barbarians trail

Half-formed posts, inchoate philosophies, and the germs of deep thought.

Re: barbarians trail

Postby barbarianhorde » Thu May 30, 2019 5:38 pm

"Party of Evolutionary Filth"

Korg Volta Sample
Samples from The Sopranos (30 days to download)
It is true that liberty is precious; so precious that it must be carefully rationed.
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Re: barbarians trail

Postby barbarianhorde » Thu May 30, 2019 5:41 pm

"Billionaire Playboy Philanthropist"

Samples from "The Avengers" trailer
It is true that liberty is precious; so precious that it must be carefully rationed.
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Re: barbarians trail

Postby barbarianhorde » Thu May 30, 2019 5:47 pm

President Donald Trump clarified a statement he made on Twitter about Russia, denying the country had anything to do with winning his election.

“No, Russia did not help me get elected. Do you know who got me elected? I got me elected. Russia didn’t help me at all,” Trump said. “Russia, if anything, I think, helped the other side.”

Trump clarified a statement on Twitter, in which he was characterizing the Democratic obsession with Russia that suddenly went quiet. ... ot-russia/

Nadlers Pants • an hour ago
President Trump....WE elected you, and don't you forget it..
Can't wait for the Salute to America on July 4th!!!
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ken conroy Nadlers Pants • an hour ago
Although HE did the things necessary to convince us to elect him, for which I am thankful.
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Meltzen ken conroy • an hour ago
I only had to look at the other candidates (what they brought to the table) and their policies it was a easy decision to vote for Trump
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Jimi Headstone Nadlers Pants • an hour ago
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Stacey Johnson Jimi Headstone • 41 minutes ago
Yeah, I have yet to see a single shred of PROOF that Russia did anything... The FBI interfered way more than russia did...
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Raptormann • 2 hours ago
Russia Elected no one..... they wanted Hildabeast because she was already Bought and Paid for...... Trump was a Wild Card they didn't count on..... In Fact.... Trump was the one Hildabeast wanted to run against..... she thought she would Win Easily!

WRONG! Trump worked his arse off for it and tore down the Blue Wall!
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Euclid nec pluribus impar Raptormann • an hour ago
SENSIBLE Americans got Trump elected
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Stacey Johnson Euclid nec pluribus impar • 37 minutes ago
He needs to STOP tweeting and start declassifying!!!!
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Yatti420 Raptormann • an hour ago
All those 18 hour days leading up to the election when Hildabeast couldn't get out of bed by 8am ...
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WpnsLoader175 Yatti420 • 16 minutes ago
You think she goes to bed? Like Chris Plante says. She wakes up in a pool of dried vomit on the kitchen floor with Secret Service Agents standing over her shaking their heads.

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Cpriestess • 2 hours ago
He's right. The rallies. the statements. The debates. He MADE HIS CASE to the American People and they chose wisely. This time it isn't ego talking. He WORKED like He11 for that victory.
All while Hillary was guzzling Chardonnay on the Vinyahd or collecting cash for appearances in the Hamptons and LA. America SAW THE CAMPAIGN. We saw the rigged Democratic Primary. The people paid to fill seats. The signs that said "Help".
He won FAIR AND SQUARE, And one of the reasons that everyone on the left tries to say he didn't, is BECAUSE NONE OF THEM want to say Hillary LOST because she DIDN'T WORK FOR IT. And you know why they don't want to say that? Because NONE OF THEM want to admit their multimillion dollar INVESTMENT in a LOSER.
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Euclid nec pluribus impar Cpriestess • an hour ago
Indeed. We almost lost our Republic in 2016.
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Cpriestess Euclid nec pluribus impar • an hour ago
Yes. We did.
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quates Cpriestess • 42 minutes ago
Thank you, thank you for reminding everyone here of exactly how Donald Trump won and deserves to be our President. Facts are annoying things for our enemies.
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mutantbeast quates • 15 minutes ago
We have more enemies in this country then outside of it.
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SeattleWonder • an hour ago
I love watching liberals heads explode. It has replaced my love of watching my cat chase my laser pointer.
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Paco's Ghost SeattleWonder • an hour ago
If you really want to have fun doing that, GET a German Shepherd and point the laser at the cat.
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Ramrod Paco's Ghost • an hour ago
I have a German Shepherd and a cat and have played that game. Hilarious! The dog never attacked the cat; he just enjoyed the chase. I think the cat enjoyed it too as she knew the dog wouldn't hurt her.
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BlackRipleyDog SeattleWonder • 32 minutes ago
Democrats have their own version of that; chasing the Collusion Laser Pointer. Mueller has them climbing the walls again yesterday.
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Ryan • an hour ago
Drudge has lost it, it's become a MSM liberal hate President Trump portal. I swear every headline is a link to either the New York times, Washington post, CNN, etc. I'm done with it and have deleted the app and will no longer visit the site. MAGA! TRUMP2020!
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Reagan Revolution 2 Ryan • an hour ago
For that very reason I haven't visited Drudge since Trump was sworn in. Drudge has gone to the dark side.
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halfofrighteousbrothers Reagan Revolution 2 • 41 minutes ago
Citizens free Press is my go to now. Breitbart has never been the same since Andrew's untimely death.
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SwiftHatchet Ryan • an hour ago
That happened about halfway through the 2016 election. I walked away then, never looked back, and still haven't missed anything.
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Ryan SwiftHatchet • an hour ago
I should of too, very disappointing.
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Al • 2 hours ago
Trump is the live grenade that we tossed into the playground of corrupt elites. An explosion they have never recovered from. In 2020 we mop up remaining resistance.
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quates Al • 41 minutes ago
Let’s work as hard every day as President Trump to make that happen
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Rene3591 Al • 2 hours ago
Anybody could beat him now.. He's at 38% still
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ZH38 Rene3591 • an hour ago
You mean like the polls that predicted a 95 percent chance of a Hillary victory? Please.
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Betty Brishky • an hour ago
And we're going to elect you again President Trump!!!
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Texaslee Betty Brishky • an hour ago
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Luc Boulnier Betty Brishky • 14 minutes ago
All 12 of you?

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Larry Luc Boulnier • 4 minutes ago
Sad you're so delusional. Your one and only life and you're going to fight to become enslaved.

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markenoff • an hour ago
"What Happened?" by Hillary Clinton

"I Happened" by President Donald J. Trump
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Hopefull markenoff • an hour ago
Most Excellent!!!
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noclist markenoff • an hour ago
"Why aren't I up 50 points????"

Still cracks me up, years later.
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Hopefull noclist • an hour ago
personal fondness here for "we'll hang by nooses" but that's just me.
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Ed Gulisano • 43 minutes ago
You know who got Trump elected?
8 years of Obama
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EverydayJones Ed Gulisano • 30 minutes ago
Hillary certainly helped, and Comey, but you're right, 8 years of Odumba really helped wake the conservatives up.

Still,Trump ran an amazing campaign and tirelessly gave his all to listen to, and address the needs of everyday Americans.

Every time I think he must be getting to the breaking point I see him cheerfully answering questions. The man seems to be genuinely enjoying this. Incredible.
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Yes, really EverydayJones • 4 minutes ago
He's been dealing with this kind of resistance most of his career, I'm sure. Could you imagine ANY of the "victim mentality" left going through what he's had to for the past 2 years?? They wouldn't get a thing done while whining in their safe space...

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Al Smith Ed Gulisano • 43 minutes ago
Ed, you are wise beyond your years.....
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Joe Fine • an hour ago
Mueller Just Proved His Entire Operation Was A Political Hit Job That Trampled The Rule Of Law

At a hastily arranged Wednesday press conference, Special Counsel Robert Mueller proved that he was never interested in justice or the rule of law.

Nationwide bar rules governing all practicing attorneys in the United States also explicitly prohibit Mueller’s display during Wednesday’s press conference.

“The prosecutor in a criminal case shall … refrain from making extrajudicial comments that have a substantial likelihood of heightening public condemnation of the accused,” states Rule 3.8(f) of the American Bar Association’s rules of professional conduct.
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Reagan Revolution 2 Joe Fine • an hour ago
Mueller is a manipulating coward.
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harleeryder Reagan Revolution 2 • an hour ago
He's a crook who is part of the conspiracy.
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Stephen Triesch Joe Fine • 34 minutes ago
I was surprised and disappointed that Sol Wisenberg defended Mueller's statement. Alan Dershowitz, however, condemned it.
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Larry Stephen Triesch • 3 minutes ago
Saul Wisenberg isn't terribly wise. No prosecutor has any right to talk about a failed investigation. It's just slander at that point.

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Reagan Revolution 2 • an hour ago
I love how President Trump triggers every libtard in America, he's a master at it.. MAGA 2020
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RT Really Reagan Revolution 2 • an hour ago
Does not take much to trigger the libs.
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Immataxpayertoo Reagan Revolution 2 • an hour ago
If it was meant as a trigger, why delete it.
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harleeryder Immataxpayertoo • 42 minutes ago
So he could trigger them and then prove what lying losers they are, yet once again.

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Liberty Rising Less Gov = More • an hour ago
A russian came to my door... dragged me to the polls.... forced me to check the boxes for Trump

everyone in line... had a Russian with them.... it was CRAZY
It is true that liberty is precious; so precious that it must be carefully rationed.
~ Владимир Ильич Ульянов Ленин

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Re: barbarians trail

Postby barbarianhorde » Thu May 30, 2019 9:26 pm

High five with God

Soyuz Rocket Struck by Lightning During Launch





Published on May 27, 2019
A Russian Soyuz-2.1b rocket was struck by lightning during launch on May 27, 2019. The mission was a success despite the strike, the GLONASS-M satellite the rocket was carrying reached orbit. -- Full Story:

Credit: Roscosmos/Ministry of Defense of the Russian Federation/Dmitry Rogozin
Science & Technology
Dr Strangelove
Dr Strangelove
2 days ago
The title should be: Lightning struck by Soyuz rocket during Launch



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Uncle Honkler
Uncle Honkler
2 days ago
In Soviet Russia lightning bolt don’t strike you. You strike lightning bolt.



Allan Richardson
Allan Richardson
2 days ago
In the “new” Russia, lightning bolt only strikes when Putin says so!

Yeah, I know it’s a ripoff of a Chuck Norris joke.



Martín Varela
Martín Varela
2 days ago
@Uncle Honkler *In Asgard



Desert Ants
Desert Ants
2 days ago
Good wording Comrade!



1 day ago
No worries, lightning was found today with 10 stabbing wounds ... clear suicide. No more danger.



micheal king
micheal king
1 day ago
Russian bias



Luis Camero
Luis Camero
1 day ago
Dr Strangelove lmaoooooo
It is true that liberty is precious; so precious that it must be carefully rationed.
~ Владимир Ильич Ульянов Ленин

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Re: barbarians trail

Postby barbarianhorde » Thu May 30, 2019 9:36 pm


What the faaahhhq. Elon Musk who are you.

(01:01 for this amazing image of Excalibur.)

(Almost) Every SpaceX Landing, In Order





The Yellow Dart
Published on Apr 11, 2016
This is a video of every SpaceX landing or landing attempt of which a video was taken. I tried to edit it down as much as possible but it still ended up pretty long, mainly due to including Grasshopper and F9R flights (I didn't feel I could use the word "every" if I didn't). I made this because I couldn't find any such compilations on Youtube. Most videos are from SpaceX's Youtube Channel. Thanks for watching and thanks to SpaceX for all the excitement.

Here is the full list of all launches that I used as my notes while putting this together:

1. 9-21-2012 Grasshopper Hop

2. 11-01-2012 Grasshopper 2 story

3. 12-17-2012 Grasshopper 12 story

4. 03-07-2013 Grasshopper 24 story

5. 04-17-2012 Grasshopper 250m

6. 06-14-2013 Grasshopper 325m Full Precision Sensor Suite

7. 08-13-2013 Grasshopper 250m, 100m Lateral Divert

8x. 09-29-2013 Falcon 9 Cassiope, Failure, Aerodynamically unstable, video of reentry burn here:

9. 10-07-2013 Grasshopper 744m Final Flight

10. 04-17-2014 Falcon 9R 250m

11x. 04-18-2014 Falcon 9 CRS-3 Ocean Landing, Link to vid:

12. 05-01-2014 Falcon 9R 1000m

13. 06-17-2014 Falcon 9R 1000m Grid Fins

14. 07-14-2014 Falcon 9 Orbcomm-1 Ocean Landing

15x. 08-01-2014 Falcon 9R ??? No Vid

16. 08-22-2014 Falcon 9R Failure, Aborted

17. 09-21-2014 Falcon 9 CRS-4 Infrared Reentry Burn

18. 01-10-2015 Falcon 9 CRS-5, ASDS, Failure, Hydraulic Fluid for Grid Fins

19x. 02-11-2015 Falcon 9 DSCOVR Ocean Landing, No Vid

20. 04-15-2015 Falcon 9 CRS-6, ASDS, Failure, Sticky Throttle

21. 06-28-2015 Falcon 9 CRS-7, Launch Failure, Stupid strut

22. 12-22-2015 Falcon 9 Orbcomm-2 LZ1 SUCCESS

23. 01-17-2016 Falcon 9 Jason-3, ASDS Failure, Leg Lockout

24. 03-04-2016 Falcon 9 SES-9, ASDS Failure

25. 04-08-2016 Falcon 9 CRS-8 ASDS SUCCESS
Science & Technology
Music in this video
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Absolution Calling
Mike Einziger, José Pasillas, Brandon Boyd, Ben Kenney, Chris Kilmore
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1 year ago
In Thrust We Trust



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Reed Spurling
Reed Spurling
3 years ago
That one dislike is from Jeff Bezos
It is true that liberty is precious; so precious that it must be carefully rationed.
~ Владимир Ильич Ульянов Ленин

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Re: barbarians trail

Postby barbarianhorde » Fri May 31, 2019 11:15 pm

From seed thats been sown....

Dire Straits - Telegraph Road - original studio version from Love Over Gold





Fabrizio Mele
Published on Sep 1, 2010
Original Studio Version
Fixed Cross
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1 year ago
One of greatest piece of song writing and composition of the last 30 years. Showed the world what Mark K. could do...



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Richard D
Richard D
6 months ago
Worthy of Floyd, worthy of Dylan, worthy of Zeppelin.

Knopfler needs his induction to the Rock and Roll hall of fame already



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xelo Martin
xelo Martin
7 months ago
A long time ago came a man on a track
Walking thirty miles with a sack on his back
And he put down his load where he thought it was the best
Made a home in the wilderness
He built a cabin and a winter store
And he ploughed up the ground by the cold lake shore
And the other travellers came walking down the track
And they never went further, no, they never went back
Then came the churches, then came the schools
Then came the lawyers, then came the rules
Then came the trains and the trucks with their load
And the dirty old track was the Telegraph Road
Then came the mines, then came the ore
Then there was the hard times, then there was a war
Telegraph sang a song about the world outside
Telegraph Road got so deep and so wide
Like a rolling river
And my radio says tonight it's gonna freeze
People driving home from the factories
There's six lanes of traffic
Three lanes moving slow
I used to like to go to work but they shut it down
I've got a right to go to work but there's no work here to be found
Yes, and they say we're gonna have to pay what's owed
We're gonna have to reap from some seed that's been sowed
And the birds up on the wires and the telegraph poles
They can always fly away from this rain and this cold
You can hear them singing out their telegraph code
All the way down the Telegraph Road
Well, I'd sooner forget, but I remember those nights
Yeah, life was just a bet on a race between the lights
You had your hand on my shoulder, you had your hand in my hair
Now you act a little colder like you don't seem to care
But just believe in me baby and I'll take you away
From out of this darkness and into the day
From these rivers of headlights, these rivers of rain
From the anger that lives on the streets with these names
'Cause I've run every red light on memory lane
I've seen desperation explode into flames
And I don't wanna see it again
From all of these signs saying "sorry but we're closed"
All the way down the Telegraph Road
Read more



Rogério Machado
Rogério Machado
1 year ago
Masterpiece. I listen to it since I was thirteen. Often. :)



Chiara Ceccon
Chiara Ceccon
6 years ago
Sono semplicemente fantastici...grazie per averli caricati



Davide Barontini
Davide Barontini
6 years ago
the best abt Dire!!;.-) be surely!!



Damon Z. King.
Damon Z. King.
6 months ago
Without any doubt this is one of the greatest masterpieces of all times.



John Illsley
John Illsley
4 years ago
Have you checked out the new live album from Dire Straits bassist John Illsley? Tracks include Private Investigations, Money for Nothing and Romeo and Juliet...



View reply
Edgar Pires
Edgar Pires
4 months ago
Someone give this man a cigar



Committedpack 01
Committedpack 01
1 year ago (edited)
It’s amazing how he capture the feeling of industry and the “9 to 5” same old same old feeling. And then pulls you out with the ending solo. Pure art work.
It is true that liberty is precious; so precious that it must be carefully rationed.
~ Владимир Ильич Ульянов Ленин

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Re: barbarians trail

Postby barbarianhorde » Sat Jun 01, 2019 1:08 pm

#Odin #Thursatru #Spirituality
Odin the Raven God - The Dark Path of Wisdom





Arith Härger
Published on Feb 20, 2019

Let's explore one possible interpretation of the god Odin in his quest for ultimate power and wisdom. The darker characteristics of this god reflect a solitary darker path towards enlightenment.

My Social Media:

Video recorded at Cromeleque (cromlech) dos Almendres - Évora - Portugal.

#Odin #Thursatru #Spirituality
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Arith Härger
Pinned by Arith Härger
Arith Härger
3 months ago
This video was recorded at 6 o'clock, on a very cold December morning. I was already out before dawn, so I caught a lot of cold. You can hear it in my voice the effects of a very humid and cold morning. You might want to turn on the subtitles on this one hehe.



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Sons of The Old Gods
Sons of The Old Gods
3 months ago (edited)
Odin sacrificed of himself for wisdom, and it says in the Havamal that a man can bear no better burden than wisdom, for it is a friend on unknown ways and through many dangers. So then, wisdom is what *saves*... and our Ancestors understood that ultimately you can only save yourself. That's the nature of enlightenment. It is a journey we have to make for ourselves. No one else can do it for us.
Read more



View 12 replies
3 months ago
This is what I've been trying to tell other Asatru people. I honestly dont think you can possibly follow down a path hailing Odin without knowing the evil things he's done. I have and I accept it. I looked at the horrid things Odin has done and look at the evil deeds I've done. But when I look back at myself I wouldn't say I am evil. It's a sense of understanding that nobody is good or evil. With everything Odin has done whether you call it good or evil it had a purpose that led to a positive outcome for him and his tribe. It's a scary lesson to learn if you have to be the leader of anything. Sometimes you have to do fucked up shit for the benefit of the tribe. Even if the action only benefits you. The things you might gain could be useful in the future.
Read more



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Dr Mahlek
Dr Mahlek
3 months ago (edited)
You’re still criminally unsubscribed to.

Thursatru and Rokkatru are deeply interesting philosophical interpretations of the Northern European faiths.



View 3 replies
3 months ago
I view Odin as a shaman. I think of him as god of the dead. Leading the Wild Hunt with Holda. Magic, runes, galdr. I think of Odin in these rolls more than the All Father and a king or lord. He will let you fall into madness if you ask him for what you want. He is not a god of let's make this sunshine and roses.



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Sons of The Old Gods
Sons of The Old Gods
3 months ago (edited)
For the christians, salvation only means submission. There's nothing moral or good about it. It's just a choice they made, to opt out of the struggle for liberation and instead to just be someone else's goy.



View 37 replies
Karina Nalbandyan
Karina Nalbandyan
1 month ago
It’s not all back & white, but gray. This feels more human, for no human is 100% good or 100% evil.



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Jedi Black Knight
Jedi Black Knight
3 months ago
There are lots of parallels between Odin and Shiva. I’m quite sure they have common roots.



View 29 replies
Theepic SkyrimPlayer
Theepic SkyrimPlayer
3 months ago
As my interpretation, odin is our mind, and the myths in the poetic edda are riddles that if interpreted correctly, you achieve wisdom and spiritual enrichment. Thinking that the gods are physical is spiritual darkness, the gods are not physical or living in another world, they are here, they represent nature, they represent truth, strength, wisdom, gravity, etc. Odin (our mind) it's known as many names. The saver, the doomer, the corrupt, the just. We must act like the gods in order to be the best version of ourselves.
Read more



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Lugh Lamhfada
Lugh Lamhfada
3 months ago
It sounds like you could say that Wotan incorporated his Jungian shadow.

Thank you, I got a lot from your video.



