

Stephe96 profil fotoğrafı
Stephe962 ay önce

He said yes to Holmes and Watson tho

Wurt profil fotoğrafı
Wurt2 ay önce

Lmao he is fucking hilarious even in real life

Daniel Goodwin profil fotoğrafı
Daniel Goodwin2 ay önce

Meanwhile Tim Allen’s like “surgically attach the Santa suit to my body”

Conservative Beer profil fotoğrafı
Conservative Beer2 ay önce

You could absolutely do a “Buddy saves Christmas” sequel now. Buddy is the top elf at the north pole, supervisor job, Santa gets sick, Buddy he has to prepare & do the rounds on Christmas Eve.

RealJimMiller profil fotoğrafı
RealJimMiller2 ay önce

I hate Will Ferrell and that movie, but I’m glad he was smart enough not to do a sequel

Jon nixon profil fotoğrafı
Jon nixon2 ay önce

The tranny weirdos really got to his head. Not a normal bone left in his body. He is really off now.

Fred Cabbage profil fotoğrafı
Fred Cabbage2 ay önce

They always let you know they turned a lot of money. Loser

Nature in Motion profil fotoğrafı
Nature in Motion2 ay önce

the elf sequel probably would've been fine but he made the right call for his own peace of mind

David McCauslin profil fotoğrafı
David McCauslin2 ay önce

I mean he has been in some pretty bad movies so I have a hard time believing this. 😂

Sam Hundley profil fotoğrafı
Sam Hundley2 ay önce

Wow, what a courageous hero!

KINO DRIFT profil fotoğrafı
KINO DRIFT2 ay önce

he haaaaates Jon Favreau, he was willing to do a sequel without Favreau involved ...

John Connor profil fotoğrafı
John Connor2 ay önce

"Gotcha. Next question: Why did you make Anchorman 2?"

Paddy profil fotoğrafı
Paddy2 ay önce

Garbage movie garbage actor

David Estep profil fotoğrafı
David Estep2 ay önce

Wish he would have said no to Anchorman 2.

Micah McAwe profil fotoğrafı
Micah McAwe2 ay önce

Have you ever seen Sherlock Holmes? Another bullshit narcissist pretending he’s so self-righteous. SH didn’t even appear to have a script.

TheHawMan profil fotoğrafı
TheHawMan2 ay önce

Thank god No one cares when will ur transition be done ???

Cindy Davis profil fotoğrafı
Cindy Davis2 ay önce

Of course you do it for the money , that’s your job 🤪🎬😂

Little Mac profil fotoğrafı
Little Mac2 ay önce

he was only funny on snl

Aikita Rolexus profil fotoğrafı
Aikita Rolexus2 ay önce

I didn’t read this. He’s a good man ands shouldn’t age.

🐅 ⚜️ Who-Dat ⚜️ 🐅 profil fotoğrafı
🐅 ⚜️ Who-Dat ⚜️ 🐅2 ay önce

Imagine being an buffoon and getting paid for it and acting as if you’re producing art.

Guy profil fotoğrafı
Guy2 ay önce

So he did Ron Burgundy twice but somehow elf was a no go ? 😂

Emily profil fotoğrafı
Emily2 ay önce

aww will ferrell picking elf's magic over money feels so pure 💕

Benzer Videolar

Will Ferrell says he turned down a crazy amount of money for an Elf sequel because he couldn't stomach lying to fans on the press tour. ​“If I were to promote that movie, I’d be literally saying ‘I did it for the money, straight up.’” ​“I was offered a crazy amount of money. But I was like, I have to be able to sit in a setting like this and talk about the movie in a way that I feel good about.” ​“An attempt was made at a script which tried its best, but I just was like, ‘I don’t know.’” ​“It’s a classic fish-out-of-water story. Prove me wrong.”
1:37

Will Ferrell says he turned down a crazy amount of money for an Elf sequel because he couldn't stomach lying to fans on the press tour. ​“If I were to promote that movie, I’d be literally saying ‘I did it for the money, straight up.’” ​“I was offered a crazy amount of money. But I was like, I have to be able to sit in a setting like this and talk about the movie in a way that I feel good about.” ​“An attempt was made at a script which tried its best, but I just was like, ‘I don’t know.’” ​“It’s a classic fish-out-of-water story. Prove me wrong.”

