Razno

[ragasto]

Pre 100 godina

[aram]

Ne znam uopšte zašto, ali bar deset puta sam pokušao da odgledam Eat, Pray, Love. Nekako sam uvrteo sebi u glavu da bi to trebalo da bude, ako ne baš film koji će mi se dopasti, onda jedan relaksirajući lagan film. I nikako sebi da priznam da je film šitina, iako nikad nisam uspeo da stignem dalje od 20-tog minuta. E, sad je dosta, film je najobičnije sranje i neću više nikad pokušati da ga gledam.

[ultra plasticni]

Sve sto je na listi NYT bestselera je ono... bas lose. To ti je nasa Laguna 

[ToniAdams]

1 hour ago, aram said:

Ne znam uopšte zašto, ali bar deset puta sam pokušao da odgledam Eat, Pray, Love. Nekako sam uvrteo sebi u glavu da bi to trebalo da bude, ako ne baš film koji će mi se dopasti, onda jedan relaksirajući lagan film. I nikako sebi da priznam da je film šitina, iako nikad nisam uspeo da stignem dalje od 20-tog minuta. E, sad je dosta, film je najobičnije sranje i neću više nikad pokušati da ga gledam.

gei

[aram]

ok

[Jimmy Kowalski]

The British start-up that's given Val Kilmer his voice back: Artificial intelligence helps recreate Top Gun actor's voice using recordings from before his throat cancer

[Jimmy Kowalski]

Quentin Tarantino’s Tribute To Late EMI Music Exec Pat Lucas; She Took Chance On Him & OK’d Use Of ‘Reservoir Dogs’ Tune That Launched His Career

Mike Fleming Jr

August 12, 2021 11:17am

 

 

Pat Lucas, the former EMI Music executive who was a longtime friend to filmmakers she licensed songs to for their films, has died after a long battle with cancer. She passed away last Monday.

 

While I wait to get more details from her distraught family, Quentin Tarantino asked to memorialize Lucas and express his forever gratitude to her taking a chance on an unproven filmmaker and granting rights to the Stealers Wheel song “Stuck in the Middle with You“ for use in his directorial debut Reservoir Dogs. Tarantino suggests you cannot hear that song even now and not think of Michael Madsen dancing around a kidnapped police officer trussed to a chair, as Madsen dances around him in menacing fashion, cutting off his ear and planning to set him aflame. It was a shocking, career-launching moment for the filmmaker, who still sounds a bit surprised that fortune smiled on him when Lucas said yes. After all, this was way before Pulp Fiction, when all Lucas had to judge by was his script and the knowledge that Gerry Rafferty’s hit song might be indelibly linked to a brutal torture scene.

 

“She was a genuine hero of Reservoir Dogs,” Tarantino told Deadline. “This was way before Miramax, when the film was financed by Live Entertainment, the video arm of Carolco Pictures. The film was not guaranteed a theatrical release before I started making the movie; it could have been a straight-to-video movie. EMI owned the rights to the Stealers Wheel song ‘Stuck in the Middle with You,’ but we had no money. Back in the ‘90s, the big cash play for a hit song was to be part of a commercial, where you could get $150,000 or $200,000. Nobody wanted to monkey around and mess that up. When I wrote that script and when I was in preproduction, I wanted ‘Stuck in the Middle with You.‘ At that moment, not only was this a dinky little movie, but who knew if it would be good or if it would even see the light of a projector bulb? We had no money, and were asking for a song that would be played during a torture scene where a guy gets his ear cut off. Nothing about that scenario seemed promising, but I needed that song.”

 

Tarantino said that an introduction was brokered by Stacey Sher, who most recently produced the upcoming Aretha Franklin film Respect and co-produced the Academy Awards and such films as Erin Brockovich and Tarantino’s The Hateful Eight and Django Unchained and was EP on Pulp Fiction. She knew Lucas from clearing songs for The Fisher King.

 

“Stacey was a great friend of the project, and she wrote Pat a letter, sang my praises, and said, ‘We’ll send you the script.’ She laid it on thick: ‘We think Quentin could be another Kubrick or David Mamet.’ These were her words. She wrote, ‘You don’t have to do this, if the money situation is too much to overcome. However, if you are inclined to give a break to a talented artist coming up, we beseech you, he is the one.’ Pat was bowled over by the letter and respected Stacey enough that she had to consider us. We were shooting the movie by then and still didn’t have the rights to the song and needed those rights before we shot the scene, and it was coming up fast. Pat read the script and came down to the set to visit us. She saw the production, saw Harvey Keitel, observed the esprit de corps on the set, and Michael Madsen as Mr. Blonde, all in these cool black suits. She swallowed heard, and decided to give us the song.”