A. Meise
A. Meise
3 months ago
Odin reminds me on Chronos or Saturn, Lord of Time and so the Keeper of the Doorstep into the Byond.



View 5 replies
Rory Sullivan
Rory Sullivan
2 months ago
It's only hard for us to comprehend the nature of the norse Gods if we look at them through the prism of the abrahamic faiths.

If, however, we understand Odin and other Gods as we understand ourselves and the behaviour of the human species then it makes alot more sense. I am drawn to the pagan Gods because of their faults, weakness and vulnerabilities.

Good video, very informative.
Read more



Mike Carter
Mike Carter
2 months ago
“Self centered, blood stained, and selfish...”

I like him already.
It is true that liberty is precious; so precious that it must be carefully rationed.
~ Владимир Ильич Ульянов Ленин

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Re: barbarians trail

Postby barbarianhorde » Sat Jun 01, 2019 1:39 pm

Spellsofmagic wrote:Thursatru for Dummies

A Note

In the past I've done a section on Lokeans for Dummies and Asatru for Dummies (which I will link at the bottom of this post). Ideally, my goal is to go through the various sects of Heathenry and write an introduction for all of them, then later expand on them. The one I would like to focus on today is known as Thursatru. Now, Thursatru is actually (generally) not accepted to be a really defined sect of Heathenry, and often Heathens disregard it completely. It's definitely not traditional, and a lot of Heathens view it as "new-age neo-pagan rubbish". I personally dislike it, simply because the people who define themselves as Thursatru often give it a bad name. However, I'd like to discuss it just the same!

What is Thursatru? ... -Tradition
This, my friends, is Thursatru/Jotnatru. Traditionally, Thursatru never existed. It is a purely modern creation. It is the belief in, honor of, and worship of the "thurses". The people who say they are thursatru believe the Giants they are working with to be the darker, more adversary aspects of the jotunfolk. It is a Gnostic left hand path type of religion. It really seems like they are trying to cram Norse tradition into a Neo-Gnostic box. They are completely anti Aesir, anti Vanir, and they even claim to be anti jotun. (On a personal note, I think this is a really questionable thing. Nowhere in literature or in spirit workers PCPG has there ever been a difference between a Jotun and a Thurse. Most practiconers and Heathens dont see a difference between the two words, as throughout literature they are both dual-used words for the same thing. Where this sudden separation came from- I dont know.)

The whole thing focuses on the idea of Chaos and Anti-Cosmic powers. They claim to work with deities such as Ymir, Loki, Gullveig, Fenrir, Hel, Midgard Serpent, Nidhogg, and such. As for realms, they tend to focus on the "underworld" aspect, and regard Helheim as a "dark chaotic place". As Stephen Grundy, or Kveldulf Gundarsson, recently expressed in our Lokean group: "I think the main difference between Thurstru and Rokkatru, is, as far as I can see, that Rokkatru is saying, "hey, let's look at these wights who have been Officially Categorized as Evil...and once you get to know them, they can be quite friendly and are, anyway, a definite part of the functional universe and should be appreciated as such", whereas Thursatru is saying, "hey, these wights are Officially Categorized as Evil and isn't that *cool*!" Also, I can't say I'm wild about the "down with the material universe, spirit-only" approach..". Like a lot of other LHP groups, there seems to be the whole "become your own God" aspect in their practice as well. While traditionally the literature in Norse tradition does say that people did, can, could become Gods in their respective right (through the process of being given that gift after you died, or being blessed by a large majority of people, etc.. Stephen is currently writing a thesis on it)- it just really seems out of the culture. I dont know any other Heathens with that outlook.

How is it practiced?
Good question! At this point, it's a very individualized sort of thing. Because many Thursatru- practicioners consider themselves to still be Heathens (eclectic or otherwise) they still often do blots (which are akin to rituals and offerings) and sumbels (drinking, feasts, sacrifices, etc). It is not well defined, or widely practiced, however. As far as I am aware there are no kindreds or grouping of practicing thursatruars in real life. Most of them seem to meet on the internet and converse through forums. This type of path seems more for individuals than for groups. They have no specific holidays or meetings like asatru, though they often take predefined holidays (such as the Varblot) and turn it into a holiday for their specific practice.

Thursatru has no "code of ethics" like Asatru, and tend to disregard the NNV (Nine Noble Virtues). Of course, like all the other sects of Heathenry, Thursatru focuses on developing a personal connection to the deities you work with (in this case, solely the Jotun). Thursatru urges people to meditate on the various Jotun and invoke them in their practices. They do offerings for the jotunfolk, build altars to them and so on. The types of herbs and materials they use in this correlate with their idea of Niflheim and Jotunheim (where the Jotunfolk are said to live).

Rokkatru vs Thursatru
Rokkatru is not the same as Thursatru at all. If anything, Thursatru is going to be shining a bad light on the Rokkatruars and making the practice seem like something that it isnt. Most Rokkatruars like to include the Aesir, Vanir and other entities into their workings, but simply choose to raise their horns to the Jotunfolk first. They dont want to get involved in the Ragnarok business, they dont care about the politics and whatnot in the practice, they just see the Jotun as an important part of the entire tradition and choose to honor them as such.

Thursatruars are the "rebels" who are cheering on the chaos of Ragnarok, painting the Jotun out to be chaotic "black magic" type of beings. They are purposefully creating dualism in a tradition that has never had dualism.

In all honesty, a lot of Heathens dont even like to split Heathenry up into "Asatru", "Odinism", "Vanatru" and so on. Those words really label and put a limit on your belief. When you think of Asatru, you immediately assume that person worships only the Aesir as their main group: but Ive known many asatruars who work with entities outside of that boundary just as well. There is no need to keep creating subdivisions. Thursatru is quite literally just the opposite of Asatru. Just as some Asatruars view the Jotun as their enemies, the Thursatru view the Gods (Aesir and Vanir) as theirs. Essentially, theyve created a rift in Heathenry. Personally I see this as just divine politics, and I think everyone would do their best to stay out of it. You can worship and honor and work with whoever you want, Jotun or God. But to start drawing lines and proclaiming a group of entities as your "enemy" in your practice is a little arrogant, and playing with things you dont want to be involved in. As Ive said before when mentioning seidhr, channeling and pathwalking: your best bet is to keep your head out of the politics in Heathenry between those groups, its none of your business and you dont need to be in the middle of it.

All I see this as is provoking needless hate between groups of Heathens.

Personal Note:
I have several issues with Thursatru. As someone who considers themself to be a Lokean/Rokkatru- I, myself, have experienced a lot of hate from Heathens due to the misunderstanding of what a Lokean or Rokkatruar is and what we believe. We are often not allowed to attend the Troths main events (where many Heathens gather). We are not allowed to worship Loki or his kin (Jotun worship is extremely disliked and hated by other sects of Heathenry) at public rituals. We are often shoved out of site in the community, and disregarded for our intellect and seriousness in our spirituality.

We strive very hard to gain acceptance in the Heathen community, and many of us feel very angry that Thursatru is taking all our work and turning it back around. I work with Loki very closely, and often am having to explain to people that he is not akin to Lucifer, and he is not a "bad guy". I have to point out several references from the Eddas and lore where it shows that Loki is a God of Change and Chaos, but not evil, only needed. But then when Thursatru comes along, they claim the opposite and paint Loki (and all other jotunfolk) out to be "evil" and immediately the other sects of Heathens like to then lump the Lokeans/Rokkatruars with the Thursatruars.

Please understand when you read this that we do not all believe this, and it is a very different practice.

You can read some more about it here:

Lokeans for Dummies

Asatru for Dummies
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fabulous stuff

Postby Jakob » Sat Jun 01, 2019 11:12 pm

Jeff Bridges, John Goodman And Steve Buscemi Talk ‘The Big Lebowski’ In Extended Inteview | TODAY





Published on Oct 18, 2018
Actors Jeff Bridges, John Goodman, and Steve Buscemi sit down with NBC’s Harry Smith to talk about their cult classic “The Big Lebowski” more than 20 years after it hit theaters.

#BigLebowski #JeffBridges #thedude
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Re: barbarians trail

Postby Jakob » Sun Jun 02, 2019 5:36 pm

Its like a cloud, in a blue sky, moving from being cut off from view by one tree to being cut off from view by another tree taking as much as five minutes. This gives good opportunity to study the cloud.

The thing one notices is that it changes slowly.
Then focussing on a piece of see the change, one gets transfixed, and begins to think about (sense) he air pressures and windlets that go into that real time being right there that one, observing it, becomes part of. This is especially palpable in watching a cloud.
Then, one snaps out of it and and behold the whole of the cloud again. And lo, it has changed entirely. There seems to be early anything left of the shape that was changing only ever so slowly.
What has changed is, along with the nuances of the cloud, our brain. The cloud took us in. What we have experienced now about he cloud is how it changes. And whichever shape the cloud might take next, this deeper character of its appearance, the pattern of its appearance, this we can see in its entirety, once we have seen in unfold in any part of it, once we have been involved in that change.

The will to power is a cameleon. That makes it endurable, and sneaky. But what is it that ti adapts to, whats its environment?
Itself, as a certain style.
It can't just snap out of its own style, except it does from time to time, but not by its own will. It just happens because it was bound to. Like Super Mario.
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Re: barbarians trail

Postby Jakob » Sun Jun 02, 2019 5:42 pm

Or porn. Thats an interesting style swap we went through.

Style in both cases and in all cases most likely changes when a certain capacity has been fulfilled.

Will to power is the water assembling at a dam, will to power is the water cascading down after breaking the dam, style is the moment the dam breaks, the way the waters are.
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Re: barbarians trail

Postby Jakob » Sun Jun 02, 2019 5:51 pm

I think it is the final cause of how everything suddenly had to be 3d. I was a severely detrminental playcontrol wise, as a screen is powerful in 2 dimensions. 2d games are where gaming can surpass reality in ways. I 3d gimme the real thing rather than a controller and a tiny window and some preprogrammed moves. It was porn that did it, Lara Croft, the idea of showing breasts and thighs as the pinnacle of personal entertainment tech. Inevitable but I can never play 3d games without feeling like a caveman. I play, if ever, in these ancient weirdly particular, thus real, universes of 2d Odysseuses like Mario or Jimmy Lee or Link or Samus Aran truly flat archetypes and of infinite soul because of their eternal style. No 3d game as eternal style. The human race was expounded in Japanese-American terms without reservations about the illogical nature of the framework of chaos in which all determination comes to light. New shit has come to light, man. Every fucking nano tick new shit comes to light. Anyway this shit will keep coming to light until a new style is born.

Pure Pwnage episode 1 - "Life of a Pro Gamer"
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Re: barbarians trail

Postby Jakob » Sun Jun 02, 2019 6:07 pm

it became fetishistic, and covetous, playing to personal desires and dream-selves
Where 2d games had been about mind expansion through problem solving inside absurdity.
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Koan brothers

Postby Jakob » Mon Jun 03, 2019 7:04 pm

Jakob wrote:

So the dude is recognized as a Zen master.
and his sayings are koans.

Like "yeah, well thats just like, your opinion, man... is something one would say to ones own mind.
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Re: barbarians trail

Postby barbarianhorde » Tue Jun 04, 2019 1:30 pm

Right before Trump turned him into a woman or what is supposed to pass for one these days.

Snoop Dogg Freestyles Over His Own Beats





REAL 92.3 LA
Published on Mar 16, 2015
Big Boy played some Snoop Dogg instrumentals for him to perform and freestyle on top of while in-studio at REAL 92.3 LA.
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Gin N Juice (feat. Dat Nigga Daz)
Snoop Dogg
Death Row Chronicles (Original Soundtrack)
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Re: barbarians trail

Postby barbarianhorde » Tue Jun 04, 2019 1:36 pm

TimesTalks: Bret Easton Ellis





Streamed live on Apr 18, 2019
Join us for an evening with Bret Easton Ellis, the critically acclaimed author of “Less Than Zero” and “American Psycho.” Don’t miss this exciting opportunity to hear Ellis discuss his first work of nonfiction “White,” described as an incendiary polemic about this young century’s failings, e-driven and otherwise, and at once an example, definition, and defense of what “freedom of speech” truly means. In White, Ellis eviscerates the perceived good that the social-media age has wrought, starting with the dangerous cult of likability.
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Re: barbarians trail

Postby barbarianhorde » Tue Jun 04, 2019 1:39 pm

Payback 1999




Cast overview, first billed only:
Mel Gibson Mel Gibson ... Porter
Gregg Henry Gregg Henry ... Val Resnick
Maria Bello Maria Bello ... Rosie
David Paymer David Paymer ... Arthur Stegman
Bill Duke Bill Duke ... Det. Hicks
Deborah Kara Unger Deborah Kara Unger ... Mrs. Lynn Porter
John Glover John Glover ... Phil
William Devane William Devane ... Carter
Lucy Liu Lucy Liu ... Pearl (as Lucy Alexis Liu)
Jack Conley Jack Conley ... Det. Leary
Kris Kristofferson Kris Kristofferson ... Bronson
Mark Alfa Mark Alfa ... Johnny's Friend #2
Kwame Amoaku Kwame Amoaku ... Radioman
Justin Ashforth Justin Ashforth ... Michael, Bartender #1
Len Bajenski Len Bajenski ... Fairfax Bodyguard #1


Porter is bad, but his neighbours are worse. Street-wise and tough, an ex-marine, he is betrayed by a one-time partner, and shot in the back by his junkie wife. He survives and returns, looking to recover his share from the robbery of an Asian crime gang. The money has passed into the hands of "the Outfit", a slick gangster organisation that runs the city. He has to make his way through a world populated by heroin dealers, prostitutes, sado-masochists, gunmen and crooked cops, a place where torture is a way of life. His only friend is a former employer, a prostitute, and her loyalty is in question, given she now works for the Outfit. He makes good early progress, but then falls into the hands of Fairfax, the crime boss.


Country: USA
Language: English
Release Date: 4 March 1999 (Netherlands) See more »
Also Known As: Payback See more »
Filming Locations: 186 South LaSalle Street, Chicago, Illinois, USA See more »
Box Office

Budget:$90,000,000 (estimated)
Opening Weekend USA: $21,221,526, 7 February 1999, Wide Release
Gross USA: $81,526,121
Cumulative Worldwide Gross: $161,626,121
See more on IMDbPro »
Company Credits

Production Co: Icon Entertainment International, Icon Productions See more »
Show more on IMDbPro »
Technical Specs

Runtime: 100 min | 90 min (director's cut)
Sound Mix: DTS | Dolby Digital | SDDS
Color: Color
Aspect Ratio: 2.35 : 1
See full technical specs »
Did You Know?

There was originally a scene where Porter rips out the eye of one of the guards in the Outfit's building where his ex partner Val is. For some reason, this scene was not included in either the theatrical or Director's Cut of the movie, and is only available in a very rare, bad quality, workprint. See more »
When Rosie hugs Porter in the hall outside her apartment the ring is on her left ring finger. A minute later when she's lighting the cigarette it's on her left middle finger. See more »
[first lines]
Porter: [voiceover] GSW: that's what the hospitals call it: gunshot wound. Doctor has to report it to the police. That makes it hard for guys in my line to get what I call, quality health care.
See more »
Alternate Versions
The UK cinema version and all subsequent video and DVD releases were cut by 5 seconds to remove the use of a butterfly knife. The Blu-ray reinstates the previously cut footage. See more »
Featured in Same Story... Different Movie: Creating 'Payback: The Director's Cut' (2007) See more »

Soundtrack Credits
Anniversary Song
Music by Iosif Ivanovici
Arranged by Saul Chaplin
Lyrics by Al Jolson and Saul Chaplin
Performed by Chris Boardman
It's a Man's Man's Man's World
Written by James Brown and Betty Newsome
Performed by James Brown
Courtesy of Polydor Records
by Arrangement with Polygram Film & TV Music
Written by Luis Demetrio and Pablo Beltrán Ruiz, English lyrics by Norman Gimbel
Performed by Dean Martin
Courtesy of Capitol Records
under License from EMI Music Special Markets
Smoke Gets in Your Eyes
Written by Otto A. Harbach and Jerome Kern
Performed by Vic Damone
Courtesy of Columbia Records
by Arrangement with Sony Music Licensing
Ain't That a Kick in the Head
Written by Jimmy Van Heusen and Sammy Cahn
Performed by Dean Martin
Courtesy of Capitol Records
under License from EMI Music Special Markets
Voodoo Child (Slight Return)
Written and Performed by Jimi Hendrix
Courtesy of Experience Hendrix, Llc/mca Records
under License from Universal Music Special Markets
The Thrill Is Gone
Written by Rick Darnell and Roy Hawkins
Performed by B.B. King
Courtesy of MCA Records
under License from Universal Music Special Markets
Luck Be a Lady
Written by Frank Loesser
Performed by Michael Civisca
Courtesy of MJJ Music
by Arrangement with Sony Music Licensing
You're Nobody till Somebody Loves You
Written by James Cavanaugh, Russ Morgan and Larry Stock
Performed by Dean Martin
Courtesy of Capitol Records
under License from EMI Music Special Markets
If I Had My Life to Live Over
Written by Moe Jaffe, Harry Tobias and Larry Vincent
Performed by Lou Rawls
Courtesy of Blue Note Records
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Re: barbarians trail

Postby barbarianhorde » Tue Jun 04, 2019 1:42 pm

Apocalypse Now - Interview with John Milius





Aleksandr Potebenko
Published on Apr 5, 2015
Apocalypse Now - Additional Materials

John Milius (I)
Writer | Producer | Director
John Milius is a screenwriter and director who came to prominence in the 1970s, when he was associated with Francis Ford Coppola and the pre-Star Wars (1977) George Lucas. Born on April 11, 1944 in St. Louis, Missouri, Milius was one of the first movie industry professionals to be a film school graduate, having matriculated at the University of ... See full bio »
Born: April 11, 1944 in St. Louis, Missouri, USA


Jump to: Writer | Producer | Director | Miscellaneous Crew | Actor | Thanks | Self | Archive footage
Hide HideWriter (29 credits)
2012 Red Dawn (1984 screenplay)
2011 Homefront (Video Game) (written by)
2008 Between the Lines: The True Story of Surfers and the Vietnam War (Documentary) (guest writer)
Rome (TV Series) (created by - 22 episodes, 2005 - 2007) (written by - 1 episode, 2005)
- De Patre Vostro (About Your Father) (2007) ... (creator)
- Deus Impeditio Esuritori Nullus (No God Can Stop a Hungry Man) (2007) ... (creator)
- A Necessary Fiction (2007) ... (creator)
- Death Mask (2007) ... (creator)
- Philippi (2007) ... (creator)
Show all 22 episodes
2006 Apocalypse Oz (Short) (screenplay "Apocalypse Now")
2005 Medal of Honor: European Assault (Video Game) (story: design team) / (writer: design team)
1997 Rough Riders (TV Mini-Series) (written by - 2 episodes)
- Episode #1.2 (1997) ... (written by)
- Episode #1.1 (1997) ... (written by)
1994 Clear and Present Danger (screenplay)
1993 Geronimo: An American Legend (screenplay) / (story)
1991 Conan (Video Game) (based on the film written by)
1989 Farewell to the King (screenplay)
1987 Extreme Prejudice (story)
1987 Miami Vice (TV Series) (story - 1 episode)
- Viking Bikers from Hell (1987) ... (story - as Walter Kurtz)
1984 Red Dawn (screenplay)
1982 Conan the Barbarian (written by)
1979 1941 (story)
1979 Apocalypse Now (written by)
1978 California Surf (written by)
1975 The Wind and the Lion (written by)
1974 Melvin Purvis G-MAN (TV Movie) (creator) / (story) / (teleplay)
1973 Magnum Force (screenplay) / (story)
1973 Dillinger (written by)
1972 The Life and Times of Judge Roy Bean (original screenplay)
1972 Jeremiah Johnson (screenplay)
1971 Dirty Harry (screenplay - uncredited)
1971 Evel Knievel (screenplay)
1969 The Devil's 8 (screenplay)
1967 Glut (Short)
1967 The Emperor (Documentary short)