Traeyz ♠️

1,786,563 görüntüleme • 1 ay önce

Will Ospreay has revealed part of the reason behind why Baba O'Riley was chosen for his AEW All In 2026 entrance was because the song was used for an MV Zone tribute video to Bryan Danielson in 2011. "There was a song that we wanted, but we just couldn’t get a licence fee for it. I won’t put it out there because maybe one of these days I will be able to track it down again. I’d like to leave that as a surprise. But it was Mike Mansury that came up with the idea of The Who Baba O’Riley. "I’ll be honest with you, I have a connection with that song because there was a music video from the MV Zone. It was like a kind of little backyard wrestling music video group, and they did a Bryan Danielson tribute to that song, so I have a little bit of a connection to it. "I was just okay, I quite like the idea and The Who is British as well, so that’s kind of cool. But I remember listening to it and on the travels that me and Al (Alex Windsor) did, and I was just like, I don’t know if I feel it. The other song that I wanted got my juices flowing. It was my favourite song. I don’t know if I feel it. It was only when I heard the voiceover and I saw the clips that were all around it. I was like, 'this is perfect. This is it. Don’t change a thing.'" (Source: Chris Van Vliet)
8:51

Will Ospreay has revealed part of the reason behind why Baba O'Riley was chosen for his AEW All In 2026 entrance was because the song was used for an MV Zone tribute video to Bryan Danielson in 2011. "There was a song that we wanted, but we just couldn’t get a licence fee for it. I won’t put it out there because maybe one of these days I will be able to track it down again. I’d like to leave that as a surprise. But it was Mike Mansury that came up with the idea of The Who Baba O’Riley. "I’ll be honest with you, I have a connection with that song because there was a music video from the MV Zone. It was like a kind of little backyard wrestling music video group, and they did a Bryan Danielson tribute to that song, so I have a little bit of a connection to it. "I was just okay, I quite like the idea and The Who is British as well, so that’s kind of cool. But I remember listening to it and on the travels that me and Al (Alex Windsor) did, and I was just like, I don’t know if I feel it. The other song that I wanted got my juices flowing. It was my favourite song. I don’t know if I feel it. It was only when I heard the voiceover and I saw the clips that were all around it. I was like, 'this is perfect. This is it. Don’t change a thing.'" (Source: Chris Van Vliet)

Cultaholic Wrestling

29,644 görüntüleme • 4 gün 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 • 2 ay önce

Will Ferrell reveals he brought a briefcase of fake money to his meeting with Lorne Michaels “I had read a story how Adam Sandler had done some crazy bit, had a five-minute meeting and was hired on the spot. And I thought, be free, be yourself and just be crazy” “My version of craziness was, I bought a whole bunch of fake money from a novelty store. I had a briefcase, and I was gonna let him talk and just start piling money on his desk” “I was like, ‘Lorne, we can keep talking till the cows come home, but we know what really talks: money. I’m going to stack this money up on your desk. No one’s going to know. You can take it or leave it. It’s up to you’” “Then I was going to pack up my thing and walk out. That was going to be my meeting” “I walk in there with my briefcase and the atmosphere is like: not that. What comedian walks in with a briefcase? I’ve got my little briefcase and I’m, ‘Okay, so don’t do that. Throw out my entire audition’” “Lorne was like, ‘Steve, do you have anything you want to ask?’ He’s like, ‘Nice briefcase.’ I’m like, ‘Yeah, thanks. You have no idea’”
1:40

