#well maybe if you're in the usa you can find it on streaming but that's not my case. thank you russians!

[hellishere7980]

Whatever It Takes (CH-5)

Three days after Ra’s Al-Ghul died

She was shaken out of her thoughts as the train rattled to a stop. Such broken down trains were very uncommon to see in the USA these days, but okay, illegal businesses aren't meant to be all hi-fi and attention catching. She got up to the train onto the station, ensuring that her bun and cap were securely in place. The reason she picked this place was? You ask? Well, the only way to defeat the bat-technology was to use technology they were not accustomed to. Sadly, there wasn't much technology, or frankly, no technology that the bats weren't used to, so she used the next best thing- outdated technology. Awfully hard to make the technology corporate and a perfect grainy cover to always keep people in doubt. A lady, maybe in her 30s, looked over curiously at her.

“Are you fine, dearie? Is there someone you're looking for?” The lady asked.

She'll give up her favorite dagger if people agreed that it didn't sound creepy. Who asks a young girl if there is someone going to pick her up? That's like asking for a kidnapping. Or maybe a robbery. She'll give her the benefit of doubt.

“Why don't you mind your own business already? Desperate is not a good look on you.” She let a nice New York rockin’ accent slip in.

“Excuse me?!” The lady said, completely mortified.

“Excused.” Mariam replied while turning away.

The lady got up, huffed, and walked off, muttering something along the lines of, “Kids these days. They have no respect. No wonder the country is–”

Now before you get all judgey. This is simple human psychology. A person would be more cooperative to help find a victim if the victim was a sweet little girl. That sparked human pity. Nobody would go too much out of the way to help her rude little brat they saw on the train. While it's sad that this is the situation of the society, it's true. And she had tried it enough places to know that it worked like a charm.

Soon, Mariam got off the train. She made her way to a boarding ship that was leaving for Spain. In about 5 hours. Not her smartest choice to go there, but… She'll have time to find something in one of the boxes to wear! Shopping malls were not guaranteed to have outdated cameras. Grainy surveillance could very much stop a person from being caught shoplifting. As Mariam was looking around the boxes, she found pale pink leggings. Perfect. She thought. No excessive fabric to ruin motion. She snooped through a couple of more boxes and found a black T-shirt with purple lines on it. Another great find. These clothes are the definition of an ordinary outfit. She got into the box, changed, and then got out.

I'll just lay down for a little while. Mariam thought. Frankly, running around like a demented hooligan did tire her, despite the level of stamina she has. As she leaned against one of the crates in the shadows. She tried to think why she wasn't in her comfy bed in the league. Sure, it was just a futon on the floor, but it beat the wood scraping her back any day. Right. She thought. Just killed their Leader, so… May not be so open to the killer.

She sighed and looked up at the ceiling. Can it be called ceiling if it's the ceiling of a ship? Does English have a different word for the ceiling of a ship? I don't think so. Oh, good. I'm procrastinating. This procrastinating will definitely reduce my effectiveness. And now I sound like Mother. This will be the news of the town. Trained assassin killed due to negligence caused due to procrastination. Procrastination: The number one enemy of mankind. Huh, sounds like a good title. Again procrastinating. Mariam sternly told herself. Stop procrastinating. OK, deep breath in. Deep breath out. Feel your toes. Do not faint down. Mariam tried to calm herself, repeating the chant her mother taught her as a young kid whenever her focus would go off stream.

You just killed your grandfather. You declared your mother the head of the League of Assassins. You did not stay with your father or your mother. Instead, you chose to flee because you're too much of a COWARD to-look-your-brother-and-mother-in-the-eyes, because-they-have-the-same-EYES-as-your-grandfather.

She let out a sigh.

No good overthinking it now. I decided all the pros and cons before I did it. Who knows maybe this new ‘Life’ may not be so bad. It's not like I'm abandoning them. I'll still go visit and… It will work out. Hopefully. She drew a deep breath in. The breath out. No mother to help you out of a panic attack. Mariam told herself. You're on your own, kid. You can handle this. (Taylor Swift pun intended.)

With that, Mariam got into the crate, making sure that she had proper air circulation and that the crate would not shift with the ship's movement. She allowed the gentle to and fro motion of the sea to lull her into sleep. A sleep filled with green eyes, golden goblets, and murderous intentions, popularly known as her grandfather, Ra’s Al-Ghul.