Trivia (43)
Attended Los Angeles City College and USC School of Cinema-Television, where he won an International Student Film Festival Award.
Is an avid gun collector.
Wrote the line, "Go ahead, make my day," for Clint Eastwood's "Dirty Harry" character in Sudden Impact (1983).
Wrote "U.S.S. Indianapolis" scene in Jaws (1975).
Member of the NRA Board of Directors from 1995-2001. He currently serves on the Public Affairs and Shotgun Committees.
Is a personal friend of the Coen brothers and was the inspiration for the character of Walter in the The Big Lebowski (1998).
Milius, an avid gun collector, insisted that part of his payment for writing Jeremiah Johnson (1972) be in antique weapons.
Through his work, on Rough Riders (1997), he was instrumental in causing President Theodore Roosevelt to be posthumously awarded the Congressional Medal of Honor for acts of conspicuous gallantry on San Juan Hill.
Is one of the original founders of the Ultimate Fighting Championship.
Was Sergio Leone's first choice to write Once Upon a Time in America (1984). But due to scheduling problems, and Leone's struggle to acquire the rights of Harry Grey's book The Hoods, Milius passed on the project.
Considers himself as a "zen anarchist".
Despite his political beliefs, he is an avid fan of director Spike Lee.
His favorites films are Howard Hawks' Red River (1948), and "Viva Villa," Gillo Pontecorvo's De slag om Algiers (1966) (aka Battle of Algiers), Raoul Walsh's They Died with Their Boots On (1941), John Ford's The Searchers (1956) and They Were Expendable (1945), Werner Herzog's Aguirre, the Wrath of God (1972) Sam Peckinpah's The Wild Bunch (1969), Akira Kurosawa's Seven Samurai (1954) (aka Seven Samurai), Billy Wilder's Sunset Boulevard (1950), Federico Fellini's La Dolce Vita (1960), John Huston's The Treasure of the Sierra Madre (1948), David Lean's Lawrence of Arabia (1962), and Orson Welles' Citizen Kane (1941).
Is a close friend of MMA legends Rorion Gracie and Rickson Gracie and Jennifer Salt.
Was the inspiration for drag-racer John Milner (played by Paul Le Mat) in American Graffiti (1973).
Made an honorary member of the Sioux Nation, after his filming of Rough Riders (1997).
Turned down the role of Jack Lipnick in Barton Fink (1991).
Cigar smoker.
Despite making two films about Theodore Roosevelt, The Wind and the Lion (1975) and Rough Riders (1997), he considers himself too enamored with Roosevelt to ever make an actual biographical film about his life.
He was partially the basis for the character of Walter in the cult classic The Big Lebowski (1998).
Lost most of his fortune in the early naughts due to a corrupt accountant. Desperate to pay for his son's Law School tuition, he asked his friend David Milch to hire him as a staff writer for Deadwood (2004). Milch refused based on the absurdity of hiring a veteran screenwriter for entry-level work, and instead offered to simply pay the son's tuition in full. Milius later repaid Milch for the loan.
He didn't get on to well with Robert Redford and Sydney Pollack on Jeremiah Johnson (1972) and he was fired. Milius claims that his substitute "...couldn't write that stuff," and the only who contributed anything was Edward Anhalt. Redford and Pollack ultimately rehired Milis after Anhalt had left the project.
He is Jewish.
Suffered a severe stroke, and was treated for pancreatic cancer.
He wrote some pilots which did not go to series - Dodge City (circa 2005) - a Western series for CBS, and Saigon Bureau (2008) - about the AIP Bureau of photojournalists in the Vietnam War, a collaboration with Chris Noth based on the book Requiem. He also wrote a script about the Battle of Chosin Reservoir in the Korean War, The Choisin Few for Mark Cuban's 2929 Entertainment, and The Iron Horsemen, a motorcycle feature.
He was going to direct an adaptation of Tom Clancy's novel Without Remorse with Gary Sinise and Laurence Fishburne, but the project folded in 1995 two weeks before shooting was to commence due to the financial collapse of Savoy Pictures.
When Steven Spielberg asked him to punch up the screenplay for Saving Private Ryan (1998), Milius suggested the Normandy cemetery bookends where Ryan, now an elderly hero of World War II, in a moment of survivor guilt, asks his wife "Did I live a good life?"[.
Sergio Leone courted him to write Once Upon a Time in America (1984). Milius, a fan of his, was enthusiastic about the idea; but Milius was working on The Wind and the Lion (1975) and the script for Apocalypse Now (1979), and could not commit to the project.
In 1986 it was reported that he was writing the script for Fatal Beauty (1987) which he hoped to direct with Cher the film was made by Tom Holland starring Whoopi Goldberg.
For years Milius was a member of the Board of Directors of the National Rifle Association, where he was a leader (with Charlton Heston) in resisting a takeover attempt by advocates of the so-called Militia Movement.
He was instrumental during the startup of the UFC (Ultimate Fighting Championship) organization: it was his idea to use the octagon-shaped cage, and his association with UFC helped provide interest and investors to the startup UFC.
He worked on a script called Bad Iron, a biker movie written by Kent Anderson, which he intended to produce.
There was some talk in the 1980s that he would direct a movie for HBO, Capone, but it was not made.
His old agent, Mike Medavoy, helped establish Orion Pictures in 1978 and one of their first movies was going to be East of Suez, written and directed by Milius. It was not made.
In the early 2000s he worked on King Conan: Crown of Iron (2001-02), a sequel to Conan the Barbarian (1982).
He wrote Harlot's Ghost, for Francis Ford Coppola based on a novel by Norman Mailer; Milius described it as "a cross between The Godfather (1972) and Apocalypse Now (1979). It's about families and duplicity and danger, but this time provoked by the government.".
He developed Jornada del Muerto (Journey of Death) (2003), a biker film starring Paul Levesque and wrote a pilot for a TV show for UPN, Delta, about a military special ops team that takes on terrorists. Neither of these were made.
In 2000 Milius was hired to work as a creative consultant with the Institute for Creative Technologies to pre-visualize the challenges to peace that America will face and the advanced virtual reality technologies necessary to train U.S. troops for the future. "Through his enormous body of work, John has shown a deep understanding of the human condition and the ways that conflict can be resolved," said ICT executive director Richard Lindheim. "Furthermore our efforts will benefit greatly from his vision of the world in the near future, and the techniques and procedures that will be needed to maintain security.".
He was going to direct a film about Alexander the Great starring Jean-Claude Van Damme but that was put on hold when a mini series on the same topic was made by Italian TV.
In 1993 he replaced Andrey Konchalovskiy as director on The Northmen for Morgan Creek Productions, about an English monk who gets captured by a band of Vikings. "This was inevitable," Milius said of his directing a Viking film. "I've been a practicing pagan for a long time. Conan the Barbarian (1982) was really a Viking movie but it was disguised." However, financing fell through.
He was a passionate surfer for much of his life but gave it up when he turned fifty.
He planned to make a biopic of Senator Joseph McCarthy entitled The Life and Times of Joe McCarthy, but it was never made.
Warner Bros wanted him to update Dirty Harry (1971) and he wanted them to fund a version of The Iliad; there was also talk he would make The Alamo for HBO.
Personal Quotes (21)
[on being rejected for military service due to asthma]: "I'm a very efficient director - it's my training in military tactics. I've trained my whole life to be a general but I never could. So I became the next best thing, a movie director."
[on the violence in Conan the Barbarian (1982) being rather essential]: "It's not that violent, although I was happy not to get an X rating. But if you said 'Conan the Barbarian' was rated PG, people would feel cheated. We weren't making 'Conan's Divorce', you know."
I love the bomb. It's sort of a religious totem to me. Like the plague in the Middle Ages, it's the hand of God coming out indiscriminantly to snatch you.
If there hadn't been an Arnold around for Conan, we would have had to create him". -Muscle & Fitness magazine, July 1982
I try to maintain a certain innocence toward my material. I like to say that I do what I do because I like it and that it's not preachy. When I try to put my finger on what I have to say, it's very vague. It's just an attitude. As Herman Melville put it in "Moby Dick": 'a free and easy desperado geniality.' That's my attitude. Melville was talking about men rowing into the mouth of a whale with their backs to it. I suppose that's what life is like.
I was watching Rush Limbaugh the other night, and I was horrified. I would have Rush Limbaugh drawn and quartered. He was sticking up for these Wall Street pigs. There should be public show trials, mass denunciations and executions.
[on Mexican drug traffickers] We need to go down there, kill them all, flatten the place with bulldozers so when you wake up in the morning, there's nothing there. I do believe if you have a military, you use it.
[on the "Do I feel lucky?" speech in Dirty Harry (1971)] I have a .44 Magnum, I love the .44 Magnum, in fact I still have the .44 Magnum that inspired that that line. The Second Amendment becomes more important every day.
I've led a whole life behind enemy lines. I've been the victim of so much persecution. I'm the barbarian of Hollywood.
Everything has style, everything's a bit larger than life and done with mischief. That's the way Conan is.
[on Conan the Barbarian (1982)] A feverish dream on acid.
You know, in fact, I am not a fascist. I am a total man of the people. They are the fascists [Hollywood critics]. They're creating the fascist society. I am much closer to a Maoist. However, I am a Zen anarchist. --In an interview with Ken Plume on
Luxuries and comforts are evil for humans.
[1982 interview] I love Apocalypse Now (1979)... That one movie justifies my career. I feel I really did something worthwhile by writing it. Even though I share credit (with Coppola) and I didn't direct it, it's a real piece of me.
[1982 interview] Whatever I say sounds okay when I say it, but when it's printed, it's awful. I end up being this terrible guy that has guns and likes to shoot hippies. They always take the humor out of what I say. 'Milius in Jack Boots and Leather Coat Says Facism Is On the Rise!', that kind of thing, or 'Para-Military Group Led By Director!'
[1982 interview] I will always be disliked by the Eastern critical establishment,
[In a 1982 interview] It's important to go out and do something in your life, to do something with tremendous commitment and dedication. Maybe put your life on he line to do it. It's important. It makes you a bigger person. We've gotten away from this. The pursuit of excellence - that's really one of the values I try to get into all the movies I do... It's all summed up so well in a surfer term - 'GGo for it!"
I consider The Wind and the Lion (1975) my first real movie. I approached it as a David Lean film, to do it in that style, a large epic canvas, to see id I could pull off great movements of troops. The story is even written that way. Two guys, the Rasuli and Teddy Roosevelt, yelling at each other across oceans.
[on Dillinger (1973)] I got very expensive as a writer, so I was able to make a deal with AIP, who'd have never been able to buy one of my scripts. I said I'll write whatever you want if I can direct it. I'd have paid them to direct. I looked at the gangsters of the time, and the one that had the most appeal was Dillinger. It was a subject I never would have chosen myself, but it allowed me to show how good I could do a gunfight, make the stuff cut together, make the story hold up, and make the actors act... I like it (the violence) because it's real. There are consequences in "Dillinger." You rob a bank, people are going to start shooting, and people are going to get hurt and shot. They run over a woman leaving the bank because that's what they did. They wee desperate. But you don't dwell on it. You don't dwell on the bullet hole and blood pulsing out.
A lot happens in old movies. Ideas were communicated. Ford's The Searchers (1956), for example. Sure, it's a story about a guy searching for his niece, but it's also a movie about the family. It's a movie about pioneering and what it is to be a pioneer, what it is to put yourself out on a limb. It's a movie about doing your job.
[on Francis Ford Coppola] Francis is the best of us all. He has the most talent and the most daring. There are a lot of faults in Francis, but I think he's the leader.
It is true that liberty is precious; so precious that it must be carefully rationed.
~ Владимир Ильич Ульянов Ленин

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Re: barbarians trail

Postby barbarianhorde » Tue Jun 04, 2019 1:48 pm

Apocalypse Now - Conversation Martin Sheen and Francis Ford Coppola Rus sub





Aleksandr Potebenko
Published on Apr 5, 2015
Apocalypse Now - Additional Materials

Francis Ford Coppola was born in 1939 in Detroit, Michigan, but grew up in a New York suburb in a creative, supportive Italian-American family. His father, Carmine Coppola, was a composer and musician. His mother, Italia Coppola (née Pennino), had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and ... See full bio »
Born: April 7, 1939 in Detroit, Michigan, USA

Producer (76 credits)
Megalopolis (producer) (announced)
2013 The Bling Ring (executive producer)
2012 On the Road (executive producer)
2011 Twixt (producer)
2010 Somewhere (executive producer)
2009 Tetro (producer)
2007 Youth Without Youth (producer)
2006 The Good Shepherd (executive producer)
2006 Marie Antoinette (executive producer)
2004 Forever Is a Long, Long Time (Video short) (executive producer)
2004 Kinsey (executive producer)
2003 Lost in Translation (executive producer)
2003 Jeepers Creepers 2 (executive producer)
2003 Platinum (TV Series) (executive producer)
2002 In My Life (TV Movie) (executive producer)
2002 Assassination Tango (executive producer)
2002 Pumpkin (executive producer)
2001 Suriyothai (executive producer)
2001 Jeepers Creepers (executive producer)
2001 No Such Thing (executive producer)
2001 CQ (executive producer)
1998-2001 First Wave (TV Series) (executive producer - 65 episodes)
- Twice Bless'd (2001) ... (executive producer)
- Terminal City (2001) ... (executive producer)
- Beneath the Black Sky (2001) ... (executive producer)
- Black Box (2001) ... (executive producer)
- Checkmate (2001) ... (executive producer)
Show all 65 episodes
2000 Dr. Jekyll and Mr. Hyde (TV Movie) (executive producer)
1999 Sleepy Hollow (executive producer)
1999 Goosed (executive producer)
1999 The Third Miracle (executive producer)
1999 The Virgin Suicides (producer)
1999 The Florentine (producer)
1998 Lani-Loa (producer)
1998 Moby Dick (TV Mini-Series) (executive producer - 2 episodes)
- Episode #1.2 (1998) ... (executive producer)
- Episode #1.1 (1998) ... (executive producer)
1998 Outrage (TV Movie) (executive producer)
1997 Buddy (executive producer)
1997 The Odyssey (TV Mini-Series) (executive producer - 2 episodes)
- Part II (1997) ... (executive producer)
- Part I (1997) ... (executive producer)
1997 Survival on the Mountain (TV Movie) (executive producer)
1996 Dark Angel (TV Movie) (executive producer)
1996 Jack (producer)
1995 The Conversation (TV Movie) (producer)
1995 Kidnapped (TV Movie) (executive producer)
1995 Haunted (executive producer)
1995 Tecumseh: The Last Warrior (TV Movie) (executive producer)
1995 White Dwarf (TV Movie) (executive producer)
1995 My Family (executive producer)
1994 Mary Shelley's Frankenstein (producer)
1994 Don Juan DeMarco (producer)
1993 The Junky's Christmas (Short) (producer)
1993 The Secret Garden (executive producer)
1992 Dracula (producer)
1992 The Godfather Trilogy: 1901-1980 (Video) (producer)
1992/I Wind (executive producer)
1990 The Godfather: Part III (producer - produced by)
1990 The Outsiders (TV Series) (executive producer - 13 episodes)
- Union Blues (1990) ... (executive producer)
- The Beat Goes On (1990) ... (executive producer)
- Winner Take All (1990) ... (executive producer)
- Tequila Sunset (1990) ... (executive producer)
- Carnival (1990) ... (executive producer)
Show all 13 episodes
1989 Wait Until Spring, Bandini (executive producer - uncredited)
1988 Powaqqatsi (Documentary) (executive producer)
1987 Lionheart (executive producer)
1987 Tough Guys Don't Dance (executive producer - as Francis Coppola)
1987 Gardens of Stone (producer - as Francis Coppola)
1985 Mishima: A Life in Four Chapters (executive producer - as Francis Coppola)
1983 Rumble Fish (executive producer - as Francis Coppola)
1983 The Black Stallion Returns (executive producer - as Francis Coppola)
1982 Hammett (executive producer)
1982 The Escape Artist (executive producer - as Francis Coppola)
1982 Koyaanisqatsi (Documentary) (executive producer)
1980 Kagemusha (executive producer: international version)
1979 The Black Stallion (executive producer)
1979 Apocalypse Now (producer - as Francis Coppola)
1977 The Godfather Saga (TV Mini-Series) (producer - 4 episodes)
- Episode #1.4 (1977) ... (producer: The Godfather)
- Episode #1.3 (1977) ... (producer: The Godfather)
- Episode #1.2 (1977) ... (producer: The Godfather)
- Episode #1.1 (1977) ... (producer: The Godfather)
1974 The Godfather: Part II (producer - produced by)
1974 The Conversation (producer)
1973 American Graffiti (producer)
1973 Paper Moon (executive producer - uncredited)
1972 The People (TV Movie) (executive producer)
1971 THX 1138 (executive producer)
1968 Filmmaker (Documentary short) (producer)
1963 The Terror (associate producer - as Francis Coppola)
1962 Tonight for Sure (producer)
1959 The Sky Calls (associate producer)
Hide Hide Director (36 credits)
Megalopolis (announced)
2016 Distant Vision
2011 Twixt
2009 Tetro
2007 Youth Without Youth
2000 Un matin partout dans le monde (TV Short)
1997 The Rainmaker
1996 Jack
1992 Making 'Bram Stoker's Dracula' (TV Movie documentary)
1992 Dracula
1992 The Godfather Trilogy: 1901-1980 (Video)
1990 The Godfather: Part III (directed by)
1989 New York Stories (segment "Life without Zoe", as Francis Coppola)
1988 Tucker: The Man and His Dream
1987 Gardens of Stone (as Francis Coppola)
1987 Faerie Tale Theatre (TV Series) (1 episode)
- Rip Van Winkle (1987)
1986 Peggy Sue Got Married (as Francis Coppola)
1986 Captain EO (Short)
1984 The Cotton Club (as Francis Coppola)
1983 Rumble Fish
1983 The Outsiders (as Francis Coppola)
1981 One from the Heart (as Francis Coppola)
1979 Apocalypse Now (as Francis Coppola)
1977 The Godfather Saga (TV Mini-Series) (4 episodes)
- Episode #1.4 (1977)
- Episode #1.3 (1977)
- Episode #1.2 (1977)
- Episode #1.1 (1977)
1974 The Godfather: Part II (directed by)
1974 The Conversation
1972 The Godfather (directed by)
1969 The Rain People
1968 Finian's Rainbow
1966 You're a Big Boy Now
1963 Dementia 13 (as Francis Coppola)
1963 The Terror (three or four days director - uncredited)
1962 Tonight for Sure
1962 The Bellboy and the Playgirls
1959 The Sky Calls (as Thomas Colchart, re-edited version with new footage)
1956 No Cigar (Short)
Hide Hide Writer (29 credits)
Megalopolis (screenplay) (announced)
2016 Distant Vision
2011 Twixt (written by)
2009 Tetro (written by)
2007 Youth Without Youth (screenplay)
1997 The Rainmaker (screenplay)
1992 The Godfather Trilogy: 1901-1980 (Video)
1990 The Godfather: Part III (written by)
1989 New York Stories (written by - segment "Life without Zoe", as Francis Coppola)
1986 Captain EO (Short) (screenplay - as Francis Coppola)
1984 The Cotton Club (screenplay - as Francis Coppola) / (story - as Francis Coppola)
1983 Rumble Fish (screenplay)
1981 One from the Heart (screenplay - as Francis Coppola)
1979 Apocalypse Now (written by - as Francis Coppola)
1977 The Godfather Saga (TV Mini-Series) (screenplay - 4 episodes)
- Episode #1.4 (1977) ... (screenplay)
- Episode #1.3 (1977) ... (screenplay)
- Episode #1.2 (1977) ... (screenplay)
- Episode #1.1 (1977) ... (screenplay)
1974 The Godfather: Part II (screenplay by)
1974 The Conversation (written by)
1974 The Great Gatsby (screenplay)
1973 The Way We Were (additional writer - uncredited)
1972 The Godfather (screenplay by)
1970 Patton (screen story and screenplay)
1969 The Rain People (written by)
1966 You're a Big Boy Now (written for the screen by)
1966 Is Paris Burning? (screenplay)
1966 This Property Is Condemned (screenplay - as Francis Coppola)
1963 Dementia 13 (written by - as Francis Coppola)
1963 The Haunted Palace (additional dialogue - uncredited)
1962 Tonight for Sure (written by - as Francis Coppola)
1962 The Bellboy and the Playgirls (extra scenes)

Other Works: He directed Noel Coward's play, "Private Lives," in an American Conservatory Theatre production at the Geary and Marine Memorial Theatres in San Francisco, California. See more »
Publicity Listings: 16 Print Biographies | 2 Portrayals | 21 Interviews | 29 Articles | 1 Pictorial | 1 Magazine Cover Photo | See more »
Official Sites: American Zoetrope | Blancaneaux Lodge, Belize | See more »
Alternate Names: Thomas Colchart | Francis Coppola | Mom & Dad | Dada | Dad | Francis
Height: 5' 10½" (1.79 m)

Mini Bio (1)
Francis Ford Coppola was born in 1939 in Detroit, Michigan, but grew up in a New York suburb in a creative, supportive Italian-American family. His father, Carmine Coppola, was a composer and musician. His mother, Italia Coppola (née Pennino), had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and did graduate work at UCLA in filmmaking. He was training as assistant with filmmaker Roger Corman, working in such capacities as sound-man, dialogue director, associate producer and, eventually, director of Dementia 13 (1963), Coppola's first feature film. During the next four years, Coppola was involved in a variety of script collaborations, including writing an adaptation of "This Property is Condemned" by Tennessee Williams (with Fred Coe and Edith Sommer), and screenplays for Is Paris Burning? (1966) and Patton (1970), the film for which Coppola won a Best Original Screenplay Academy Award. In 1966, Coppola's 2nd film brought him critical acclaim and a Master of Fine Arts degree. In 1969, Coppola and George Lucas established American Zoetrope, an independent film production company based in San Francisco. The company's first project was THX 1138 (1971), produced by Coppola and directed by Lucas. Coppola also produced the second film that Lucas directed, American Graffiti (1973), in 1973. This movie got five Academy Award nominations, including one for Best Picture. In 1971, Coppola's film The Godfather (1972) became one of the highest-grossing movies in history and brought him an Oscar for writing the screenplay with Mario Puzo The film was a Best Picture Academy Award-winner, and also brought Coppola a Best Director Oscar nomination. Following his work on the screenplay for The Great Gatsby (1974), Coppola's next film was The Conversation (1974), which was honored with the Golden Palm Award at the Cannes Film Festival, and brought Coppola Best Picture and Best Original Screenplay Oscar nominations. Also released that year, The Godfather: Part II (1974), rivaled the success of The Godfather (1972), and won six Academy Awards, bringing Coppola Oscars as a producer, director and writer. Coppola then began work on his most ambitious film, Apocalypse Now (1979), a Vietnam War epic that was inspired by Joseph Conrad's Heart of Darkness (1993). Released in 1979, the acclaimed film won a Golden Palm Award at the Cannes Film Festival, and two Academy Awards. Also that year, Coppola executive produced the hit The Black Stallion (1979). With George Lucas, Coppola executive produced Kagemusha (1980), directed by Akira Kurosawa, and Mishima: A Life in Four Chapters (1985), directed by Paul Schrader and based on the life and writings of Yukio Mishima. Coppola also executive produced such films as The Escape Artist (1982), Hammett (1982) The Black Stallion Returns (1983), Barfly (1987), Wind (1992), The Secret Garden (1993), etc.