Will Ferrell reveals he brought a briefcase of fake money to his meeting with Lorne Michaels “I had read a story how Adam Sandler had done some crazy bit, had a five-minute meeting and was hired on the spot. And I thought, be free, be yourself and just be crazy” “My version of craziness was, I bought a whole bunch of fake money from a novelty store. I had a briefcase, and I was gonna let him talk and just start piling money on his desk” “I was like, ‘Lorne, we can keep talking till the cows come home, but we know what really talks: money. I’m going to stack this money up on your desk. No one’s going to know. You can take it or leave it. It’s up to you’” “Then I was going to pack up my thing and walk out. That was going to be my meeting” “I walk in there with my briefcase and the atmosphere is like: not that. What comedian walks in with a briefcase? I’ve got my little briefcase and I’m, ‘Okay, so don’t do that. Throw out my entire audition’” “Lorne was like, ‘Steve, do you have anything you want to ask?’ He’s like, ‘Nice briefcase.’ I’m like, ‘Yeah, thanks. You have no idea’”

Casper

1,742,422 görüntüleme • 2 ay önce

Freya Doom discloses she turned down a $20,000 bag after walking onto a set that tried to ambush her with an unscripted gangbang: "Don't do anything for money. People are gonna throw thousands of dollars—like I got offered 20 grand to do an anal scene, and I still said fuck no because I own my shit. And a lot of people will be like, 'Oh my god, what the fuck is wrong with you?'" "And I'm like, for me personally, I have too much love for myself to like sell myself for anything that I'm not comfortable with. If I'm not comfortable doing a scene, I don't care how much money you're gonna throw my way, I'm not gonna do it. And a lot of these girls—mostly girls, sometimes guys, but mostly girls—will show up on set, and it's not the set that they signed up for." "Like one time I showed up, and it was only supposed to be a boy-girl-girl scene. I walked in, I was doing paperwork, and I saw all these guys around me and I was like, 'Oh cool, it's just crew.' Next thing I know, they were trying to do a gangbang scene, and they were throwing me like thousands of dollars to do it, and I just looked at them and I was like, 'No.'" "Like this is not—I don't care how much you pay me, I'm gonna stand by what I wanna do. A lot of girls that I talk to about that, they're like, 'But they offered this much, I would fucking do it.' And I'm like, 'But how would you feel afterwards?'" "Because at the end of the day, they're not going home with you, you have to go home to yourself. So you have to be very comfortable with yourself, you have to fucking own that shit and love yourself. And know that whatever you're doing is respectable to yourself."
1:17

Freya Doom discloses she turned down a $20,000 bag after walking onto a set that tried to ambush her with an unscripted gangbang: "Don't do anything for money. People are gonna throw thousands of dollars—like I got offered 20 grand to do an anal scene, and I still said fuck no because I own my shit. And a lot of people will be like, 'Oh my god, what the fuck is wrong with you?'" "And I'm like, for me personally, I have too much love for myself to like sell myself for anything that I'm not comfortable with. If I'm not comfortable doing a scene, I don't care how much money you're gonna throw my way, I'm not gonna do it. And a lot of these girls—mostly girls, sometimes guys, but mostly girls—will show up on set, and it's not the set that they signed up for." "Like one time I showed up, and it was only supposed to be a boy-girl-girl scene. I walked in, I was doing paperwork, and I saw all these guys around me and I was like, 'Oh cool, it's just crew.' Next thing I know, they were trying to do a gangbang scene, and they were throwing me like thousands of dollars to do it, and I just looked at them and I was like, 'No.'" "Like this is not—I don't care how much you pay me, I'm gonna stand by what I wanna do. A lot of girls that I talk to about that, they're like, 'But they offered this much, I would fucking do it.' And I'm like, 'But how would you feel afterwards?'" "Because at the end of the day, they're not going home with you, you have to go home to yourself. So you have to be very comfortable with yourself, you have to fucking own that shit and love yourself. And know that whatever you're doing is respectable to yourself."