She got up after one hour. League training ensured that she was always aware, even while resting. She went back to sleep. This continued to happen throughout her journey through the Atlantic Ocean. Food had never been a concern. She had too good of a stamina to let her awareness be affected by it. Soon she was woken before her one-hour gap due to the shouting above deck.

Two possible reasons. She thought. Number one, we are being taken over by pirates. Or we have arrived at our destination.

The latter reason turned out to be correct. She got off. There was a beautiful Spanish sunset. Looks like any sunset. Mariam thought in the privacy of her mind. She got off and made her way to the nearest train station.

“Excuse me?” She asked the man sitting at the counter In passable Spanish. “When does the train leave for Plymouth?”

“The day after tomorrow, kid.” The guy replied back.

He didn't even look up. Mariam thought, scrunching her nose at the man. Too busy playing Galaga underneath the desk, I see. (Avengers, pun intended.)

“Is there any way to reach there earlier using layovers?” She politely asked. This statement, however, got the guide to look up and squint his eyes at Mariam.

“Why?” He asked.

None of your business is what she would have said. Buuuut, she wanted the guy to be cooperative. So instead, she said. “It's for a school project. Our topic is to find out the difference between a straight path time and a layover path time.”

The guy looked at the chart in front of him and said, “There is a way, but it will take you about 7 hours more.”

“Thank you.” She smiled, replied and left.

Six hours later, she was asking a different counter guy for a layover ticket to Plymouth.

Another trick she learned from the guy who was teaching her. Never EVER go dot to dot. That's asking for a clear trace path. She has to use all her cards if she's trying to hide herself from the League of Assassins and the Bat Clan.

[rodolfoparras]

from the rdr2 ask

r is reader akssjsjs 😭 and rdr2 is like 1899 wild west cowboys set in usa (for context)

I'm thinking r gets up on his horse (who's actually a horse of one of the men he killed), he looks back once again, the white of his eyes standing out in the blood covering his face, and catches gaz's eyes. it's a silent goodbye, but not one on a good note. r gallops away from where the 141 has set camp, not knowing where to go next or even where he's going to get a meal or sleep tonight. honestly he fall asleep right now from how exhausted he is from the fight and the lack of sleep the last few days, but he keeps riding till he's certain no one has followed him, then finds a nice tree to pass out under.

meanwhile, back at the camp, gaz is at a loss of words. people he considered family, people that Are his family lied to him about you. worse than that, they left you out to die, after gaz had been the one to save you. when they first met you, you were apprehensive of tagging along w them, not wanting to be a burden, and gaz reassured you it's okay. and all he can think of now is how you must think that gaz's promises meant nothing. and he knows you'd be right to think so when the people he trusted the most have betrayed him like this. he asks them one simple thing, "why?" he didn't shout or look angry, but everyone knew better than to think he wasn't. he was fuming.

"kyle, you can't expect us to just up and trust some stranger. you know we have plans in motion, plans that we can't risk anyone else getting the wind of..." price spoke up.

"so you left him to die? if that is what we are now, I want no part of it," gaz said, and he could almost see soap's eyes bulge out at the insinuation of leaving. they might be wary of outsiders, but they still love gaz dearly. and gaz loves them too, and deep down he knows he could never really leave them.

"i wasn't going to wait for him to slit our throats in our sleep, yeah?" soap said in frustration and a second later price and ghost had to break gaz's grip on his throat, pushing them apart.

"why do you even care so much, eh? in love w the lad or what?" soap coughs out, and the look on gaz's face says everything. first the knowledge of gaz possibly caring about this stranger sinks in, then comes the dread of what they did to the man gaz cared about, their heads now hanging low. ghost tries to say smth, but it's too late and gaz is storming off, trying to find some place to be alone.

he settles down near the stream, he tells himself he has to accept the fact that he might never see you again. that is if you're alive. he's so worried about you, wondering how you manage the injuries all on your own, just one horse to keep you company, the blood soaked clothes on your back, and not much else. by god, he's so worried about you he could cry. and he knows even if he sees you again, you'll want nothing to do w him. he can't go after you. he can't bear to see the faces of his family, the people he asked you to trust, after they've all but stabbed you in the back. so he sits alone, and thinks and think and thinks.

he thinks about how you must've felt, when left alone in the middle of an already unfair gunfight. he can't imagine what that feeling of being completely alone in the middle of certain death must've felt like. but then he thinks about how you made it out anyways. always fighting death. he thinks of how he's seen you survive against all odds, cheating death twice in the time he's known you. he hopes that you live through the aftermath of the fight too. and he hopes to find you again some time. he hopes he can get the chance to apologize and maybe, just maybe you'll believe him. he wants to hold you, he wants to tell you all the things he wasn't brave enough to in the 10 weeks you travelled w them. he hopes he hasn't missed his chance.

