смотрите, кто вышел в свет! и перестал стричься))))))))

билл

@темы: mark me down as scared and horny©

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апплоз апплоз

за одну серию расхерачить всё, что было создано кропотливым трудом рабов-сценаристов... кто этот еблан?..
да пошли они все.

ни одного женского персонажа нормального, ни одного.
ебитесь конем.

@темы: тру детектив

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я серьезно люблю эту девку. она круто звучит!

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ЭТО СТАТУЭТКА СТЕФАНА У НЕГО НА СТОЛЕ!!!!!!!!!!!

ЭТО СТЕФАН!!!!!!!!!!!!!!! Я ЛЮБЛЮ ЭТИХ ЛЮДЕЙ!!!!!!!! СТЕФАН!!!!!!!!!

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Чё-то мне стремно за Сета на новом посту. Не знаю почему. Он крутой, несравненно крутой как Карсон, и сценаристы у него отменные, но он всегда был в тени. А тут спот весь на него. Фак. Фак. Фак. И время позднее.

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23.02.2014 в 19:01

Пишет  malinkami:

Небраска
я в восторге! мне захотелось об этом написать прямо после просмотра! этот фильм! я хочу, чтобы он взял все свои оскары, а потом их продали и тогда получился бы миллион долларов, который бы отдали старичкам всех штатов. особенно тем, кто одинок. и у которых нет тех, кто вот так может отвезти их в отчаянное путешествие за несуществующей мечтой...
мне напомнило одновременно и "маленькая мисс счастье" и "элизабеттаун". роудтрип, странный юмор, гениально безумные старички, грусть в улыбке и упорство. и семья, семья и еще раз семья.

настолько просто, без пафоса и таааак душевно.
на протяжении всего фильма я сто раз пообещала его себе посмотреть. ну это надо же!

и, да, О, ЭТА ЖЕНЩИНА








"See what you could’ve had, Keith, if you hadn’t talked about wheat all the time?"





Большой Мистер Счастье)))

зы. момент с кражей компрессора воздуха - это охеренно! прямо как в ммс дедушку из больницы))))
зы.2 и внезапно там был СОЛ *_*

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тру детектив

спасибо,  [Игла], что подсадила меня. Но вот подстава, там всего 5 серий вышло! садизм(

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нужен тэг для джимми

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Джимми и Джастин: История Рэпа 5.

@темы: следите за руками джастина тимберлейка©, следите за лицом джастина тимберлейка©

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я вернулась с этим

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понадобилось всего-то пара лет

чтобы я настолько прониклась Марком Харрисом, журналистом, что откопала его статью про Соц. Сеть. и прочитала

1) Sorkin’s shooting sсript was 162 pages—a screenplay that, using normal one-page-equals-one-minute Hollywood calculus, would have yielded a two-hour-and-42-minute film instead of the one Fincher made, which clocks in at a fleet two hours, not including closing credits. After
Sony looked at the draft and told them they’d have to cut the sсript, Fincher says he and Sorkin went back to his office, “and I took out my iPhone and put the little stopwatch on and handed the sсript to Aaron and said, ‘Start reading.’ He was done in an hour and 59 minutes. I called the studio back and said, ‘No, we can do this. If we do it the way Aaron just spoke it, it’ll be two hours.”

2) Sorkin’s characters, says Fincher, “are people who need to work their way through the kelp beds of their own thought processes on their way to the exact idea they’ve been trying to find.” And Eisenberg was “the first person who could do Sorkin better than Sorkin. He can just
flat-out fly. You can see in his eyes that he’s searching for the best way to articulate something in the middle of articulating two other things.”

3) “He’d be on set with Jesse, and I’d be on the other side of the room,” says Andrew Garfield, who plays Saverin, “and I’d overhear him saying to Jesse [about Saverin], ‘This guy had to go—he couldn’t keep up with you. He had to be cut off.’ Then he’d notice me listening, and he’d come over and say, ‘But you’re absolutely right too.’ He would justify both sides constantly. I just trusted him and the sсript implicitly.”

4) When Sorkin and Fincher disagreed, it was usually over a minor visual or textual detail—with Sorkin arguing for the dramatist’s prerogative to make some things up, and Fincher countering that whenever they knew the facts, they should stick to them, right down to the drink in Zuckerberg’s hand the night he hacked into Harvard’s student databases. In reality and in the movie, it was a Beck’s, although Sorkin forcefully argued it should be a screwdriver, making the case that it would telegraph Zuckerberg’s intention to get drunk on that fateful night more than cracking a beer would. Could this possibly matter? Actually, yes, sort of. “I was mostly picking a fight with David,” says Sorkin, “because I wanted to have it out with him on the question, what is the big deal about accuracy purely for accuracy’s sake, and can we not have the true be the enemy of the good?”