He helped to make a star of his nephew, Nicolas Cage. Personal tragedy hit in 1986 when his son Gio died in a boating accident. Francis Ford Coppola is one of America's most erratic, energetic and controversial filmmakers.

- IMDb Mini Biography By: Kornel Osvart <[email protected]>

Spouse (1)
Eleanor Coppola (2 February 1963 - present) ( 3 children)
Trade Mark (7)
Often casts his own real-life extended family members in his films. In the case of the Godfather films, their characters' relationships to "Michael Corleone" often paralleled their real-life relationship to Coppola. He cast his sister, Talia Shire, as Michael's sister Connie, and his daughter, Sofia Coppola, as Michael's daughter Mary - named for Coppola's other daughter. In addition, Diane Keaton said that she modeled her performance as Kay Adams after Elanor Coppola, since both Kay and Coppola are protestants who married into Italian Catholic families.
Includes the original author's name in the title of his adaptations (i.e., Mario Puzo's The Godfather (1972), Bram Stoker's Dracula (1992)).
Releases re-edited versions of his work years later (e.g., The Godfather (1972) and Apocalypse Now (1979)).
Often works with cinematographer Gordon Willis and producers Fred Roos and Gray Frederickson.
Frequently casts Robert Duvall, the late John Cazale, Nicolas Cage, Diane Keaton, Matt Dillon, Harrison Ford, Laurence Fishburne and Marlon Brando.
Protagonists are tough inside who want change the world around, more often than not for selfish reasons.
Trivia (73)
Contracted polio when he was a child. During his quarantine, he practiced puppetry.
Some sources say he is the uncle of Alan Coppola, but Alan's name does not appear on any family tree authorized by the Coppola family.
Like Martin Scorsese, Coppola was a sickly youth, a case of polio which allowed him time to indulge in puppet theater and home movies.
Middle brother of Talia Shire and August Coppola.
Father of Sofia Coppola, Roman Coppola and Gian-Carlo Coppola.
Son of composer Carmine Coppola and Italia Coppola.
Received an M.F.A. in Film Production from the University of California in Los Angeles (1967).
Since 1978, owner and operator of a Rutherford, California vineyard making Rubicon wine.
Coppola began his winery enterprise by buying a portion of the historic Inglenook estate in 1975. His success in the field is explored in the book "A Sense of Place" by Steven Kolpan, 1999.
Brother-in-law of Bill Neil.
Was in the early stages of developing a script for a fourth Godfather film with Mario Puzo which was to tell the story of the early lives of Sonny, Fredo and Michael. After Puzo's death in July of 1999, Coppola abandoned the project, stating that he couldn't do it without his friend.
As of May 2002, the number of Coppola-family members appearing in or contributing to filmmaking stands at thirteen, spread over three generations.
Francis Ford Coppola has been in competition with Bob Fosse on several occasions. In 1972, Coppola was nominated for the Best Director Oscar (The Godfather (1972)), but lost to Fosse (Cabaret (1972)). In 1974, Fosse was nominated for Best Director (Lenny (1974)) but lost to Coppola (The Godfather: Part II (1974)). In 1979, both were nominated as directors (Apocalypse Now (1979) and All That Jazz (1979)), but both lost. When Fosse won the Palme d'Or at the Cannes Film Festival (Coppola won the previous year), he tied with Akira Kurosawa, whose movie was produced by George Lucas and Francis Ford Coppola.
Grandfather of Gia Coppola. Great-uncle of Weston Cage Coppola.
Has released his own line of specialty foods.
As a child, his bedroom was covered with pictures of his favourite film star, Jane Powell. When he discovered she'd married Geary Anthony Steffen, Jr., he tore them all down.
His wife arranged for him to meet Jane Powell as a 40th birthday present.
Out of all his peers who rose to fame and power in the 1970s "Golden Age" era, he is perhaps the only filmmaker still married to his first wife.
Made a commercial for Suntory whiskey with legendary Japanese director Akira Kurosawa in the 1970s, an event which later influenced a salient plot point in his daughter Sofia's movie, Lost in Translation (2003).
Was voted the 21st Greatest Director of all time by Entertainment Weekly.
Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945- 1985". Pages 227-234. New York: The H.W. Wilson Company, 1988.
George Lucas said that he based the "Han Solo" character from the Star Wars trilogy on Coppola.
Serves as the Honorary Ambassador of the Central American nation of Belize in San Francisco, California, USA. On their official roster of worldwide honorary consulates found on their official website, he is referred to as "His Excellency Ambassador Francis Ford Coppola," although he is not a Belizean citizen.
In 1971 and 1973, George C. Scott and Marlon Brando refused their respective Best Actor awards for Patton (1970) and The Godfather (1972) - both written by Coppola.
Four of his relatives have been involved in the Star Wars films of his friend George Lucas. His brother-in-law, Bill Neil, worked at Industrial Light and Magic during the production of the original trilogy. His daughter, Sophia, and son, Roman, played a handmaiden and Naboo guard, respectively, in Star Wars: Episode I - The Phantom Menace (1999). His nephew, Christopher Neil, who worked as a dialogue coach for both Francis (on Jack (1996) and The Rainmaker (1997) and Sophia (on The Virgin Suicides (1999)), did the same job on Star Wars: Episode III - Revenge of the Sith (2005)--a job for which Coppola recommended him. In addition, his late older son was named Gian-Carlo. In Star Wars: Episode I - The Phantom Menace (1999), there is a Naboo vehicle called the Gian Speeder.
Directed 12 different actors in Oscar-nominated performances: Geraldine Page, Marlon Brando, Al Pacino, James Caan, Robert Duvall, Robert De Niro, Michael V. Gazzo, Lee Strasberg, Talia Shire, Kathleen Turner, Andy Garcia and Martin Landau. Brando and De Niro won their Oscar for their performances as Vito Corleone.
In 1975, he accepted the Oscar for "Best Actor in a Supporting Role" on behalf of Robert De Niro, who wasn't present at the awards ceremony. De Niro won for his performance in Coppola's The Godfather: Part II (1974).
The only person to direct a sibling in an Oscar-nominated performance (his sister Talia Shire was nominated as "Best Actress in a Supporting Role" for The Godfather: Part II (1974))
President of the 'Official Competition' jury at the 49th Cannes International Film Festival in 1996.
He is among an elite group of seven directors who have won Best Picture, Best Director and Best Screenplay (Original/Adapted) for the same film. In 1975 he won all three for The Godfather: Part II (1974). The others are Leo McCarey, Billy Wilder, James L. Brooks, Peter Jackson Joel Coen and Ethan Coen, and Alejandro G. Iñárritu.
Co-owns the Rubicon restaurant in San Francisco with Robert De Niro and fellow Bay area resident Robin Williams.
Was involved in both movies that his father, Carmine Coppola, and his daughter, Sofia Coppola, won Oscars: he was the director of The Godfather: Part II (1974), which won his father an Oscar for "Best Music, Original Dramatic Score", and he was the executive producer of Lost in Translation (2003), which won his daughter the Oscar for "Best Writing, Screenplay Written Directly for the Screen".
There are three generations of Oscar winners in the Coppola family: Francis, his father Carmine Coppola, his nephew Nicolas Cage and his daughter Sofia Coppola. They are the second family to do so, the first family is the Hustons - Anjelica Huston, John Huston and Walter Huston.
Since the mid-90s (and possibly even earlier), he has been writing and re- writing an original screenplay entitled "Megalopolis". Described as "one man's quest to build utopia set in modern-day New York following a major disaster," the project has been delayed due to Coppola's constant tinkering with the script and the fact that the director is attempting to finance it himself. He admitted to taking on studio films such as Jack (1996) and The Rainmaker (1997) in order to make this happen. Several A-list actors have had their names attached to it and a great excess of second-unit footage (shot in 24p HD) has been captured by Coppola and the film's cinematographer, Ron Fricke of Baraka (1992) fame. However, the terrorist attacks on New York on September 11th 2001 made the movie's subject matter too sensitive, and the project was shelved indefinitely, although Coppola hasn't fully ruled it out.
Currently owns 2 resorts in Belize and 1 in Guatemala. They are the Blancaneaux Lodge in the Pine Ridge Region, Turtle Inn in Placencia and La Lancha near Tikal in Guatemala.
He, George Lucas and Steven Spielberg presented Martin Scorsese with his first ever Oscar for Best Director for The Departed (2006). All four directors were part of the "New Hollywood" movement in the 60s and 70s.
Was named after his grandfather Francesco Pennino.
Uncle of Nicolas Cage, Christopher Coppola, Marc Coppola, Robert Schwartzman, Jason Schwartzman, John Schwartzman, Matt Shire and Stephanie Schwartzman.
Briefly attended the New York Military Academy where Troy Donahue was his classmate...until Coppola decided to drop out early on, so he called a taxi and left school. He and Donahue later worked together on The Godfather: Part II (1974).
His middle name was given to him to honor Henry Ford. Francis was born at the "Henry Ford" Hospital in Detroit; Francis's father participated in a music show that Henry Ford really liked and they, in fact, met. So the middle name Ford was to honor Henry Ford himself. (Source: Francis Ford Coppola, "Inside the Actor's Studio").
As a hold-over from his days directing theater when he was young, he always engages his cast in a lengthy rehearsal period before filming. Occasionally, he finds film actors that are not used to this will bristle against the process.
In 1986 his 22-year-old son, Gian-Carlo, died in a boating accident.
Favorite movies from his own personal filmography: The Rain People (1969), The Conversation (1974), Apocalypse Now (1979), Rumble Fish (1983) and Youth Without Youth (2007).
Is a big fan of actress Diane Lane and has cast her in no less than 4 films, The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984) and Jack (1996).
Won five Oscars in four years - one in 1971 for Patton (1970), one in 1973 for The Godfather (1972), and three in 1975 for The Godfather: Part II (1974).
President of the 'Official Competition' jury at the 15th Marrakech International Film Festival in 2015.
His first two Oscar-winning screenplays were for Patton (1970) and The Godfather (1972), both movies also won for Best Actor. In both of these films, both leading actors - George C. Scott and Marlon Brando, respectively - turned down their awards (although it was the second Oscar which Brando won).
Is the only director to direct two actors in Oscar-winning performances in the same role: Marlon Brando in The Godfather (1972), and Robert De Niro in The Godfather: Part II (1974). Since that time, only two other actors have been nominated for roles in which a previous actor already won an Oscar: José Ferrer and Gérard Depardieu as Cyrano de Bergerac, and John Wayne and Jeff Bridges as Rooster Cogburn.
Was plagued with demeaning nicknames in his childhood, such as "Ichabod" in military school, which was also one of 24 schools he attended before he entered college.
Says his greatest directorial influence is Elia Kazan.
One of nine directors to have won the Palme d'Or twice at the Cannes Film Festival, the others being Bille August, Alf Sjöberg, Emir Kusturica, Shôhei Imamura, Luc Dardenne & Jean-Pierre Dardenne, Michael Haneke and Ken Loach.
He visited Buenos Aires, Argentina, making castings with Argentine actors and looking for locations for his film Tetro (2009). [June 2007]
He visited Buenos Aires, Argentina for 4 days. [July 2006]
In September 2005 he visited Istanbul for vacation. According to him, he got drunk one night and suddenly had the initial idea for Twixt (2011).
Coppola is the first major American film director to earn a master's degree in filmmaking from a major university (UCLA in 1968).
Director and screenwriter John Milius: "Francis is the best of us all. He has the most talent and the most daring. There are a lot of faults in Francis, but I think he's the leader".
Griffin O'Neal was found guilty of negligently operating a boat in relation to the death of Gian-Carlo Coppola, Coppola's 23-year-old son. Coppola died on the South River near Annapolis when a boat that O'Neal was operating went between two other boats and a tow line struck Coppola in the head throwing him to the deck and smashing his skull. O'Neal was cleared of manslaughter and also acquitted of two charges of recklessly operating a boat. [December 1986]
His ten favorite films are: Ashes and Diamonds (1958), De beste jaren van ons leven (1946), I Vitelloni (1953), The Bad Sleep Well (1960), Yojimbo (1961), Singin' in the Rain (1952), The King of Comedy (1982), Raging Bull (1980), The Apartment (1960) and Sunrise (1927).
Coppola's legal drama The Rainmaker (1997) is widely regarded by film critics as the best of the many John Grisham adaptations. Grisham himself said of the film, "To me it's the best adaptation of any of [my books]. ... I love the movie. It's so well done." [Entertainment Weekly 2004].
Francis Ford Coppola's hands and feet were pressed into the cement outside the TCL Chinese Theatre in Los Angeles on April 29th, 2016.
Along with Ernst Lubitsch, Jack Conway, Michael Curtiz, Victor Fleming, John Ford, Alfred Hitchcock, Sam Wood, Herbert Ross and Steven Soderbergh, he is one of ten directors to have more than one film nominated for Best Picture in the same year. The Godfather: Part II (1974) and The Conversation (1974) were both so nominated at the 47th Academy Awards in 1975 while the former won the award.
He has directed Glenn Withrow in four films: The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984) and Peggy Sue Got Married (1986).
He has directed James Caan in four films: The Rain People (1969), The Godfather (1972), The Godfather: Part II (1974) and Gardens of Stone (1987).
He has directed his daughter Sofia Coppola in eight films: The Godfather (1972), The Godfather: Part II (1974), The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984), Peggy Sue Got Married (1986), Tucker: The Man and His Dream (1988) and The Godfather: Part III (1990).
He has directed Diane Lane in four films: The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984) and Jack (1996).
He has directed his younger sister Talia Shire in four films: The Godfather (1972), The Godfather: Part II (1974), New York Stories (1989) and The Godfather: Part III (1990).
Directed five Oscar Best Picture nominees: The Godfather (1972), The Conversation (1974), The Godfather: Part II (1974), Apocalypse Now (1979) and The Godfather: Part III (1990). He also produced the last four of these, as well as American Graffiti (1973) and was an executive producer for Lost in Translation (2003), which was directed by his daughter. Of these, The Godfather and The Godfather: Part II won Best Picture. He wrote the screenplay for six Best Picture nominees, which are the five films that he directed above, and Patton (1970).
As of 2018, the only person to win Best Screenplay for three Best Picture Oscar winners, he won Best Original Screenplay for Patton (1970) and Best Adapted Screenplay for The Godfather (1972) and The Godfather: Part II (1974).
He is one of multiple directors to have directed a film that won a Best Picture Oscar, followed by a film that was also Oscar nominated for Best Picture. Other directors to have achieved this are Lewis Milestone, Frank Capra, Alfred Hitchcock, William Wyler, Leo McCarey, David Lean, Robert Wise, James L. Brooks, James Cameron, Danny Boyle, Kathryn Bigelow, Tom Hooper, and Alejandro G. Iñárritu. What makes Coppola's achievement unique is he had achieved this feat twice: with The Godfather (1972), followed by The Conversation (1974), then The Godfather: Part II (1974), followed by Apocalypse Now (1979).
His last name is pronounced CO-pa-la.
Coppola was very impressed by the large cylindrical Zoetrope motion picture device he saw on a visit to the Palace of Chaillot in Paris early in 1969.Later that year, he and George Lucas would name their new film production company American Zoetrope.
He has directed four films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: The Godfather (1972), The Conversation (1974), The Godfather: Part II (1974) and Apocalypse Now (1979). He wrote all of those films in addition to Patton (1970) which is also in the registry. As well as those, he produced American Graffiti (1973) and executive produced The Black Stallion (1979) and Koyaanisqatsi (1982), all of which are in the registry as well.
Ashes and Diamonds (1958) is one of his favourite films.
Personal Quotes (85)
To me the great hope is that now that these little 8mm video recorder and stuff now, some - just people who normally wouldn't make movies are going to be making them. And, you know, suddenly one day some little fat girl in Ohio is going to be the new Mozart, and you know, and make a beautiful film with her father's little camera-corder and for once this whole professionalism about movies will be destroyed forever and it will become an art form. That's my opinion. ["Heart of Darkness: A Filmmaker's Apocalypse", 1991]
[on Apocalypse Now (1979)] My movie is not about Vietnam... my movie is Vietnam. [Cannes 1979]
What the studios want now is "risk-free" films but with any sort of art you have to take risks. Not taking risks in art is like not having sex and then expecting there to be children.
I just feel that at a certain point you have to go back to the beginning again. The best thing for me at this point in my life is to become a student again and make movies with the eyes I had when I was enthusiastic about it in the first place.
In a sense, I think a movie is really a little like a question and when you make it, that's when you get the answer.
All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross- pollinated each other.
Anything you build on a large scale or with intense passion invites chaos.
I bring to my life a certain amount of mess.
I probably have genius. But no talent.
Lots of people have criticized my movies, but nobody has ever identified the real problem: I'm a sloppy filmmaker.
Wall Street got interested in film and communications, and these are the people who brought you the Big Mac. In the past twelve years, I can't think of one classic they've made. [1996]
Basically, both the Mafia and America feel they are benevolent organizations. And both the Mafia and America have their hands stained with blood from what it is necessary to do to protect their power and interests.
If the movie works, nobody notices the mistakes... If the movie doesn't work, the only thing people notice are mistakes.
If you don't bet, you don't have a chance to win.
I think if there was a role that Robert De Niro was hungry for, he would come after it. I don't think Jack Nicholson would. Jack has money and influence and girls, and I think he's a little bit like Marlon Brando, except Brando went through some tough times. I guess they don't want to do it anymore
I had a little fantasy that goes like this: I'm getting to be an influential person in San Francisco; what if I and five other powerful guys with cigars got together in a smoke-filled room to decide who would be the next mayor of San Francisco? We'd do it because we're good guys and we really want the city to be wonderful for everybody. Then I thought, what's the difference between five good guys holding that kind of power and five bad guys? Just good intentions, and intentions can be corrupted.
Initially, the idea of a sequel seemed horrible to me. It sounded like a tacky spin-off, and I used to joke that the only way I'd do it was if they'd let me film 'Abbott and Costello Meet the Godfather'- that would have been fun. Then I entertained some Russian film executives who were visiting San Francisco and they asked me if I was going to make The Godfather: Part II (1974). That was the first time I heard the phrase used; I guess you could say I stole the title from the Russians. In short, it seemed like such a terrible idea that I was intrigued by the thought of pulling it off. Simple as that.
[on Akira Kurosawa] Most directors have one masterpiece by which they are known, or possibly two. Kurosawa has at least eight or nine.
The easiest way to make sure a movie is successful is to make a traditional movie very well. If you make a slightly unusual movie or [don't] exactly follow the rules as everyone sees them, then you get in trouble or, like with Apocalypse Now (1979), wait 20 years to hear that was really good.
When you lose your kid, it's the first thing you think of when you wake up in the morning for about seven or eight years. Then there's the first morning when that's not the first thing you think of. You get brave.
The Godfather (1972) changed my life, for better or worse. It definitely made me have an older man's film career when I was 29. So now I say, 'If I had my older career when I was young, as an older man, maybe I can have a young film-maker's career.'
I didn't particularly want to make The Godfather: Part II (1974) ! I always felt that The Godfather (1972) was a perfectly good drama and ended all the aspects of the story: It resolved the character and was really meant to be one movie. It only got to be a second and a third out of the greed of companies wanting to make more of them. On "The Godfather: Part II", I had just as much control over the production as I had with Youth Without Youth (2007) because it was my own. Because "The Godfather" was so successful, I could do anything I wanted. But even though maybe "The Godfather: Part II" was a good film or a better film, I still feel that "The Godfather" was complete. I only did "The Godfather Part II" because I thought it would be interesting to make a film about a man and his father at the same age and tell the two stories in parallel, which is what I did. And that was an achievement.
I think The Godfather: Part III (1990) had a lot of good things about it. It had good potential. I think it was made a little too rushed because it was made in one year and they wanted it out that Christmas. It was a big, complex, difficult story. I think if I had spent more time writing it I would have solved or defined some of the issues better, rather than doing it while we were shooting. Also I think the loss of Robert Duvall as a character made a difference. As I look back on it, he was a very important part of that story. Clearly he was the most important character still living from the other movies. So I think ultimately losing the Hagen character was more than I was able to write my way out of so quickly. I could have done it had we not started shooting right away.
Jack (1996) was a movie that everybody hated and I was constantly damned and ridiculed for. I must say I find "Jack" sweet and amusing. I don't dislike it as much as everyone, but that's obvious - I directed it. I know I should be ashamed of it but I'm not. I don't know why everybody hated it so much. I think it was because of the type of movie it was. It was considered that I had made Apocalypse Now (1979) and I'm like a Marty Scorsese type of director, and here I am making this dumb Disney film with Robin Williams. But I was always happy to do any type of film.