nexa_sama

35,552 görüntüleme • 11 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 • 8 ay önce

James McAvoy admits he lied to his agent and pretended to love the X-Men script before accepting the role "X-Men came in. I went, 'Where's it filming?' They went, 'Pinewood.'" "It's 40 minutes from my front door. I was like, awesome. And I was also like, X-Men, great, I loved the cartoon when I was a kid, that'd be brilliant." "I loved the movies that came out in 2000, Bryan Singer's original movies, they were brilliant.And I was like, what part? And they were like, it's Charles. And I was like, great, I get to be fucking Jean-Luc Xavier, it's gonna be brilliant." "They said the script is under wraps, so you need to go to this restaurant and they'll give it to you, and you read it, and then you have to give them an answer quick." "So I went, it was like a chain restaurant, it wasn't even fancy, not like a McDonald's, but it was like, you know, like a Burger King." "And I go in and I meet Matthew Vaughn, and he has a quick chat with me, and then I sit and read the script." "Nobody tells me that there's only like 60 pages of it at this point, and I feel like it's good, Jane Goldman did a great job, it's good, but it's incomplete, really. Don't know where it's going." "But I was like, this is a three-picture deal, they're paying well, it's 40 minutes from my front door, I'm a fan of the original material, I get to be young Jean-Luc Xavier. I was like, this is a no-brainer." "So my agent called me, and she was like, what do you think? And I was like, it's a work of genius, we're doing it."
1:31

James McAvoy admits he lied to his agent and pretended to love the X-Men script before accepting the role "X-Men came in. I went, 'Where's it filming?' They went, 'Pinewood.'" "It's 40 minutes from my front door. I was like, awesome. And I was also like, X-Men, great, I loved the cartoon when I was a kid, that'd be brilliant." "I loved the movies that came out in 2000, Bryan Singer's original movies, they were brilliant.And I was like, what part? And they were like, it's Charles. And I was like, great, I get to be fucking Jean-Luc Xavier, it's gonna be brilliant." "They said the script is under wraps, so you need to go to this restaurant and they'll give it to you, and you read it, and then you have to give them an answer quick." "So I went, it was like a chain restaurant, it wasn't even fancy, not like a McDonald's, but it was like, you know, like a Burger King." "And I go in and I meet Matthew Vaughn, and he has a quick chat with me, and then I sit and read the script." "Nobody tells me that there's only like 60 pages of it at this point, and I feel like it's good, Jane Goldman did a great job, it's good, but it's incomplete, really. Don't know where it's going." "But I was like, this is a three-picture deal, they're paying well, it's 40 minutes from my front door, I'm a fan of the original material, I get to be young Jean-Luc Xavier. I was like, this is a no-brainer." "So my agent called me, and she was like, what do you think? And I was like, it's a work of genius, we're doing it."

crest.

150,134 görüntüleme • 10 gün 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 • 6 ay önce

💬 Immediate reaction from LIV Golf New York leader, joaconiemann JERRY: I know it was a tough start, but are you proud of yourself for the way you fought back today? NIEMANN: Yeah, I enjoyed it out there for sure. Obviously not the best tee shot coming out to start the round, but just kind of -- yeah, it was kind of good to just be back into that moment. It was a little bit frustrating. I think I was able to handle it pretty good. Then being able to play the way that I played after missing a few putts that after that I could have made, yeah, pretty good round. JERRY: Was it more of a challenge to stay committed to your shots that you've stated is your goal, fully committed to them, in these blustery wind conditions? NIEMANN: It was definitely more tricky. Coming out of a little rain delay, a 40-minute delay, made a good birdie there, but pretty tricky tee shot after that one. A little cold. But yeah, I felt like I was able to do it right. I think I can do it better, so hopefully tomorrow we'll have a good day. JERRY: I know you've been through this enough times you don't really experience sleepless nights like a lot of guys would first time in this position, but what do you tell yourself in the ensuing hours before you play tomorrow? NIEMANN: I mean, just be grateful. I feel like if I just remember the good things that I have around me and the people around me, it's just easy to go back to sleep. I have a good life. #LIVGolfNewYork | Torque GC
1:29