“Aaron is used to thinking fast and making bold decisions,” says Fincher. “He comes from TV, where you don’t have time to pick gnat-shit out of pepper. But in the movies, my whole thing is, everything we put on the screen, even a prop, is going to be debated and scrutinized, so we need to make sure it’s not saying something we don’twant it to say.”

 

5) Sorkin pauses before answering, which is not a rhetorical device he often employs. “When you’re writing nonfiction,” he says, “that’s always a question that you’re wrestling with, especially when you’re writing about people who are still alive. On one hand, you don’t want to screw around with people’s lives, you never want to say anything that isn’t true, and you don’t want to mess with history. On the other hand, this isn’t a documentary. Art isn’t about what happened, and the properties of people and the properties of ‘characters’ are two completely different things. There’s a set of facts I’m dealing with, and I try to imagine motivations and fill in blanks that none of us can see. But the question of truth … the very first words out of Mark’s mouth in the present-day part of the movie are, ‘That’s not what happened.’ And that’s my signal to the audience that there are going to be any number of unreliable narrators. This isn’t the movie that’s going to tell you ‘Mark Zuckerberg stole Facebook,’ or that he didn’t. But,” he says, “we would sure love for those arguments to happen in the parking lot.”

@темы: бэмби, золотистый ретривер, футбол©, финчер и пингвины©, Аарону Соркину надо запретить спать, есть и отвлекаться на всякие несущественные материальные дела, и не отрываться от написания сценариев. он гений. я хочу вырасти и стать Аароном Соркиным!©, Эдуардо Саверен может ходить по Ред Буллу©

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Бен, конечно, лапа, но Крис меня забавляет куда больше.

@темы: парки

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Сучка

Её каверы лучше оригиналов

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Главная беда и Парками

в том, что там естественно, конечно, само самобой и ясно дело постоянно гестстарят эсэнэльщики. Сначала Фред Армисен, потом Энди Семберг, теперь Уил Форте... А мне приходится заедать и запивать весь этот стресс. Иначе меня тянет пересмотреть последние 10 сезонов залпом!!!!!!!

@темы: парки, снл

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Аарон о Филипе - талант о таланте, наркоман о наркомане.

It’s not unusual to have these mini-AA meetings — people like us are the only ones to whom tales of insanity don’t sound insane. “Yeah, I used to do that.” I told him I felt lucky because I’m squeamish and can’t handle needles. He told me to stay squeamish. And he said this: “If one of us dies of an overdose, probably 10 people who were about to won’t.” He meant that our deaths would make news and maybe scare someone clean.

So it’s in that spirit that I’d like to say this: Phil Hoffman, this kind, decent, magnificent, thunderous actor, who was never outwardly “right” for any role but who completely dominated the real estate upon which every one of his characters walked, did not die from an overdose of heroin — he died from heroin. We should stop implying that if he’d just taken the proper amount then everything would have been fine.

He didn’t die because he was partying too hard or because he was depressed — he died because he was an addict on a day of the week with a y in it. He’ll have his well-earned legacy — his Willy Loman that belongs on the same shelf with Lee J. Cobb’s and Dustin Hoffman’s, his Jamie Tyrone, his Truman Capote and his Academy Award. Let’s add to that 10 people who were about to die who won’t now.

@темы: Аарону Соркину надо запретить спать, есть и отвлекаться на всякие несущественные материальные дела, и не отрываться от написания сценариев. он гений. я хочу вырасти и стать Аароном Соркиным!©

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это мне совсем не поможет, билл

Did you get Kristen Wiig onboard?
Craig called me and said “What about Kristen?” And I said, “Oh, duh.” To be honest, when we were doing this was during the time when Bridesmaids came out, when the part of Maggie [Wiig's character] fell through and we had to find another Maggie. I was like, “Kristen is shooting all these other movies, she’s not gonna be available.” It was very sweet, Kristen called me and said, “Hey, I read Skeleton Twins, I really like it. I’d like to do it, but only if you’ll have me.” I was like, “Are you joking? Of course.” It didn’t even dawn on me until later that, oh yeah, we have this brother-sister relationship.
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The majority of the conversation we had about Milo was, “Why is this guy self-sabotaging himself?” You know, “What’s he trying to get from Rich,” the Ty Burrell character? [Editor's note: A teacher Milo had a relationship with in high school.] It’s the first person he’s ever been in love with and that’s why he lies to him about being a writer and how he’s on a writer retreat because that’s the student-teacher relationship they had. It’s trying to get that out of him, because that acceptance from Rich that he really wants is love. He just needs that. And then it’s sweet because he ends up getting it from his sister in a harsher, real way. He goes there for the ex and he ends up finding his sister. That’s what Craig always said: “I kind of see this as a love story between a brother and a sister.”

@темы: mark me down as scared and horny©

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@темы: снл

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меня бросили!!!!!!!!!!

@темы: снл

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без комментариев

@темы: снл, секс майерс, стефан

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столько новостей

джесси, майкл питт, финал аиу...

@темы: золотистый ретривер, ботинки майкла питта