Steven Spielberg is unique. I feel that the kinds of movies he loves are the same kinds of movies that the big mass audience loves. He's very fortunate because he can do the things he naturally likes the best, and he's been very successful. Martin Scorsese, I think, is different. If Exxon went to Martin and said, "Martin, we feel you're one of the best artists in the world today and we're going to finance any movie you want to make because we believe that at the end of your life those will be very valuable movies," he would be making very different movies from what he's making now. I think he probably has scripts that he's trying to get someone to enable him to make and then another one comes on and they say, "Look, we have Jack Nicholson and so on and so on. Would you do it? And of course he says, "Okay. Not that he doesn't like it or they're not good movies, but I think that his heart is maybe in more personal filmmaking.
[on The Cotton Club (1984)] It was a nightmare. It was deceptive. I was sucked in without knowing what was going on. It was like a pretty girl who gets seduced. I didn't realize that the only reason I was getting sweet-talked and enticed by Robert Evans to do "The Cotton Club" was that he needed me to get the money. It was a terrible experience. I like Gregory Hines very much, Richard Gere is basically a good guy, Diane Lane is a sweet person. But it was Bob Evans again. He was back and trying to take control of it. About 20 to 30 minutes were taken out of the Gregory-Hines-and-his-brother storyline, the back story. I'd like to see it as the long version.
There's something in my heart that isn't yet fulfilled. Maybe it's a sickness. But I'm definitely not satisfied. It's not do to with money - I'm richer than I ever thought I would be. It's not fame - I'm more famous than I've ever been. It's something else. Something personal. I would like to leave ten films that I have written, original work. That would satisfy this itch. [2007]
I wanted to make films like Youth Without Youth (2007) and the one I'm doing next in my 20s. Instead, I made The Godfather (1972). In a way, "Youth Without Youth" is a natural continuation of what I was doing with The Rain People (1969) and The Conversation (1974). I made "The Godfather" and it just totally changed my life. Suddenly I was an important director. I wasn't this young, experimental filmmaker that I'd hoped to be.
I have always been a little disappointed about One from the Heart (1981) because I really wanted to make it more like live cinema. I really wanted to shoot it with 12 cameras and edit it all in the camera. At the last minute I chickened out because the photographer chickened out. So for me with "One From The Heart", I always feel that I should have gone that last yard. It was only the cinematographer coming to me saying, "Oh please, I don't want to shoot it with 12 cameras because I can't light it." I think, no question, it was beautiful photographically - he was right. But to me the experiment was a little incomplete. It had wonderful music, wonderful songs. It would be nice if people liked "One From The Heart" because it was my big failure.
[on The Godfather (1972)] I had been so conditioned to think the film was bad - too dark, too long, too boring - that I didn't think it would have any success. In fact, the reason I took the job to write The Great Gatsby (1974) was because I had no money and three kids and was sure I'd need the money. I heard about the success of "The Godfather" from my wife, who called me while I was writing "Gatsby". I wasn't even there. Masterpiece, ha ! I was not even confident it would be a mild success.
[on Ingmar Bergman] My all-time favorite because he embodies passion, emotion and has warmth.
[on Marlon Brando] Brando wants to do what you want, but he wants people to be honest and not try to manipulate him.
They say that A Streetcar Named Desire (1951) really is Tennessee Williams' expression of himself as Blanche, as someone talented and fragile, fragile in a world of harsh reality.
The Godfather (1972) films are personal. And they are, even though our family were never gangsters, and we only heard about somebody who knew a gangster. But still, the real day-to-day reality of the Italian family that was put into the gangster film was based on my family and what I remember as a kid. You can't make films without them being personal to some extent.
I'm in a unique situation. I'm like now an elderly retired guy who made a lot of money, and now I can just, instead of playing golf, I can make art films.
I don't think The Godfather (1972) ever should have had more than one movie, actually. It was not a serial, it was a drama. The first movie wrapped up everything. To make more than one "Godfather" was just greed. Basically, making a movie costs so much money that they want it to be like Coca-Cola: you just make the same thing over and over again to make money, which is what they're doing now. But "Godfather" was not really a serial, you know?
[on Marlon Brando] Marlon was never hard to work with. His behaviour was a little eccentric on the set. He was like a bad boy and did what he wanted. But as an actor he was never hard to work with.
Hollywood doesn't really exist. What we're talking about now is the "big industry" film - films that are packaged as a certain idea of action, and in many cases violence or thrills or mystery. These films aren't expressions of the writer, but a compendium of ideas that could work as a blockbuster hit. That's not Hollywood - it's just wherever people want to make a lot of money. The less expensive a film is, the more ambitious the ideas and themes can be. And the converse is true - the more a film costs, the more salary everyone makes, the more limited the subject-matter has to be.
I think Tetro (2009) is the most beautiful film I've ever done in terms of how it was made. I don't know what people will make of the picture, but just the filmmaking part of it, I've learnt to put it together beautifully.
As I grow older, I realise that I always wanted to be a writer. With The Godfather (1972) being such a success, I was launched into a more industry-type career, which is wonderful, but I always wanted to be the director of my own material. I have always credited the writer of the original material above the title: "Mario Puzo's The Godfather", "Bram Stoker's Dracula", or "John Grisham's The Rainmaker". I felt that I didn't have the right to 'Francis Coppola's anything' unless I had written the story and the screenplay. I view Tetro (2009) as the second film of my second career. From now on I'm always going to writing the scripts, and every film will be personal. I'm going to be the kind of filmmaker I wanted to be when I was beginning.
[on Unforgiven (1992)] We developed that script, David Webb Peoples and I. We worked on it for months. The film was made based on that script we finished. Nobody wanted to make it. I'd even sent it to Clint Eastwood to act in it. I don't know whether he read it. Finally after two or three years of paying the options, I let it go and then Clint picked it up.
I was offered Thirteen Days (2000). I said I would do it but I had a very experimental way of doing it. My idea was: what if in that moment of history I got called up and they said, "Listen, Mr Coppola, the President is about to go through an extremely difficult period, he's got to make some terrifying, heartbreaking decisions and he wants you to document it. But you can't go close to him because he's going to be in many difficult meetings through the night. So what you can do is have a 16mm team using very long lenses. We don't want them to know you're shooting." And then make it that way. That's what I wanted to do, but they didn't have the courage to do it. So I said, "Make it like a regular movie." They did a pretty good job.
[on Robert De Niro] I like Bob, I just don't know if he likes himself.
In the 60s they were four filmmakers who represented cinema and influenced everyone who came after: Fellini, Kurosawa, Bergman and Kubrick.
[on shooting and finishing Youth Without Youth (2007) in Romania] It's a country with a fantastic intellectual tradition - theatre, poetry, cinema - and right now it's going through a renaissance in cinema. Their films are winning awards all over the world and everyone under 35 speaks English. They're very well educated and it's a very cinema-friendly country, but they're lacking in the visual effects department and other areas. We did the post in Bucharest and Walter Murch came over to edit and help oversee all the post. (...) The great thing about post now is that digital cinema has become a reality, so a filmmaker has more ability to compose picture and sound than ever before, and all because of these new tools, such as the latest editing systems like Final Cut Pro, Pro Tools and so on, which are also becoming less and less expensive. [Feb.2008]
Akira Kurosawa is one of the greatest directors ever to work in the cinema. His films meant an enormous amount to me when I was starting my own career.
I think cinema, movies and magic have always been closely associated. The very earliest people who made films were magicians.
Here's a tip to young directors. They never fire you midweek.
[on George Lucas] In many ways, because of Star Wars (1977), we were deprived of the films that he was going to make and would have made. All the merchandising and financial success of those films aren't one-tenth to what he is worth as an artist and a filmmaker.
I think people have realized that The Godfather (1972) was never sequel material. I've always maintained there should have been one "Godfather," though I'm proud of the second one, and I thought the third should have been considered a coda and not called The Godfather: Part III (1990).
[if he'd be annoyed if the studio decided to make more sequels to The Godfather (1972)] Well, yeah, because I feel that all films shouldn't be sequels. Sequels are not done for the audience or cinema or the filmmakers. It's for the distributor. The film becomes a brand.
The only TV I would be interested in exploring would be live television. There's no substitute for a team of artists performing at their peak live when failure is possible. It's a high-wire act. That excites me.
I think a sequel is a waste of money and time. I think movies should illuminate new stories.
I don't think there's any artist of any value who doesn't doubt what they're doing.
I try always to do something that's a little beyond my reach, so that I'll try my best. Sometimes I fail. Sometimes I almost succeed, but I think this is what life's all about.
There's no doubt that, by the end of The Godfather: Part II (1974), Michael Corleone, having beaten everyone, is sitting there alone, a living corpse. There's no way that man will ever change. I admit I considered some upbeat touch at the end, but honesty - and Pacino - wouldn't let me do it.
People feel the worst film I made was Jack (1996). But to this day, when I get checks from old movies I've made, "Jack" is one of the biggest ones. No one knows that. If people hate the movie, they hate the movie. I just wanted to work with Robin Williams.
The trouble with American filmmaking is that producers don't allow the risk of failure. If a good film can't risk being a failure, it won't be really good.
I am fascinated by the whole idea of family.
The language of cinema was invented at the turn of the last century by pioneers who were free to experiment but today you can't dare to experiment. People who control the motion pictures want to make (profitable films). Now we're at a turning point: As artists we can change the world but to do that we need to be free to experiment. [Variety 2015]
[on the vanishing distinction between TV and cinema] It has all become one. (...) There is no more film, there is no more television - there is cinema. And it can be everywhere and anywhere and it can do anything. [Screendaily 2015]
[on Youth Without Youth (2007)] We've got a job and so and so and so, but sometimes we say, what is life? Where did I come from? What is going to happen when I die? What's really important? All those kind of ruminations should also be in a movie, I thought. (...) I thought of it as a love story wrapped in a mystery like in Vertigo (1958). Except in "Vertigo" the mystery is some guy is trying to kill his wife. In my movie the mystery is the real mystery that we are really all in. [2007]
[on filmmaking today] Well, for under $10,000 you can buy everything you need. So now we have to undo the brainwashing of the past 50 years about what a movie can be: that it must be commercial, it must go down easy, it must be structured so that it appeals to the widest possible audience. Even people who read sophisticated books expect that when they go to see a movie, it won't involve any thinking. They're willing to give more to a work of literature. A movie is supposed to be something light that you go to, and you have a good time, and you don't think too much, and you laugh, or you get scared, or you're in awe of the violence, and you go home, and you forget it. And that has to be broken. [2008]
[on the style of Youth Without Youth (2007)] So I tried to tell the story in a more classical [way], more like The Godfather (1972), but more extreme. Most like Yasujirô Ozu where the camera never moves. When a camera doesn't move then movement is more accentuated because every time and actor walks in, the next movie you see look at the corner of the frame and you'll see it's always doing this. It never stops. In this movie the camera is that and that's it. Everything is accomplished in a classical shot to another shot, which then gives you more, which is one way to make a movie, but I felt that was appropriate for this because by giving it a very classical style then you could relax about that, and not feel, where am I, I can't see anything because it's cutting so fast. And then you might feel more comfortable to follow the story, but then ruminate. That's interesting. It's a dream and in the dream he's reading books. So I made the style very deliberately classical and also got to do what I've always wanted to do, is to make a movie without any movement just to see what happens. [2007]
Who said that all the ideas of how you tell a story or express the cinematic language were all in the silent era? Why aren't there new ideas that are changing the language of film now? It's partially because film is much more controlled. In those days guys went out and made movies and no one knew what a movie was so if they wanted to invent the close shot the producer wasn't going to argue with him. Today, what is he doing? We want to make money on the film. We can't just make experimental films. [2007]
[on Youth Without Youth (2007)] I was given some quotes from Mircea Eliade, who I didn't know very well. And it turned out he was this professor of religious philosophy who used to entertain himself by writing these Borges-like short stories that were kind of like "Twilight Zones." And I read this one story, and every two or three pages something that I didn't expect happened. And it had a love story, and it had all sorts of things that I found intriguing, and all sorts of things that I wanted to learn about, like the origins of language and the nature of human consciousness and the concept of time. And I was getting richer as this was going on - my companies were successful - and I thought, well, why don't I just finance this myself and run off and make it? (...) Many times while making this movie I thought, well, should I just dumb this down and cut this out? And I said, what a pity! Will that make it less commercial? Well, who knows what it'll be? Maybe people will get a kick out of it. And at each point, since I had no studio to boss me around, I thought, I'll do it. And I still tried to make the film be a fun experience. But on the other hand when you think about it at night you might percolate some good ideas. (...) To this day I don't understand Last Year at Marienbad (1961) but I think it's beautiful, and I'm intrigued by it. There's plenty of books that I've read that I'm not sure that I got at all, but I feel enriched by having read them. So, like you said, who's to say it's best to cut out the idea and instead of the middle ground have no idea? [2008]
I think it's better to be overly ambitious and fail than to be underambitious and succeed in a mundane way. I have been very fortunate. I failed upward in my life! [2007]
The wine business is like having a $100 million hit every year. The wine business is really a business. The film business isn't a business; it's a very screwy arrangement where you do all this work and the money all gets emptied into this hopper called distribution, and then it slowly trickles down, and when it gets to the people who actually make the film, there's little left - which is what all the strikes are about. You can't become really wealthy on the scale of what that means today in the film business, but in the wine business you can, because it took off. That wasn't my doing. It was an accident and I was luckily in it early on, so I benefited. [2008]
I wanted to be like those great European filmmakers of the '50s and '60s, and if I was hit by lightning it was The Godfather (1972); that changed my whole life. So I just want to get back to what I was doing when I was first falling in love with films. [2008]
You can't have great art without risk. It's simply impossible. If you want to eliminate risk, then you'll end up making the same movie over and over again, which is what they're doing now. [2008]
I think the language of cinema and the reason that in just 100 years we've become so comfortable with making cinema is from thousands of years of man dreaming. I think it is based on the dream, and the whole language of cinema comes from dreams. [2008]
I think the secret of life is to not be afraid of risk. People go through life risking their money, risking losing this, risking losing that. But the truth of the matter is, there is only one risk. Because for sure you're gonna die, you are there and you're thinking about your life and you say, 'Oh, I wish I'd done this, I wish I'd done that.' That's the risk. So basically, I try to say yes more than no. [2009]
Tamara Jenkins made the Slums of Beverly Hills (1998) how many years ago? She's a wonderful talent and she has no money at all, that girl. She just lives like a poor person because she doesn't want to take the money and make movies she doesn't love. I think you have to love what you make, in anything, not just movies. If you are making products, make products you love and then they'll be good products and you'll be successful. [2007]
I remember I went to see Punch-Drunk Love (2002) and I said, I never saw a movie like this before. For that reason I loved it even though I don't know if it was good or not. All I know is that I never saw a movie like that. And that's why I like, even though other people were disappointed, I like The Life Aquatic with Steve Zissou (2004) because it was weird. It was the first time I saw that movie. I like movies to be the first time. (...) There is this whole group, but it's any kind of political movement. Movies have to be this! Well, movies don't have to be anything except beautiful and in some way illuminate life and get you thinking and stuff. [2007]
You can neither make beautiful, great movies without risk as you can make babies without sex. Risk is part of the artistic process. [2016]
I always thought of myself, or charged myself, to be searching and to be somewhat experimental. I didn't just make one style of movie and then just stick with that. Every film I made I approached differently according its theme. Whereas The Godfather (1972) films, that I'm probably best known for, had a certain classic, Shakespearean style, Apocalypse Now (1979) was totally different. Almost a different person made it. One from the Heart (1981) was yet another experiment and Rumble Fish (1983) was another. I always was trying to learn about cinema by approaching it experimentally and trying to uncover what it was that really connected with me. And I'm still doing it at age 77. I'm still trying to look at it from the standpoint of: What can I learn? [2016]
[on the vanishing distinction between TV, cinema and new media] Cinema is cinema. It can be a minute or less, or it can be 90 hours or more like The Sopranos (1999). It can be shown in theaters and at the same time you can see it in your living room. It's true you could see it on your iPhone. I'm not sure you would want to, but you could. [2016]
The Cotton Club (1984) was sort of made on the battlefield between the various people who put up the money and the producer [Robert Evans]. At the time, they looked at it and said, "Oh, there's too many black people in it. Can we cut out some of the tap dancing and put the emphasis less on the black people in the story?" I happened to have a Betamax very rough copy of what the movie had been before all that happened. I realized the movie had been 35 minutes longer. Much of the film had been lost, but through hook and crook, I was able to put it back together. [April 2016]
[on his 'Live Cinema' project] I'm thrilled that I'm in a position to search for what the possibilities [of cinema] are. I do feel it's a pity that the concept of performance has been lost. That basically since the invention of the phonograph and the cinema that all our art forms are canned. By 'Live Cinema', I don't mean like in the form of a television version of a play. I mean cinema, still, with the rules and language of cinema but performed live. That could be very thrilling. (...) Risk is part of the artistic process. That's why I like performance, because performance is walking a high wire. [2016]
[on the cinematography of Finian's Rainbow (1968)] It was a source of great embarrassment to me that in a number of scenes when Fred [Fred Astaire] danced his feet were cut off. [2017]
You can't make a movie without flaws. (...) The difference isn't that the good ones don't have the flaws, the difference is that you don't care about the flaws. You don't look at them, you don't notice them because you're so caught up in the life of the people. [2017]
[on The Dark Knight (2008)] I did see it, and Christopher Nolan's certainly a fabulous filmmaker, such a talented person. But you know, it's still a guy dressed up in a silly costume.
I know Donald Trump. I went to the same military school as him. He was a 13-year-old kid going to a boarding school. Over the years, I must say he really didn't impress me as being as awful as he's evolving. I wonder why that's happening...He wasn't such a bad guy 20 years ago. But I never knew him really well.
[observation, 2018] If America is great, it's because it was a country of immigrants. Even the Native American is an immigrant. So to turn our backs to immigrants today is more than absurd.
[1990 interview on The Godfather: Part III (1990) shortly before the film's release] This new Godfather is in an altogether different style, much deeper, more tragic. It is bigger in scale than its two predecessors. This is the cathedral of the Godfather movies.
It is true that liberty is precious; so precious that it must be carefully rationed.
~ Владимир Ильич Ульянов Ленин

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Re: barbarians trail

Postby barbarianhorde » Wed Jun 05, 2019 1:53 pm

Shaolin kung fu luohan 18 hands





Published on Dec 28, 2016
instructor: monk Deyang, from Shaolin temple

luohan 18 hands (罗汉十八手 :luohan shiba shou):

- 'strategy': prowess counts. the "empty city tactic (空城计)" is to keep calm with no signs of fear or anxiety, like an empty city with no pretense of offense or defense. it works by deterring enemies in a disability of estimating your hidden powers. this involves combination of simplicity and calmness accompanied by abundant prowess in the moves. this the main strategy of the 18 hands of luohan.