💬 Immediate reaction from LIV Golf New York leader, joaconiemann JERRY: I know it was a tough start, but are you proud of yourself for the way you fought back today? NIEMANN: Yeah, I enjoyed it out there for sure. Obviously not the best tee shot coming out to start the round, but just kind of -- yeah, it was kind of good to just be back into that moment. It was a little bit frustrating. I think I was able to handle it pretty good. Then being able to play the way that I played after missing a few putts that after that I could have made, yeah, pretty good round. JERRY: Was it more of a challenge to stay committed to your shots that you've stated is your goal, fully committed to them, in these blustery wind conditions? NIEMANN: It was definitely more tricky. Coming out of a little rain delay, a 40-minute delay, made a good birdie there, but pretty tricky tee shot after that one. A little cold. But yeah, I felt like I was able to do it right. I think I can do it better, so hopefully tomorrow we'll have a good day. JERRY: I know you've been through this enough times you don't really experience sleepless nights like a lot of guys would first time in this position, but what do you tell yourself in the ensuing hours before you play tomorrow? NIEMANN: I mean, just be grateful. I feel like if I just remember the good things that I have around me and the people around me, it's just easy to go back to sleep. I have a good life. #LIVGolfNewYork | Torque GC

LIV Golf

21,212 görüntüleme • 1 ay 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 • 1 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

195,018 görüntüleme • 1 yıl 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

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 • 2 ay 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

2,670,454 görüntüleme • 11 ay önce

Angela White says she hates working with straight women. She revealed that she has actually cancelled scenes after finding out that a female performer was completely straight: “I have cancelled scenes with women when I've found out that they're totally straight.” “I just don't want to feel creepy.” “I just want them to be even a little bit bi.” “Just a little bit. Like 5% bi is enough.” The interviewer couldn't believe how specific that boundary was: “Like, close your eyes.” “But if you're like... fully straight. It's shocking.” It got a lot weirder when she was asked to choose between a completely straight woman and a completely gay man: “The only reason I'm going to choose the fully straight woman is because I know it's going to be a longer day with the gay man.” “If he's not going to be able to get it up for me... then how am I going to make the scene work?” “Unless I did anal, but maybe.” “I really don't want to do either.”
1:06

Sensitive content

Angela White says she hates working with straight women. She revealed that she has actually cancelled scenes after finding out that a female performer was completely straight: “I have cancelled scenes with women when I've found out that they're totally straight.” “I just don't want to feel creepy.” “I just want them to be even a little bit bi.” “Just a little bit. Like 5% bi is enough.” The interviewer couldn't believe how specific that boundary was: “Like, close your eyes.” “But if you're like... fully straight. It's shocking.” It got a lot weirder when she was asked to choose between a completely straight woman and a completely gay man: “The only reason I'm going to choose the fully straight woman is because I know it's going to be a longer day with the gay man.” “If he's not going to be able to get it up for me... then how am I going to make the scene work?” “Unless I did anal, but maybe.” “I really don't want to do either.”

The Jedi M@n 🧑‍🦯

190,412 görüntüleme • 14 gün önce

Mark Wahlberg reveals Will Ferrell got annoyed with him because he refused to believe his character could be married to Eva Mendes in “The Other Guys” “They started getting a little annoyed with me. I was just really hung up on this thing, the idea that they were trying to make it seem like Will would actually be married to Eva Mendes, and I was like, nah, I don’t think I’m ever buying into that. So I’m really pushing this narrative” “Anytime I’m around her, I’m like, I’ll be there for you if anything happens to him, trying to push him into danger, like I want him out of the picture and I want to help this woman. I do not believe that they’re a couple. And they’re like, yeah, but just don’t do it so much. I’m like, no.” Interviewer: “So that was your choice?” “Yeah, it was in there a little bit, but I just ramped it up”
1:12