 

It came at a fraction of the usual ask.

 

“She ignored the aspect that a torture scene was going on during that song, and that it might impact further commercial sales,” he recalled. “She said, ‘We’ll give you the song. What’s your music budget.’ I said, ‘$30,000.’ She said, ‘OK, the price is $30,000.’”

 

Tarantino said if the song was being licensed to a mainstream movie like Adventures in Babysitting, the price would have been at least twice what was paid here. It wasn’t lost on him that the real potential lost revenue came because advertisers might be reticent to use the tune because of the torture scene context, which meant EMI might be stuck with losses in the hundreds of thousands of dollars. “The problem was, for the $30,000 they were paying, it was probably going to stop others from using the song,” Tarantino said. “That came true; whenever you hear ‘Stuck in the Middle with You,’ you see Michael Madsen torturing that guy.”

 

Tarantino said that when he auditioned actors for the role of Vic Vega, aka Mr. Blonde, he told them he didn’t know if he would secure the song, and if they wanted to use another tune for their audition, go ahead.  “Four different people said, ‘I tried to come up with another song, but this was just so perfect.’ The first time we actually heard the song play in a room while somebody acted out that scene, it was like we were watching the movie, seeing the first glimpse of what this movie could actually be. In that little office. With Pat, it’s one of those things. You meet a lot of people along the way. Some people just help you out, give you a break, do you a favor that you can never repay. I could never repay Pat for what she did for me. She boarded the train before she knew I was an engineer, before the track was completely finished or that we would get to our destination.”

 

What might have happened had Lucas hadn’t taken a chance on a newbie director?

 

“I guess I would put that question to everyone who is a fan of Reservoir Dogs,” Tarantino said. “Imagine that movie without that song, in that scene. It’s not the same movie. It might be the most indelible connection between a scene and a song in my entire filmography. That’s the sequence that really made a mark.”

Edited August 14, 2021 by Jimmy Kowalski

[Jimmy Kowalski]

Pacino pise De Niru posle odgledanog Raging Bulla:

 

 

Za one koji imaju problem da provale Alov rukopis:

Spoiler

Hi Bobby,

I just gotta tell you— I saw your "Raging Bull" for the first time Saturday I'm still high from it— it is a monumental piece of art an inspiration to me— I never do this as you know simply because, if I start now everything you do, if I don't write a note you'll think I don't like it— That's not true of course, but I just had to do this! Sorry if I've embarrassed you— out of this world Bobby

Love Al

 

[Indy]

 

 

[Moonwalker]

Valjda je OK za ovde. Odlican intervju.
 

Frank Oz on life as Fozzie Bear, Miss Piggy and Yoda: ‘I’d love to do the Muppets again but Disney doesn’t want me’
 

https://www.theguardian.com/culture/2021/aug/30/frank-oz-on-life-as-fozzie-bear-miss-piggy-and-yoda-id-love-to-do-the-muppets-again-but-disney-doesnt-want-me

[Jumanji]

Ne slažem se sa redosledom, verovatno ima i onih koji nisu na spisku (morala bih bas da se udubim), ali zato No.1 je čista ljubav [emoji7]

[ultra plasticni]

Lista je naravno totalno smece, sa par casnih izuzetaka.

Kako je moguce izostaviti sa liste Hickokovu Vrtoglavicu, kad se Stjuart i Novakova prvi put poljube na obali, apsolutno nesvesni bilo cega sto se oko njih desava ili Hirosima ljubavi moja, koji je ceo poezija sam za sebe, ne kapiram

[mlatko]

Inviato dal mio Mi 9 Lite utilizzando Tapatalk

[Jumanji]

Lista je naravno totalno smece, sa par casnih izuzetaka.
Kako je moguce izostaviti sa liste Hickokovu Vrtoglavicu, kad se Stjuart i Novakova prvi put poljube na obali, apsolutno nesvesni bilo cega sto se oko njih desava ili Hirosima ljubavi moja, koji je ceo poezija sam za sebe, ne kapiram

Ihh smece.

Za Hirosimu se potpuno slazem, za Vertoglavicu ne, to nije romanticni, ljubavni film, bez obzira na tu romansu.

[nisam ja]

https://theplaylist.net/best-rest-nicolas-winding-refns-films-ranked-20160620/?fbclid=IwAR09pRjBvcyZKwcDGBBYFPemeTspvuU7sMYqDFmFayqkImPpb9Qt3Z7s_Po

 

molim lepo