- 'history': this is the oldest and the simplest style of Shaolin kung fu. it is known as the 'mother of the styles'. a myth states that Bodhidharma, the founder of Zen Buddhism, after entering into Shaolin temple in 527 AD, taught the monks a series of exercises. whether this story is right or wrong, based on Buddhist teachings, monks did daily meditation and had simple exercises to recover. by observing and imitating the forms and expressions in Buddhist teachings and daily activities, those ancient exercises later evolved into a combat form. according to historical records of Shaolin temple, in the Sui dynasty (581-618) monks of Shaolin temple had a select set of about 18 simple moves, which were later combined into a form. since then, these moves have been used as the most basic moves of Shaolin kung fu, based on which all the other styles have been developed.
Shaolin kung fu tutorial:
- training:
- styles:
- weapons:
It is true that liberty is precious; so precious that it must be carefully rationed.
~ Владимир Ильич Ульянов Ленин

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Posts: 2462
Joined: Mon Mar 23, 2009 2:26 pm
Location: banned

Re: barbarians trail

Postby barbarianhorde » Wed Jun 05, 2019 2:04 pm

How Eminem is NOT the greatest rapper and a "guest in the house of hiphop".

"Eminem is nice. For a white dude."

Dude made a new album apparently trap-rapping only about how he hates trap rap. But he just has no idea of what that style really is, what it reverberates in the soul. He lacks that part of the soul. He can only approach it with sarcasm, irony, distance. He doesn't have real emotions. But just check it out.

EMINEM Destroys Mumble Rap & Critics [Kamikaze Album]





Hip-Hop Universe
Published on Sep 2, 2018
EMINEM Killshot Kamikaze, EMINEM Destroys The Rap Industry By Dissing Mumble Rap & Critics. All Disses On EMINEM's Kamikaze Album.

Rappers Get Dissed By EMINEM on the songs The Ringer, Lucky You, Not Alike and Fall

When Eminem dropped Kamikaze on Thursday night (August 30), everyone’s jaws dropped. EMINEM destroyed the industry. From the first syllable he utters, it’s clear Shady came with g*ns blazing.

Album opener “The Ringer” essentially blasts all those who had anything negative to say about Shady or Revival, while several rappers caught his wrath as well.

From Machine Gun Kelly and Lil Pump to Joe Budden and Tyler The Creator, no one was off limits. For good measure, he called the 2018 BET Cypher “weak,” told Charlamagne Tha God to essentially kiss his *ss, obliterated Trump (of course) and ridiculed the Grammy Awards.

Oh — and in case anyone forgot what makes Eminem a rap god, he lays it all out on “Fall” with, “I belong here, clown/Don’t tell me ’bout the culture/I inspired the Hopsins, the Logics, the Coles, the Seans, the K. Dots, the 5’9s and oh, brought the world 50 Cent.”

So, without further adieu, here are all the rappers Eminem calls out on the 13-track project.

Eminem disses Drake, Eminem disses Lil Pump, Eminem disses Tyler The Creator, Eminem disses Vince Staples, Eminem disses Lil Yachty, Eminem disses Charlamagne, Eminem disses Joe Budden, Eminem disses Lil Xan

#hiphopuniverse #Eminem #Kamikaze #hiphopbeefanalysis

Hip-Hop Beefs Playlist:


Official Hip-Hop Universe Merchandise:

Outro (prod. by Phat Crispy):

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I Ain't Got Time!
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Not Alike
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Re: barbarians trail

Postby barbarianhorde » Wed Jun 05, 2019 2:12 pm

Still thank god he doesn't manage to sound like Drake. That would be ten times worse to begin with.

This song is called "In my feelings". :-? :-"

Don't listen to it.
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Re: barbarians trail

Postby Jakob » Wed Jun 05, 2019 3:01 pm

"She's a real artist.
There are very few real artists.
Everybody is called an artist these days but trust me
There are very few who are the real thing."

"You've never seen mud like this"

"He is a god in his own country,y he has his own wok named after him"

Hans Zimmer - making of GLADIATOR Soundtrack


2019 Apollo: Missions to the Moon (score producer) (completed)
2019 Great Bear Rainforest (Documentary short) (composer: theme music)
2018-2019 Pagan Peak (TV Series) (music producer - 7 episodes)
- Der Sturm (2019) ... (music producer)
- Aus Fleisch und Blut (2019) ... (music producer)
- Masken (2019) ... (music producer)
- Die Bösen und Unartigen (2019) ... (music producer)
- Der Mann aus dem Wald (2019) ... (music producer)
Show all 7 episodes
2018 BaseBoys (TV Series) (music - 1 episode)
- Vi SKAL redde Oliver! (2018) ... (music)
2018 FIFA 19 (Video Game) (composer: additional music)
Genius (TV Series) (main title theme by - 10 episodes, 2018) (composer - 10 episodes, 2017)
- Picasso: Chapter Ten (2018) ... (main title theme by)
- Picasso: Chapter Nine (2018) ... (main title theme by)
- Picasso: Chapter Eight (2018) ... (main title theme by)
- Picasso: Chapter Seven (2018) ... (main title theme by)
- Picasso: Chapter Six (2018) ... (main title theme by)
Show all 20 episodes
2017 Blade Runner 2049 (synth programming)
Through the Wormhole (TV Series documentary) (main title theme by - 30 episodes, 2010 - 2016) (composer - 6 episodes, 2016 - 2017)
- Is Gun Crime a Virus? (2017) ... (composer: theme music)
- Can We Hack the Planet? (2017) ... (composer: theme music)
- Is the Force with Us? (2017) ... (composer: theme music)
- Can We All Become Geniuses (2016) ... (composer: theme music)
- Are There More Than Two Sexes? (2016) ... (main title theme by)
Show all 35 episodes
2017 Rings (executive music producer)
2016 The Crown (TV Series) (opening titles theme - 9 episodes)
- Pride & Joy (2016) ... (opening titles theme)
- Assassins (2016) ... (opening titles theme)
- Scientia Potentia Est (2016) ... (opening titles theme)
- Gelignite (2016) ... (opening titles theme)
- Smoke and Mirrors (2016) ... (opening titles theme)
Show all 9 episodes
2016 The Edge of Seventeen (score producer)
2016 13 Hours (executive music producer)
2015 Freeheld (synth programming)
2015 A.D. The Bible Continues (TV Series) (musical director - 12 episodes)
- The Abomination (2015) ... (musical director)
- Rise Up (2015) ... (musical director)
- Brothers in Arms (2015) ... (musical director)
- Saul's Return (2015) ... (musical director)
- The Road to Damascus (2015) ... (musical director)
Show all 12 episodes
2015 Terminator Genisys (executive music producer)
2015 The Little Prince (synth programmer)
2015 Auschwitz (Documentary short) (score producer)
Sons of Liberty (TV Mini-Series) (theme music - 2 episodes, 2015) (composer - 1 episode, 2015)
- Independence (2015) ... (theme music)
- The Uprising (2015) ... (theme music)
- A Dangerous Game (2015) ... (composer: theme music)
2014 Interstellar (composer: theme music)
2014/II Nocturnal (Short) (stock music)
2014 Transformers: Age of Extinction (composer: additional music)
2014 Divergent (executive music producer)
2013 The Bible & You (Documentary) (composer: additional music)
2013 Beyond: Two Souls (Video Game) (music producer)
2013 Mr. Morgan's Last Love (score producer)
2013 Hansel & Gretel: Witch Hunters (executive music producer)
2012 Bullet to the Head (music producer - uncredited) / (score producer)
2012 The Dark Knight Rises (synth programming)
2012 The 84th Annual Academy Awards (TV Special) (music consultant)
2011 Pirates of the Caribbean: Tales of the Code: Wedlocked (Short) (composer: theme music)
2011 Skylanders: Spyro's Adventure (Video Game) (composer: theme music)
2011 Curiosity (TV Series documentary) (composer - 1 episode)
- Is There a Parallel Universe? (2011) ... (composer: main title theme)
2011 Pirates of the Caribbean: On Stranger Tides (composer: theme music) / (score producer)
2011 The Dilemma (featured musician)
2010 Mr. J (Short) (composer: music)
2010 Inception (synthesizer programmer)
2010 Despicable Me (score producer)
2009 Sherlock Holmes (music producer)
2009/I 2012 (executive music producer)
2009 Call of Duty: Modern Warfare 2 (Video Game) (composer: main themes) / (music producer)
2009 Transformers: Revenge of the Fallen (composer: additional music)
2007-2009 HBO First Look (TV Series documentary short) (executive music producer - 2 episodes)
- Monsters on a Mission: The Making of Monsters vs. Aliens (2009) ... (executive music producer)
- Inside the Hive: The Making of 'Bee Movie' (2007) ... (executive music producer)
2009 Monsters vs. Aliens (executive music producer)
2008 Love Tap (Short) (music producer)
2008 Madagascar 2 (musician: synthesizers)
2008 Frost/Nixon (orchestrator)
2008 Babylon A.D. (executive music producer - uncredited) / (music consultant)
2008 The Dark Knight (musician: synthesizer - uncredited) / (synthesizer programmer)
2008 Iron Man (executive music producer)
2008 Vantage Point (music consultant - uncredited)
2007 Pirates of the Caribbean Online (Video Game) (composer: theme music)
2007 Bee Movie (executive music producer)
2007 August Rush (composer: theme music) / (executive score producer - uncredited)
2007 Running the Sahara (Documentary) (score music producer)
2006 The Holiday (soloist: piano)
2006 The Prestige (executive music producer)
2006 Impy's Island (score producer)
2006 Over the Hedge (executive music producer)
2006 Ask the Dust (score producer)
2006 Curious George (executive music producer)
2005 Blood+ (TV Series) (music producer)
2005 The Curse of the Were-Rabbit (music score producer)
2005 All the Invisible Children (music producer: Jordan & Ridley Scott segment)
2005 The Island (score producer)
2005 El sueño de Paco (soundtrack)
2005 The Ring Two (composer: themes)
2005 The Contender (TV Series) (composer: title theme)
2004 House of D (executive producer: music score)
2004 Princess Ella (executive score producer)
2003 The Last Samurai (score arranger) / (score programmer)
2003 Threat Matrix (TV Series) (composer - 3 episodes)
- Patriot Acts (2003) ... (composer: main title)
- Natural Borne Killers (2003) ... (composer: main title)
- Pilot (2003) ... (composer: theme music)
2003 Matchstick Men (music arranger) / (music programmer)
2003 Pirates of the Caribbean: The Curse of the Black Pearl (music editor) / (music programmer) / (score producer) / (soundtrack producer)
2003 Johnny English (composer: theme music)
2002 Live from Baghdad (TV Movie) (executive music producer)
2001 Black Hawk Down (conductor - uncredited) / (musician: keyboards - uncredited)
2001 I Am Sam (original music producer)
1994-2001 The Critic (TV Series) (composer - 34 episodes)
- Pearl Harbor (2001) ... (composer: theme music)
- Broadway (2001) ... (composer: theme music)
- Harry Potter, Planet of the Apes (2001) ... (composer: theme music)
- Cast Away, The Legend of Bagger Vance (2001) ... (composer: theme music)
- Sleepy Hollow, Pulp Fiction (2001) ... (composer: theme music)
Show all 33 episodes
2001 Jason X (musician: guitar)
2000 Mission: Impossible II (conductor) / (musician)
1998 Antz (executive music producer)
1998 With Friends Like These... (music producer)
1998 Endurance (music producer)
1997 As Good as It Gets (music arranger - uncredited)
1997 The Borrowers (score producer)
1997 Pterodactyl Woman from Beverly Hills (music kvetch)
1997 Fame L.A. (TV Series) (score producer)
1997 Deceiver (advisor: sound)
1997 Face/Off (score producer)
1996-1997 High Incident (TV Series) (composer - 32 episodes)
- Shootout (1997) ... (composer: theme music)
- Starting Over (1997) ... (composer: theme music)
- Camino High (1997) ... (composer: theme music)
- Remote Control (1997) ... (composer: theme music)
- Show Me the Money (1997) ... (composer: theme music)
Show all 32 episodes
1997 Smilla's Sense of Snow (composer: additional music)
1987-1996 Going for Gold (TV Series) (composer - 699 episodes)
- Episode #10.58 (1996) ... (composer: theme music)
- Episode #10.51 (1996) ... (composer: theme music)
- Episode #10.53 (1996) ... (composer: theme music)
- Episode #10.54 (1996) ... (composer: theme music)
- Episode #10.50 (1996) ... (composer: theme music)
Show all 699 episodes
1996 The Rock (music producer) / (score arranger)
1996 Twister (score producer)
1996 Muppet Treasure Island (arranger: songs)
1996 Broken Arrow (score arranger)
1996 White Squall (composer: additional music) / (score producer)
1995 Beyond Rangoon (music producer)
1994 The Lion King (Video Game) (composer: original themes)
1994 The Lion King (music supervisor) / (original score arranger)
1994 Monkey Trouble (composer: additional music)
1993 Batman: Mask of the Phantasm (synthesist)
1993 The House of the Spirits (music arranger)
1993 Lifepod (TV Movie) (composer: theme music)
1993 Sniper (composer: additional music)
1992 Millennium: Tribal Wisdom and the Modern World (TV Series) (composer: theme music - 1992)
1992 Toys (music arranger) / (musician)
1992 Dakota Road (music advisor)
1991/I White Fang (composer: additional music)
1988 Prisoner of Rio (composer: additional music)
1987 The Last Emperor (music producer: London - as Hans F. Zimmer) / (musical associate: London - as Hans F. Zimmer)
1987 Prick Up Your Ears (musician: synthesizers)
1986 The Wind (Video) (musician: electronic music)
1986 Castaway (composer: additional music)
1985 The Lightship (music producer: electronic music)
1985 My Beautiful Laundrette (music producer)
1985 Insignificance (composer: additional music)
1984 The Story of O 2 (composer: electronic music)
1983 Eureka (composer: additional music - uncredited)
1982 Moonlighting (composer: electronic music)
Hide Hide Composer (202 credits)
2020 Dune (filming)
2020 Top Gun: Maverick (filming)
2020 It's a Wonderful Sponge (filming)
2020 Wonder Woman 1984 (post-production)
2019 The Lion King (post-production)
2019 X-Men: Dark Phoenix (completed)
2018 Hollywood in Vienna 2018: The World of Hans Zimmer (TV Movie)
2018 Widows (music by)
2018 Ability (Short)
2018 Oceans: Our Blue Planet (Documentary)
2018/I Believer (Documentary)
2017 Dimitri Vegas & Like Mike vs Hans Zimmer: He's a Pirate (Short)
2017 Blue Planet II (TV Mini-Series documentary) (7 episodes)
- Our Blue Planet (2017)
- Coasts (2017)
- Green Seas (2017)
- Big Blue (2017)
- Coral Reefs (2017)
Show all 7 episodes
2017 Hans Zimmer: Live in Prague (Documentary)
2017 Blade Runner 2049 (music by)
2017 The Road of Love
2017 International Rescue: A Minecraft Movie (Short)
2017 Dunkirk (music by)
2017 The Boss Baby (music by)
2017 The Joke is on You!: A Minecraft Movie (Video short)
2016 Hidden Figures (music by)
2016 Planet Earth II (TV Mini-Series documentary) (6 episodes)
- Cities (2016)
- Grasslands (2016)
- Deserts (2016)
- Jungles (2016)
- Mountains (2016)
Show all 6 episodes
2016/I Inferno (music by)
2011-2016 Through the Wormhole (TV Series documentary) (24 episodes)
- Are There More Than Two Sexes? (2016) ... (music by)
- Is Privacy Dead? (2016) ... (music by)
- What Makes a Terrorist? (2016) ... (music by)
- Are We All Bigots? (2015)
- Is Poverty Genetic? (2014)
Show all 24 episodes
2016 The Last Face
2016 Batman v Superman: Dawn of Justice
2016 Kung Fu Panda 3
2016 Kung Fu Panda: Secrets of the Scroll (Short) (music by)
2015 Freeheld
2015 The Little Prince (music by)
2015 Les bosquets (Documentary short)
2015 Thunderbirds Are Minecraft (TV Series short)
2015 Premier Boxing Champions (TV Series) (2015)
2015 Chappie
2015 Woman in Gold
2015 Sons of Liberty (TV Mini-Series)
2014 Women of the Bible (TV Movie)
2014 Interstellar
2014 The Simpsons Take the Bowl (Video)
2014 The Amazing Spider-Man 2
2014 Son of God
2014 Winter's Tale
2013/I Rush
2013 12 Years a Slave
2013 Mr. Morgan's Last Love
2013 The Lone Ranger
2013 Brave Miss World (Documentary) (music by)
2013 Man of Steel
The Bible (TV Mini-Series documentary) (8 episodes, 2013) (music composer - 1 episode, 2013)
- Courage (2013)
- Passion (2013)
- Betrayal (2013)
- Mission (2013)
- Survival (2013)
Show all 9 episodes
2013 Inception: In 60 Seconds (Short)
2012 The Dawkins Movie (Short)
2012 The Dark Knight Rises
2012 The Longest Daycare (Short)
2012 Madagascar 3: Europe's Most Wanted (music by)
2011 Kung Fu Panda: Secrets of the Masters (Video short)
2011 Sherlock Holmes: A Game of Shadows
2011 Pirates of the Caribbean: Tales of the Code: Wedlocked (Short) (music by)
2011 Curiosity (TV Series documentary) (1 episode)
- Is There a Parallel Universe? (2011)
2011 Jealous of the Birds (Documentary)
2011 Standing Up for Freedom (Video short)
2011 Kung Fu Panda 2
2011 Batman: Night's End (Short)
2011 Pirates of the Caribbean: On Stranger Tides
2011 Crysis 2 (Video Game)
2011 Megamind: The Button of Doom (Video short)
2011 Rango
2011 The Dilemma
2010 The Cover-Up (Short)
2010 How Do You Know
2010 Inception: Motion Comics (TV Series) (2010)
2010 Kung Fu Panda Holiday (TV Short)
2010 Megamind
2010 Inception
2010 The Pacific (TV Mini-Series) (10 episodes)
- Home (2010)
- Okinawa (2010)
- Iwo Jima (2010)
- Peleliu Hills (2010)
- Peleliu Airfield (2010)
Show all 10 episodes
2010 Henri 4
2009 Sherlock Holmes
2009 It's Complicated
2009 Call of Duty: Modern Warfare 2 (Video Game)
2009 Angels & Demons
2009 The Boat That Rocked (uncredited)
2008 Batman: The Dark Knight (Video short)
2008 Kung Fu Panda: Secrets of the Furious Five (Video short)
2008 Madagascar 2
2008 Frost/Nixon
2008 The Burning Plain
2008 The Dark Knight (music by)
2008 Kung Fu Panda
2008 Casi divas
2007 The Simpsons Movie (music by)
2007 Pirates of the Caribbean: At World's End
2006 The Holiday
2006 French Bomber Detective (Short)
2006 Pirates of the Caribbean: Dead Man's Chest
2006 The Da Vinci Code
2005 The Weather Man
2005 Der kleine Eisbär 2: Die geheimnisvolle Insel
2005 Batman Begins
2005 Madagascar
2004 Spanglish
2004 Laura's Star
2004 Shark Tale
2004 Thunderbirds
2004 King Arthur
2004 Journey to Safety: Making 'Tears of the Sun' (Video documentary short) (from "Tears of the Sun")
2003 Something's Gotta Give
2003 The Last Samurai
2003 Matchstick Men
2003 Tears of the Sun
2002 The Ring
2002 The Essence of Combat: Making 'Black Hawk Down' (Video documentary)
2002 Thelma & Louise: The Last Journey (Video documentary)
2002 Spirit: Stallion of the Cimarron
2001 Black Hawk Down
2001 Riding in Cars with Boys
2001 Invincible
2001 Breaking the Silence: The Making of 'Hannibal' (Video documentary)
2000-2001 Die Motorrad-Cops: Hart am Limit (TV Series) (23 episodes)
- Die Schatten der Vergangenheit (2001)
- Gesicht des Todes (2001)
- Italienisches Roulette (2001)
- Blutsbrüder (2001)
- Adrenalin (2001)
Show all 23 episodes
2001 Pearl Harbor
2001 Hannibal
2001/I The Pledge
2000 An Everlasting Piece
2000 Gladiator Games: The Roman Bloodsport (TV Movie documentary)
2000 Hans Zimmer: Scoring Gladiator (Video documentary short)
2000 HBO First Look (TV Series documentary short) (1 episode)
- Gladiator (2000)
2000 Mission: Impossible II
2000 Gladiator
2000 The Road to El Dorado
1999 El candidato (TV Series) (218 episodes)
- Episode #1.217 (1999)
- Episode #1.215 (1999)
- Episode #1.216 (1999)
- Episode #1.214 (1999)
- Episode #1.213 (1999)
Show all 218 episodes
1999 Chill Factor
1998 The Thin Red Line
1998 De prins van Egypte (score)
1998 The Last Days (Documentary)
1997 As Good as It Gets (music by)
1997 The Peacemaker
1997 Smilla's Sense of Snow
1996 Muppets Treasure Island (Video Game)
1996 The Preacher's Wife
1996 The Fan
1996 The Rock
1996 Muppet Treasure Island
1996 Broken Arrow
1995 Two Deaths
1995 Something to Talk About
1995 Nine Months
1995 Beyond Rangoon
1995 Crimson Tide
1994 Drop Zone
1994 Renaissance Man
1994 The Lion King
1994 I'll Do Anything
1993-1994 Space Rangers (TV Series) (6 episodes)
- To Be... Or Not to Be (1994)
- The Trial (1994)
- Fort Hope (1993)
- Death Before Dishonor (1993)
- Banshies (1993)
Show all 6 episodes
1993 The House of the Spirits
1993 Cool Runnings
1993 True Romance
1993 Calendar Girl
1993 Younger and Younger
1993 Point of No Return
1992 Millennium: Tribal Wisdom and the Modern World (TV Series) (1992)
1992 Spies Inc.
1992 Toys
1992 A League of Their Own
1992 The Power of One
1992 Radio Flyer (music by)
1991 Where Sleeping Dogs Lie
1991 K2 (European version)
1991 To the Moon, Alice (Short) (as Hans Florian Zimmer)
1991 Regarding Henry
1991 Backdraft
1991 Thelma & Louise
1990 Green Card
1990 Pacific Heights
1990 Days of Thunder
1990 Fools of Fortune
1990 Bird on a Wire
1990 Chicago Joe and the Showgirl (credit only)
1990 Arcadia (Short)
1989 Gregg Allman: I'll Be Holding On (Video short)
1989 Driving Miss Daisy (music composed by)
1989 Diamond Skulls
1989 Black Rain
1989 Twister
1988 Rain Man
1988 First Born (TV Mini-Series) (3 episodes)
- Episode #1.3 (1988)
- Episode #1.2 (1988)
- Episode #1.1 (1988)
1988 Burning Secret
1988 Paperhouse
1988 Nightmare at Noon
1988 A World Apart
1988 The Fruit Machine
1988 Taffin
1988 The Nature of the Beast
1987 Comeback (TV Movie)
1987 Going for Gold (TV Series)
1987 Terminal Exposure
1986 Vardo (Short)
1986 The Wind (Video)
1986 Separate Vacations
1986 The Zero Boys
1985 Wild Horses (TV Movie)
1985 My Beautiful Laundrette (as Ludus Tonalis)
1985 Insignificance
1984 Success Is the Best Revenge
1982 Superhero (Short)