Mark Wahlberg reveals Will Ferrell got annoyed with him because he refused to believe his character could be married to Eva Mendes in “The Other Guys” “They started getting a little annoyed with me. I was just really hung up on this thing, the idea that they were trying to make it seem like Will would actually be married to Eva Mendes, and I was like, nah, I don’t think I’m ever buying into that. So I’m really pushing this narrative” “Anytime I’m around her, I’m like, I’ll be there for you if anything happens to him, trying to push him into danger, like I want him out of the picture and I want to help this woman. I do not believe that they’re a couple. And they’re like, yeah, but just don’t do it so much. I’m like, no.” Interviewer: “So that was your choice?” “Yeah, it was in there a little bit, but I just ramped it up”

Third

3,317,304 görüntüleme • 7 gün önce

“It genuinely was the smallest p*nis I've ever seen in my life.” Adult film star Ellie Nova shares the wild story of how she asked her best friend for permission to sleep with her boyfriend just to satisfy her curiosity about his micropenis: Ellie Nova: “I slept with a guy with a microp*nis.” Host: “Did you know that going in?” Ellie Nova: “Yes, because he was at the time my best friend's boyfriend. I brought it up to her kind of jokingly, but I was like, 'Can I try to f*ck him?' I was like, I need to see this. I was just so intrigued and so committed to figuring out what was going on.” “She laughed it off and she was like, 'Yeah, if you can get him to f*ck you. Two weeks later at a party, I managed to convince him.” Host: “How did you convince him, honestly?” Ellie Nova: “It was a lot of me just being really touchy and then being like, 'I heard that you have a really nice d*ck, like, can I see it?' And he was like, 'Oh my God, yes.' Any man with the self-awareness, if you have a microp*nis, like, this is a trap, right? I remember going into a bathroom, pulling down his pants, and then crying because of how hard I was laughing.” “It genuinely was the smallest p*nis I've ever seen in my life. But then I still let him f*ck me because I was like, I need to know what this feels like.” Host: “How did it feel?” Ellie Nova: “Women will understand what I'm saying. When you wear a thong, and it kind of pulls up into your lips a little bit not quite a wedgie, but not not a wedgie. That's what it felt like.”
1:41

Sensitive content

“It genuinely was the smallest p*nis I've ever seen in my life.” Adult film star Ellie Nova shares the wild story of how she asked her best friend for permission to sleep with her boyfriend just to satisfy her curiosity about his micropenis: Ellie Nova: “I slept with a guy with a microp*nis.” Host: “Did you know that going in?” Ellie Nova: “Yes, because he was at the time my best friend's boyfriend. I brought it up to her kind of jokingly, but I was like, 'Can I try to f*ck him?' I was like, I need to see this. I was just so intrigued and so committed to figuring out what was going on.” “She laughed it off and she was like, 'Yeah, if you can get him to f*ck you. Two weeks later at a party, I managed to convince him.” Host: “How did you convince him, honestly?” Ellie Nova: “It was a lot of me just being really touchy and then being like, 'I heard that you have a really nice d*ck, like, can I see it?' And he was like, 'Oh my God, yes.' Any man with the self-awareness, if you have a microp*nis, like, this is a trap, right? I remember going into a bathroom, pulling down his pants, and then crying because of how hard I was laughing.” “It genuinely was the smallest p*nis I've ever seen in my life. But then I still let him f*ck me because I was like, I need to know what this feels like.” Host: “How did it feel?” Ellie Nova: “Women will understand what I'm saying. When you wear a thong, and it kind of pulls up into your lips a little bit not quite a wedgie, but not not a wedgie. That's what it felt like.”

Dickson

4,329,940 görüntüleme • 16 gün 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 • 2 ay önce