Mini Bio (1)
German-born composer Hans Zimmer is recognized as one of Hollywood's most innovative musical talents. He featured in the music video for The Buggles' single "Video Killed the Radio Star", which became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV (August 1, 1981).

Zimmer entered the world of film music in London during a long collaboration with famed composer and mentor Stanley Myers, which included the film My Beautiful Laundrette (1985). He soon began work on several successful solo projects, including the critically acclaimed A World Apart, and during these years Zimmer pioneered the use of combining old and new musical technologies. Today, this work has earned him the reputation of being the father of integrating the electronic musical world with traditional orchestral arrangements.

A turning point in Zimmer's career came in 1988 when he was asked to score Rain Man for director Barry Levinson. The film went on to win the Oscar for Best Picture of the Year and earned Zimmer his first Academy Award Nomination for Best Original Score. The next year, Zimmer composed the score for another Best Picture Oscar recipient, Driving Miss Daisy (1989), starring Jessica Tandy, and Morgan Freeman.

Having already scored two Best Picture winners, in the early 1990s, Zimmer cemented his position as a pre-eminent talent with the award-winning score for The Lion King (1994). The soundtrack has sold over 15 million copies to date and earned him an Academy Award for Best Original Score, a Golden Globe, an American Music Award, a Tony, and two Grammy Awards. In total, Zimmer's work has been nominated for 7 Golden Globes, 7 Grammys and seven Oscars for Rain Man (1988), Gladiator (2000), The Lion King (1994), As Good as It Gets (1997), The The Preacher's Wife (1996), The Thin Red Line (1998), De prins van Egypte (1998), and The Last Samurai (2003).

With his career in full swing, Zimmer was anxious to replicate the mentoring experience he had benefited from under Stanley Myers' guidance. With state-of-the-art technology and a supportive creative environment, Zimmer was able to offer film-scoring opportunities to young composers at his Santa Monica-based musical "think tank." This approach helped launch the careers of such notable composers as Mark Mancina, John Powell, Harry Gregson-Williams, Nick Glennie-Smith, and Klaus Badelt.

In 2000, Zimmer scored the music for Gladiator (2000), for which he received an Oscar nomination, in addition to Golden Globe and Broadcast Film Critics Awards for his epic score. It sold more than three million copies worldwide and spawned a second album Gladiator: More Music From The Motion Picture, released on the Universal Classics/Decca label. Zimmer's other scores that year included Mission: Impossible II (2000), The Road to El Dorado (2000), and An Everlasting Piece (2000), directed by Barry Levinson.

Some of his other impressive scores include Pearl Harbor (2001), The Ring (2002), four films directed by Ridley Scott; Matchstick Men (2003), Hannibal (2001), Black Hawk Down (2001), and Thelma & Louise (1991), Penny Marshall's Riding in Cars with Boys (2001), and A League of Their Own (1992), Tony Scott's True Romance (1993), Tears of the Sun (2003), Ron Howard's Backdraft (1991), Days of Thunder (1990), Smilla's Sense of Snow (1997), and the animated Spirit: Stallion of the Cimarron (2002) for which he also co-wrote four of the songs with Bryan Adams, including the Golden Globe nominated Here I Am.

At the 27th annual Flanders International Film Festival, Zimmer performed live for the first time in concert with a 100-piece orchestra and a 100-piece choir. Choosing selections from his impressive body of work, Zimmer performed newly orchestrated concert versions of Gladiator, Mission: Impossible II (2000), Rain Man (1988), The Lion King (1994), and The Thin Red Line (1998). The concert was recorded by Decca and released as a concert album entitled "The Wings Of A Film: The Music Of Hans Zimmer."

Last year, Zimmer completed his 100th film score for the film The Last Samurai, starring Tom Cruise, for which he received both a Golden Globe and a Broadcast Film Critics nomination. Recently, Zimmer scored Nancy Meyers' comedy Something's Gotta Give (2003), the animated Dreamworks film, Shark Tale (2004) (featuring voices of Will Smith, Renée Zellweger, Robert De Niro, Jack Black, and Martin Scorsese), and most recently, Jim Brooks' Spanglish (2004) starring Adam Sandler and Téa Leoni (for which he also received a Golden Globe nomination). His upcoming projects include Paramount's The Weather Man (2005) starring Nicolas Cage, Dreamworks' Madagascar (2005), and highly anticipated Warner Bros. summer release, Batman Begins (2005).

Zimmer's additional honors and awards include the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review, and the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival. He has also received ASCAP's Henry Mancini Award for Lifetime Achievement. Hans and his wife live in Los Angeles and he is the father of four children.

- IMDb Mini Biography By: Anonymous

Spouse (2)
Vicki Carolin (19 March 1982 - 7 April 1992) ( divorced) ( 1 child)
Suzanne Zimmer (? - present) ( 3 children)
Trade Mark (6)
Uses elements from the characters culture in the music. Some examples are tribal chants in The Lion King (1994), Guitar with vocals in Gladiator (2000) and Ukulele in Pearl Harbor (2001).
Seamlessly mixes synthesizers with real instruments and soloists. Often uses solo cello and acoustic/electric guitar.
Frequently works with DreamWorks Animation
Frequently works with directors Ridley Scott, Gore Verbinski, Ron Howard and Christopher Nolan.
Famous for his frequent use of what is known as a "Bwaum" wherein a major plot point is revealed and the music blasts out a single note loudly
Frequent use of the 'Shepard Tone' to raise tension. This is an auditory illusion of which provides the sense of a note constantly rising in pitch.
Trivia (26)
Last name means 'room' in German.
Co-founder (with Jay Rifkin) of Santa Monica-based music studio Media Ventures (now Remote Control), which has housed composers Mark Mancina, Harry Gregson-Williams, Rupert Gregson-Williams, Nick Glennie-Smith, John Powell, Klaus Badelt, Steve Jablonsky, Geoff Zanelli, Jeff Rona, Jim Dooley, Henning Lohner, James S. Levine, Mel Wesson, and several other composers from all over the world.
Hans' longtime business partner, Jay Rifkin, filed a $10 million suit against him for conspiring to take business for himself. Because of this lawsuit, Media Ventures changed its name to Remote Control. [December 2003]
Gladiator (2000) became into one of the best selling film score albums of all time.
The Last Samurai (2003) marked his 100th score.
Inspired by Ennio Morricone's The Mission (1986).
His iconic theme "Journey to the Line" from The Thin Red Line (1998) is heavily used in trailers and various other media. This theme was born out of trial and error. Terrence Malick, the director of The Thin Red Line (1998) had been dissatisfied with Zimmer's results and had him continuously rework melodies and come up with various approaches. Thus "Journey to the Line" was finally born. Many of his latter scores would go on to bear an uncanny resemblance to this classic Thin Red Line theme.
He wrote music for a a 4-minute Maybach commercial.
His favorite movie theme of all time is from Assault on Precinct 13 (1976) by John Carpenter.
Fans and industry insiders in the film music world credit Crimson Tide (1995) as a turning point in both his career and the scoring business. The Grammy-winning score, often heard in trailers since, was a departure from the norm, making use of digital synthesizers, electronic keyboards, and the latest computer technology to digitally produce a rousing score with traditional orchestral arrangements.
The reason why he was chosen for the movie Laura's Star (2004), was because, in an interview, he said that he feels that German producers forgot him for composing to a German language movie. One of the producers read the interview and he immediately asked him to do the movie.
Completely self-taught, he learned everything he knows through collaboration and experimenting.
He pushes collaboration between composers because that is how he learned. Every composer that has come out of Media Ventures learned by working with him on various scores by conducting, writing additional music, or even co-composing with him. Harry Gregson-Williams, John Powell, Mark Mancina, Klaus Badelt and Steve Jablonsky are just a few composers who are now doing solo work after expanding from Media Ventures.
He told in an interview that he would retire for some years after The Dark Knight (2008), saying he has been exhausted in the past years. He also said that he wants to help young composers and would produce their scores. His future plan is also about touring the world holding concerts with his own music.
Was nominated for a Tony Award for Original Musical Score in 1998 alongside Elton John, Tim Rice, Lebo M., Mark Mancina, Jay Rifkin and Julie Taymor for their work on the musical version of The Lion King (1994).
Was nominated for Film Composer of the Year in 2006 by the International Film Music Critics Association (IFMCA).
Was included on the list of "Top 100 Living Geniuses" published by The Daily Telegraph (2007).
He was awarded a Star on the Hollywood Walk of Fame at 6908 Hollywood Boulevard in Hollywood, California on December 8, 2010.
Hans Zimmer's score for The Thin Red Line (1998) would inform the direction he would take in style for the rest of his career. Many directors (especially Christopher Nolan) would employ him based on their love for The Thin Red Line (1998) and the desire for its similar ambiance. More specifically based on the track "Journey to the Line". Ironically, with the exception of "Journey to the Line", most of Zimmer's score did not make the final cut of The Thin Red Line (1998) What was used was often sampled with various other music chosen by Malick to create an intricate work that is often mistakenly credited to Zimmer.
As of 2018, he has contributed with the music score of 10 films that were nominated for the Best Picture Oscar: Rain Man (1988), Driving Miss Daisy (1989), As Good as It Gets (1997), The Thin Red Line (1998), Gladiator (2000), Frost/Nixon (2008), Inception (2010), 12 Years a Slave (2013), Hidden Figures (2016) and Dunkirk (2017). Of those, Rain Man (1988), Driving Miss Daisy (1989), Gladiator (2000), and 12 Years a Slave (2013) are winners in the category.
Has 4 children: one daughter, Zoe Zimmer, with his ex-wife Vicki Carolin; a son Jake Zimmer, a daughter Brigitte Zimmer and another unknown child with his current wife Suzanne Zimmer.
He is the only composer to do scores for Batman films under two different directors.
He is the only composer to have done scores for films about Batman and Superman.
He has written and composed scores for all of DC Comics' trinity of heroes: Batman, Superman and Wonder Woman.
His son Jake was born in 1997.
His children are called Zoe, Jake (born 1997), Max, Anabelle and Brigitte .
Personal Quotes (21)
I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King (1994), I wrote over four hours' worth of tunes, and they were really pretty - but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide (1995), on the other hand, I just went in and within seconds I knew what I wanted.
I wake up around noon, light a cigarette, get a cup of coffee, sit in the bathtub for an hour and daydream, and I usually come up with some ideas... It's a very irresponsible life. The only decisions I make are about the notes I'm writing.
I don't drive, so one of my assistants drives me to my writing room, and I have a calendar on the wall telling me how much time I have left, and how far behind I am. I look at it and panic, and decide which scene to work on. And you sit there plonking notes until something makes sense, and you don't think about it any more. Good tunes come when you're not thinking about it.
If something happened where I couldn't write music anymore, it would kill me. It's not just a job. It's not just a hobby. It's why I get up in the morning.
You have to remain flexible, and you must be your own critic at all times.
[on his score for Hannibal (2001)] This is the best love theme I've ever written, I keep telling everyone this is a romantic comedy, but nobody believes me.
[on his score for Batman Begins (2005)] I think this one has more electronics in it than anything else. I didn't want to do straight orchestra because Batman, he's not a straight character. I mean where do you get those wonderful toys from and the technology? So I thought I could embrace a bit more technology in this one... there isn't a straight orchestral note on this score.
[on his previous Batman scores] Nobody ever mentions the Elliot Goldenthal scores. And of course, I'm not mentioning any of that either, because quite honestly I didn't go and look at the old Batman movies again.
I am not saying it is a bad movie or good movie, but it is an odd movie. All of the music was written before Terry would edit a scene. That was just how he wanted to work. It was a very odd way of working for me, because I had to lead the charge up the hill all the time. It gets a little daunting.
[on his score for The Lion King (1994)] I'd never written for talking fuzzy animals before. I knew how to write to human emotions but these were animals. It took me a while to sort of get over that and do what you do which is just treat them like human characters.
[on his score for The Lion King (1994)] I thought how do we deal with in a children's movie the idea that a father dies and make an emotional yet not horrifying experience. And it's very simple. It's my point of view because my dad dropped dead when I was six. I had nobody to talk to about it.
If the secret should be known, which is not much of a secret at all, this is my hobby I love doing this. Anything else feels like work to me.
When you write a theme one of the things you want to do is you want to see how much life it really has. How many possibilities there are. Can it speak to you in joy? Can it speak to you in sorrow? Can it be love? Can it be hate? Can you say all these things with just a few notes? That's the thing when you figure out if a tune is any good or not. Does it have more than one shallow little character? Does it have just one little thing to tell you. Can it get underneath there under your skin? Can it get dark? Can it talk about the death of a father or something like that.
[on his score for The Lion King (1994)] The main emphasis to me was how we were going to get, in a children's movie, to the idea that a father dies and make it an emotional yet not horrifying experience but make it something that children might want to start asking some questions about. It's very simple. It's my point of view because my dad dropped dead when I was six and I had nobody to talk to about it. So, it's a very personal sort of thing.
You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.
The writing gets done away from the keyboard and away from the studio in my head, in solitude. And then I come in and hopefully have something, then I wrestle with sounds and picture all day long. But the ideas usually come from a more obscure place, like a conversation with a director, a still somebody shows you, or whatever.
When movies first came out, maybe they were in black and white and there wasn't any sound and people were saying the theater is still the place to be. But now movies and theater have found their own place in the world. They are each legitimate art forms.
With animated film, you have to create the sonic world; there's nothing there. You get to color things in more and you're allowed to overreach yourself a little bit more, and it's great fun.
Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.
You come from a conversation with the director, and you're all enthusiastic, because it's all new possibilities, opportunities, great ideas, etc. And then you get into this room, and you sit in front of this [computer], and it's all gone and you just go "oh my god, I have no idea what to do". But you need the courage of starting somewhere.
"I write film music. I don't do brain surgery. I don't cure cancer. I just write a little bit of film music.
Last edited by Jakob on Wed Jun 05, 2019 3:13 pm, edited 2 times in total.
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Re: barbarians trail

Postby Jakob » Wed Jun 05, 2019 3:11 pm

Lisa Gerrard


Jump to: Music department | Soundtrack | Composer | Actress | Producer | Thanks | Self
Hide HideMusic department (26 credits)
Down by the Water (composer: additional music) (pre-production)
2018 Tales by Light (TV Series documentary) (vocalist - 1 episode)
- Children In Need (2018) ... (vocalist)
2017 Remembering Agatha (Short) (special thanks)
2016 Deep Water: The Real Story (Documentary) (vocalist)
2015 Jane Got a Gun (vocalist)
2015 Karbala (vocals)
2015 Tanna (vocals)
2014 The Water Diviner (composer: additional music)
2014 Son of God (soloist)
2014 I, Frankenstein (composer: additional music) / (vocalist)
2013 Man of Steel (playback singer - uncredited)
The Bible (TV Mini-Series documentary) (singer - 10 episodes, 2013) (soloist - 8 episodes, 2013)
- Courage (2013) ... (singer) / (soloist)
- Passion (2013) ... (singer) / (soloist)
- Betrayal (2013) ... (singer) / (soloist)
- Mission (2013) ... (singer) / (soloist)
- Survival (2013) ... (singer) / (soloist)
Show all 10 episodes
2011/I Samsara (Documentary) (musician: vocals)
2011/I Burning Man (vocals: and cimbalom)
2011 Munster Rugby: A Limerick Love Affair (TV Movie documentary) (Vocalist)
2011 Priest (composer: additional music) / (vocalist)
2010 Stairway from Hell (Documentary) (composer: stock music - ending theme)
2010 The Greater Meaning of Water (composer: additional music)
Ryômaden (TV Series) (composer - 48 episodes, 2010) (vocalist - 48 episodes, 2010)
- Ryuu no tamashii (2010) ... (composer: theme music) / (vocalist)
- Taisei houkan (2010) ... (composer: theme music) / (vocalist)
- Tosa no daishoubu (2010) ... (composer: theme music) / (vocalist)
- Ryouma no kyuujitsu (2010) ... (composer: theme music) / (vocalist)
- Ame no toubousha (2010) ... (composer: theme music) / (vocalist)
Show all 48 episodes
2007 A Seal's Life (Video documentary) (composer: additional music)
2005 Fateless (vocals)
2005 A Thousand Roads (Short) (vocals)
2004 Man on Fire (score vocalist)
2003 Tears of the Sun (vocals)
2002 9/11 (TV Movie documentary) (composer: song "Sacrifice")
2000 Mission: Impossible II (musician)
Hide Hide Soundtrack (59 credits)
2018 Hollywood in Vienna 2018: The World of Hans Zimmer (TV Movie) (music: "Gladiator") / (performer: "Mission: Impossible II", "Gladiator")
2018 Mediterranean with Simon Reeve (TV Mini-Series documentary) (performer - 1 episode)
- Episode #1.4 (2018) ... (performer: "Peiputa" - uncredited)
2018 Lords of Chaos (writer: "The Host of Seraphim")
2017 Double Dutchess: Seeing Double (writer: "Hungry")
2017 2:22 (performer: "2:23") / (writer: "2:23")
2016 The Grand Tour (TV Series) (writer - 1 episode)
- Enviro-mental (2016) ... (writer: "Montage" - uncredited)
2016 South Park (TV Series) (performer - 1 episode)
- Skank Hunt (2016) ... (performer: "Gortoz a Ran")
2016 Chasing Gold (performer: "The Sea Whisperer") / (writer: "The Sea Whisperer")
2015 Karbala (music: "Karbala") / (performer: "Karbala")
2015 Sanctuaire (TV Movie) (writer: "The Silencer")
2014/II The Letters (writer: "Patricide" (from the motion picture tt0172495))
2013 NHK Special (TV Series documentary) (writer - 1 episode)
- Sawaki Kôtarô suiri dokyumento: Unmei no ichimai: Senjô shasin saidai no nazo ni idomu (2013) ... (writer: "The Host of Seraphim" - uncredited)
2012 Les seigneurs (performer: "Gortoz a Ran")
2012 CSI: Miami (TV Series) (writer - 1 episode)
- Last Straw (2012) ... (writer: "Sanvean")
2011/I Samsara (Documentary) (performer: "Modern Life", "Jerusalem", "Swimming And Skiing", "Dubai", "Dump / Igen", "Manila", "Food Chain", "Geisha", "War Machine") / (writer: "Modern Life", "Jerusalem", "Swimming And Skiing", "Dubai", "Dump / Igen", "Manila", "Food Chain", "Geisha", "War Machine")
2011 InSight (music: "Insight") / (performer: "Insight") / (writer: "Insight")
2010 Legend of the Guardians: The Owls of Ga'Hoole (performer: "COMING HOME") / (writer: "COMING HOME", "THE HOST OF THE SERAPHIM")
2010 1916 Seachtar na Cásca (TV Series) (writer - 1 episode)
- Thomas J. Clarke (2010) ... (writer: "Elegy")
2010 Takers (writer: "Sacrifice")
2009 From Ararat to Zion (Documentary) (performer: "Mirror Medusa", "Towards The Tower") / (writer: "Mirror Medusa", "Towards The Tower")
2009 S. Darko (writer: "The Carnival is Over")
L'isola dei famosi (TV Series) (performer - 6 episodes, 2007 - 2008) (writer - 2 episodes, 2007)
- Episode #6.11 (2008) ... (performer: "Honor Him")
- Episode #6.2 (2008) ... (performer: "The Battle")
- Episode #5.12 (2007) ... (writer: "Honor Him")
- Episode #5.11 (2007) ... (performer: "Honor Him")
- Episode #5.10 (2007) ... (performer: "Honor Him", "The Battle")
Show all 7 episodes
2008 Secret Defense (performer: "Space Weaver") / (writer: "Space Weaver")
CSI: Crime Scene Investigation (TV Series) (1 episode, 2004) (performer - 1 episode, 2008) (writer - 1 episode, 2002)
- For Warrick (2008) ... (performer: "Come Tenderness" - uncredited)
- XX (2004) ... ("Sailing to Byzantium", uncredited)
- Abra Cadaver (2002) ... (writer: "Rakim")
2008 Sarah Brightman: Symphony in Vienna (TV Special) (writer: "Sanvean")
2008 Henry Poole Is Here (performer: "On an Ocean") / (writer: "On an Ocean")
2007 The Mist (writer: "The Host of Seraphim", "The Host Of Seraphim: Special Film Version")
2007 Kotkat (Short) ("Now we are free", "Human Game")
2007 Vexille (writer: "The Host of Seraphim" (excerpt))
2007 Banished (performer: "Shadow Magnet") / (writer: "Shadow Magnet", "Yulunga", "Ascension")
2006 L'isola dei famosi - Le Olimpiadi (TV Special) (performer: "Honor Him")
Independent Lens (TV Series documentary) (performer - 1 episode, 2005) (writer - 1 episode, 2005)
- Seoul Train (2005) ... (performer: "Tempest", "Broken", "Faith", "Sacrifice") / (writer: "Tempest", "Broken", "Faith", "Sacrifice")
2005 A Thousand Roads (Short) ("Who Are We To Say" score) / (music: "Good Morning Indian Country", "Rowing Warriors", "Walk In Beauty's Way", "Who Are We To Say" score, "A Thousand Roads: End Title") / (performer: "Good Morning Indian Country", "Rowing Warriors", "Walk In Beauty's Way", "Mahk Jehi", "All My Relations", "Crazy Horse") / (writer: "Good Morning Indian Country", "Rowing Warriors", "Walk In Beauty's Way", "Who Are We To Say" score, "A Thousand Roads: End Title")
2004 Collateral (performer: "Exile") / (writer: "Exile")
2004 King Arthur (writer: "Amergin's Invocation")
2004 Salem's Lot (TV Series) ("Salem's Lot Aria")
The West Wing (TV Series) (performer - 2 episodes, 2003 - 2004) (writer - 1 episode, 2004)
- Memorial Day (2004) ... (performer: "Sanvean (Live at the Mayfair Theatre)" - uncredited) / (writer: "Sanvean (Live at the Mayfair Theatre)" - uncredited)
- 7A WF 83429 (2003) ... (performer: "Sanvean")
2004 Man on Fire (performer: "Creasy Dies") / (writer: "Creasy Dies")
2004 Charmed (TV Series) (writer - 1 episode)
- Spin City (2004) ... (writer: "Shine")
2004 One Perfect Day ("One Perfect Sunrise")
2003 Tears of the Sun (performer: "Yekeleni Part I / Mia's Lullabye", "Small Piece For Doumbek And Strings / Kopano Part I", "Kopano Part II", "The Jablonsky Variations On A Theme By HZ / Cameroon Border Post", "The Journey / Kopano Part III") / (writer: "Yekeleni Part I / Mia's Lullabye")
2002 In America (performer: "Tempest" (1999)) / (producer: "Tempest" (1999)) / (writer: "Tempest" (1999))
2002 Whale Rider (arranger: "Paikea Legend", "Journey Away", "Rejection", "Biking Home", "Ancestors", "Suitcase", "Pai Calls The Whales", "Reiputa", "Disappointed", "Pai Theme", "Paikea's Whale", "They Came to Die", "Empty Water") / (music: "Paikea Legend", "Journey Away", "Rejection", "Biking Home", "Ancestors", "Suitcase", "Pai Calls The Whales", "Reiputa", "Disappointed", "Pai Theme", "Paikea's Whale", "They Came to Die", "Empty Water") / (writer: "Paikea Legend", "Journey Away", "Rejection", "Biking Home", "Ancestors", "Suitcase", "Pai Calls The Whales", "Reiputa", "Disappointed", "Pai Theme", "Paikea's Whale", "They Came to Die", "Empty Water")
2002 Ripley's Game (writer: "Host of Seraphim")
2002 Unfaithful (writer: "Dedicace Outo", "Devorzhum")
2002 9/11 (TV Movie documentary) (performer: "Sorrow" - as Lisa Germain Gerrard) / (writer: "Sorrow" - as Lisa Germain Gerrard)
2001 Black Hawk Down (performer: "Gortoz a ran - J'Attends")
2001 The Amazing Race (TV Series) (writer - 1 episode)
- Race to the Finish: Part 2 (2001) ... (writer: "Now We Are Free" - uncredited)
2001 Ali (performer: "Destiny", "See the Sun") / (producer: "Destiny", "See the Sun") / (writer: "Set Me Free", "Destiny", "See the Sun")
2001 The Affair of the Necklace (writer: "Ariadne")
2001 Coil (writer: "The Host of Seraphim", "The Chant of the Paladin", "Echolalia", "Mother Tongue")
2000 Gladiator (writer: "Now We Are Free")
1999 The Insider (performer: "Tempest", "Sacrifice", "Meltdown") / (writer: "Tempest", "Sacrifice", "Meltdown")
1998 France 1997 (Video short) (writer: "A Passage in Time" (excerpts))
1995 Heat (performer: "La Bas", "Celon", "Gloradin") / (writer: "La Bas", "Celon", "Gloradin")
1995 The Crossing Guard (writer: "Ubiquitous Mr. Love Groove")
1995 Noe beroligende (lyrics: "Saltarello", "Wilderness", "Cantara") / (music: "Saltarello", "Wilderness", "Cantara") / (writer: "Saltarello", "Wilderness", "Cantara")
1988 Robak (Short) (writer: "Persephone (The Gathering of Flowers)")
1986 Dèmoni 2... l'incubo ritorna (writer: "De Profundis")
Hide Hide Composer (36 credits)
Down by the Water (composer, vocals) (pre-production)
2018/I Undertow
2017 West of Sunshine
2017 2:22 (music by)
2016 María conversa (Documentary)
2015 Jane Got a Gun (composer)
2013 Pleroma (Short)
2012 My Mind's Own Melody (Short) (composition)
2011/I Samsara (Documentary)
2011/I Burning Man
2011 InSight
2010 Oranges and Sunshine
2010 Tears of Gaza (Documentary)
2010 On the Trail of Genghis Khan (TV Series documentary)
2009 Jarin: A Fable by Jim, Knute and Red (Short)
2009 Balibo
2009 Kings (TV Series) (1 episode)
- Goliath: Part One (2009)
2008/II Solo (Documentary)
2008 Ichi
2008 Playing for Charlie
2008 Romans 12:20 (Short)
2006 Sanctuary: Lisa Gerrard (Video documentary)
2005 Ashes and Snow (Documentary)
2005 A Thousand Roads (Short)
2004 Layer Cake
2004 Salem's Lot (TV Series) (2 episodes)
- Episode #1.2 (2004)
- Episode #1.1 (2004)
2003 Tears of the Sun
2002 Whale Rider
2001 Ali
2001 Coil
2000 Gladiator Games: The Roman Bloodsport (TV Movie documentary)
2000 HBO First Look (TV Series documentary short) (1 episode)
- Gladiator (2000)
2000 Gladiator
1999 The Insider
1998 Nadro
1994 Dead Can Dance: Toward the Within (Documentary)

Born April 12, 1961 in Melbourne, Victoria, Australia
Height 5' 7½" (1.71 m)
Mini Bio (1)
With a vision and vocal style that is as unique as it is precise and all-embracing, Lisa Gerrard has established herself as one of the world's most highly acclaimed film composers, winning a Golden Globe for her work on the score for 'Gladiator' with Hans Zimmer.

Lisa also received an Oscar nomination for 'Gladiator' along with two further Golden Globe Award nominations for her scores to 'Ali' and 'The Insider'. Lisa's film work also includes 'Whale Rider', a feature which received an Academy Award nomination and garnered Lisa an international award for the score.

Her musical journey began in the early 1980s when she and fellow Australian Brendan Perry formed duo 'Dead Can Dance'. In 2012 the band reunited for a sell-out world tour. With nine albums released between 1984 and 1995, the duo's musical canvas expanded with each release to take in a timeless mix of world-music influences, medieval chants, folk ballads, baroque stylings, Celtic flavours, electronics, samples and anything else that took their fancy. Several solo and collaborative albums were well received and Lisa made a natural progression to composing for films.

In 2009 Lisa scored the highly acclaimed feature 'Balibo' for which she won the 2009 Screen Music Award for Best Feature Film Score, an Aria Award and 3 further nominations. In 2010 Lisa finished her score for 'Oranges and Sunshine' and the controversial film 'Tears of Gaza'. In 2011 she completed the score for 'Burning Man' which won her Best Music Score at the 2011 Film Critics Circle of Australia Awards.

In 2013 Lisa performed the principal vocal role in leading European film composer Zbigniew Preisner's poignant concert piece 'Diaries of Hope', inspired by diaries and poems of Polish children who were victims of the Holocaust. This was premiered both in Wroclaw, Poland and at the Barbican in London. Lisa's vocal performances continue to be heard across the world, with a number planned for 2018, including a performance of 'Gladiator Live' at The Royal Albert Hall in London.

In 2016 Lisa collaborated with James Orr on the score for Paul Currie's thriller '2:22'. She also collaborated with Marcello De Francisci on the score for the feature 'Jane Got a Gun' directed by Gavin O'Connor and starring Natalie Portman and Ewan McGregor. Most recently she completed the score with James Orr to 'West of Sunshine', which premiered at the Venice International Film Festival.

Most recently, Lisa collaborated with The Mystery of the Bulgaria Voices on their up-coming album, due for release by Prophecy Records on 25th May 2018. The first single from the album 'Pora Sotunda' was released in November 2017 and Lisa plans to perform with the choir throughout Europe during 2018.

- IMDb Mini Biography By: Air-Edel

Spouse (1)
Jacek Tuschewski (? - ?) ( 2 children)
Trade Mark (2)
Jaw-droppingly soaring contralto vocals, wordless lyrics
Singing in a made-up language
Trivia (2)
Formed the group Dead Can Dance with Brendan Perry.
Vocal range spans from contralto to dramatic mezzo-soprano on, "The Host of Seraphim", "Elegy", "Space Weaver", "Come This Way" and "One Perfect Sunrise". Performs in the dramatic contralto range on the other songs, "Sanvean", "Sacrifice", "Largo", "Lament" and "Not Yet".
Personal Quotes (3)
I have never dared to face the disappointments that my true vocal range may bring. I have many fundamentals in my voice that give the appearance of it being very deep or very high, when in fact I believe it's quite narrow and limited.
I sing in the language of the Heart, Its an invented language that I've had for a very long time. I believe I started singing in it when I was about 12. Roughly that time. And I believed that I was speaking to God when I sang in that language.
Music is a Place to take Refuge. It's a Sanctuary from Mediocrity and Boredom. It's Innocent and it's a Place you can loose yourself in Thoughts, Memories and Intricacies.

The Insider - Lisa Gerrard, Peter Bourke - Meltdown (HD)

The Insider - Full Sountrack playlist
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Margin Call

Postby Jakob » Wed Jun 05, 2019 3:21 pm

Margin Call (2011)

Follows the key people at an investment bank, over a 24-hour period, during the early stages of the 2008 financial crisis.
Director: J.C. Chandor
Writer: J.C. Chandor
Stars: Zachary Quinto, Stanley Tucci, Kevin Spacey |


Cast overview, first billed only:
Kevin Spacey Kevin Spacey ... Sam Rogers
Paul Bettany Paul Bettany ... Will Emerson
Jeremy Irons Jeremy Irons ... John Tuld
Zachary Quinto Zachary Quinto ... Peter Sullivan
Penn Badgley Penn Badgley ... Seth Bregman
Simon Baker Simon Baker ... Jared Cohen
Mary McDonnell Mary McDonnell ... Mary Rogers
Demi Moore Demi Moore ... Sarah Robertson
Stanley Tucci Stanley Tucci ... Eric Dale
Aasif Mandvi Aasif Mandvi ... Ramesh Shah
Ashley Williams Ashley Williams ... Heather Burke
Susan Blackwell Susan Blackwell ... Lauren Bratberg
Maria Dizzia Maria Dizzia ... Executive Assistant
Jimmy Palumbo Jimmy Palumbo ... Security Guard
Al Sapienza Al Sapienza ... Louis Carmelo


A respected financial company is downsizing and one of the victims is the risk management division head, who was working on a major analysis just when he was let go. His protégé completes the study late into the night and then frantically calls his colleagues in about the company's financial disaster he has discovered. What follows is a long night of panicked double checking and double dealing as the senior management prepare to do whatever it takes to mitigate the debacle to come even as the handful of conscientious comrades find themselves dragged along into the unethical abyss. Written by Kenneth Chisholm ([email protected])

Plot Summary | Plot Synopsis
Plot Keywords: financial crisis | financial disaster | capital management | investment fraud | 21th century | See All (72) »
Taglines: Be first. Be smarter. Or cheat.
Genres: Drama | Thriller
Certificate: 14A | See all certifications »
Parents Guide: View content advisory »

Official Sites: Official Facebook | Official site | See more »
Country: USA
Language: English
Release Date: 10 November 2011 (Netherlands) See more »
Also Known As: Marge de manoeuvre See more »
Filming Locations: Vornado Realty Trust, Manhattan, New York City, New York, USA See more »
Box Office

Budget:$3,500,000 (estimated)
Opening Weekend USA: $561,904, 23 October 2011, Limited Release
Gross USA: $5,354,039, 12 May 2012
Cumulative Worldwide Gross: $19,504,039, 31 December 2012
See more on IMDbPro »
Company Credits

Production Co: Before The Door Pictures, Benaroya Pictures, Washington Square Films See more »
Show more on IMDbPro »
Technical Specs

Runtime: 107 min
Sound Mix: Dolby Digital
Color: Color
Aspect Ratio: 1.85 : 1

Runtime 1 hr 47 min (107 min)
Sound Mix Dolby Digital
Color Color
Aspect Ratio 1.85 : 1
Camera Arriflex 435 (helicopter shots)
Canon EOS 5D Mark II (driving scenes)
Red One MX, Zeiss Standard Speed and Angenieux Optimo Lenses
Laboratory Offhollywood, New York (NY), USA (laboratory)
Technicolor, New York (NY), USA (digital intermediate)
Film Length 2,916 m (Sweden)
2,926 m (Portugal)
Negative Format 35 mm (Kodak Vision3 500T 5219)
Redcode RAW
Cinematographic Process Digital Intermediate (2K) (master format)
Redcode RAW (4.5K) (source format)
Spherical (source format) (aerial shots)
Printed Film Format 35 mm (Fuji Eterna-CP 3514DI)

The film was shot in seventeen days.
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The Moundsville Bridge mentioned by Eric Dale (Stanley Tucci) actually exists. It was completed in 1986, which would have been twenty-two years before the debt crash of 2008, which is the subject of this movie.
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The CEO's name, John Tuld, rhymes with the name of the ex-CEO of the now-defunct investment bank Lehman Brothers, Richard S. Fuld. Lehman Brothers, like the firm in this film, found themselves catastrophically over-leveraged in mortgage-backed-securities in the financial crisis of 2008. They eventually declared bankruptcy, and Richard Fuld was heavily criticized for his involvement in these events.
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J.C. Chandor said that he wrote the script for the story he had been carrying around in his head for about a "year-and-a-half" in just four days, filling time between job interviews in Boulder, Colorado.
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John Tuld (Jeremy Irons) was originally offered to Sir Ben Kingsley, but due to other projects, he couldn't play the role. Billy Crudup and Tim Robbins were also interested in taking parts, but had to refuse, due to other obligations.
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This was Writer and Director J.C. Chandor's first feature-length film.
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The screenplay for this film was featured in the 2010 Blacklist; a list of the "most liked" unmade scripts of the year.
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Carla Gugino was attached for over a year to play Sarah Robertson, but had to withdraw last minute due to another project. Fortunately Demi Moore was able to join the project.
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Grace Gummer, Meryl Streep's third child, was set to appear in a scene in which she played Zachary Quinto's ex-girlfriend. Due to what the director and producer called "poor directorial work" during the shoot, the scene was cut out of the film. It can be seen, however, in the "Deleted Scenes" section of the DVD.
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In one scene, John Tuld (Jeremy Irons) picks up a toy that looks like Mufasa from The Lion King (1994), a possible nod to the film, in which Irons also famously starred as Scar.
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Simon Baker and Kevin Spacey previously appeared in L.A. Confidential (1997).
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Directorial debut of J.C. Chandor.
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Stanley Tucci and Demi Moore also starred in Deconstructing Harry (1997).
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In the DVD commentary director/writer J.C. Chandor and producer Neal Dodson refer to their project as "a tiny ... low-budget ... three million dollar film with one and a half weeks prep."
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The wine that John Tuld is drinking with his meal after the close of market is Monsanto Chianti Classico Riserva.
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Kevin Spacey and Al Al Sapienza worked together in House of Cards.

User Reviews

Fantastic film, but not for everyone.
23 October 2011 | by J. Ryan – See all my reviews
It's difficult to review Margin Call. Those of us who were close to the events of 2008 will find something personal in the story-telling. Others may see it as more examples of greed and hubris. In any case, the following observations apply to both groups.

The performances are top notch. Everyone from Zachary Quinto to Demi Moore brings their A-game. Even supporting characters are oddly fleshed out for a film with such an ensemble cast. Kevin Spacey and Paul Bettany give the performances of their careers, I think. Only the Jeremy Irons character (John Tuld, aka Dick Fuld) feels a bit over the top, while the rest are truly believable well-rounded depictions.

Despite having good characters and amazing cinematography, the film lacks plot. The backdrop and setting are tense, but this doesn't feel like a "movie" in the traditional sense. There's no evolution of characters, no arcs, and the ending may leave some wanting. You can compare it to Michael Mann films where plot and pace are unconventional.

Not sure how the film will perform commercially, given the material is esoteric. If you're a film buff (and enjoy great performances) or you've been in finance, this is a must-see. Other may likely pass.

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