-❕️

SUGAR THIS WAS SUCH A BEAUTIFUL READ IM BEING SO SERIOUS THIS IS SO WELL WRITTEN I LOVED THIS you can genuinely feel how sad gaz is for reader and how torn he feels being in the position that he is in it’s also very clear he absolutely loves reader please 🧎🏻‍♂️ BUT WHY ANOTHER CLIFF HANGER IM GOING TO SCREAM

[larnax]

on the ofmd revolución website and this is easily one of the websites ever made

firstly. ok have you seen the dan olson contrepeneur video where he says "they say not to do review trading before giving you the instructions to do all the steps of review trading"

well if you thought that method of farming engagement was fucking weird and accidentally revealed that the show didn't have enough fans to provide this organically, wait until you see the fucking 'impact' page!

they don't even have joe biden's email OR hamas.com. shameful.

this is just buying views except you're not even getting money for it. what are you gonna do if ofmd gets renewed because you emailed david zaslav enough and then all this engagement turns out to be completely artificial and the execs find out that it's just, like, 12 annoying people? maybe if your show sucked less ass you wouldn't need to manipulate streaming statistics!

their about page mentions that now that they've bought their stupid fucking billboard and paid their server costs they're raising money for charity. you might expect me to be like "well you've gotta hand it to 'em" but like. come on, yall had one job and it was to not make this look like a bunch of white losers with a weird complex about The Only Queer Show Ever. torching all this money on a dumbass webite and a billboard wouldn't have been good if they'd also run a campaign for e-sims for gaza, but picking a queer charity based in the global north as their only partner kinda makes it ever less plausible that 'we can care about two things at once'.

then the actual petition.

[image of soviet propaganda wishing death upon the USA wouldn't show up in image search]

i think. liberalism might have been a mistake.

in conclusion why did they choose this frame for the contact page

[srkshaju]

Buzzing about Queen Bees: Where to Stream This Golden Oldie

Remember that heartwarming film about sassy seniors and the unexpected twists of life in a retirement home?

Checkout Here

I'm talking about Queen Bees, starring the ever-fabulous Ellen Burstyn!

Well, folks, if you've been itching to catch this gem, I've got some good news and a little bad news.

The Good: Netflix USA has finally buzzed in and snatched up the streaming rights for Queen Bees!

That means if you're in the US, you can cozy up on the couch and get your fill of witty banter, heartwarming friendships, and maybe even a tear or two (happy tears, of course!).

The Not-So-Good: Buckle up, international honeybees, because this news might sting a bit.

Due to some pesky geo-restrictions, Queen Bees is currently unavailable to stream outside the US. I know, it's a bummer.

But hey, there's always hope! Maybe Netflix will see the light (and the global demand) and spread its wings to other countries soon.

So, where can you catch Queen Bees if you're not in the US?

Well, you've got a couple of options. You can wait patiently for Netflix to expand its reach, or you can snag a physical copy of the movie on DVD (Amazon might be your best bet).

Renting it online is also an option, but hey, owning a copy lets you revisit these golden oldies anytime you please.

What's Queen Bees all about, you ask?

Imagine this: Ellen Burstyn plays Helen, a fiercely independent woman who, after a bit of a mishap, finds herself in a swanky retirement community.

Picture bingo nights with a side of high-stakes bridge games, and you've got the gist.

Helen soon clashes with the resident clique, the aptly named "Queen Bees," led by the formidable Jane Curtin.

But amidst the playful feuds and gossip, Helen discovers unexpected friendships, heartwarming connections, and maybe even a chance at love with the charming James Caan.

Is it worth the buzz?

Queen Bees might not have critics swooning with unanimous praise, but it's a delightful blend of humor, heart, and relatable themes about aging, friendship, and finding unexpected joy in life's later chapters. Plus, the cast is phenomenal!

Ellen Burstyn delivers a nuanced performance as Helen, and the supporting cast adds layers of wit and charm.

So, there you have it! The scoop on where to find Queen Bees and why it might just be the perfect movie to add a little sweetness to your day.

Now, if you'll excuse me, I have a date with some popcorn and Netflix (if I'm in the US, that is!).

P.S. If you're lucky enough to have already seen Queen Bees, let me know what you thought!

Did it tickle your funny bone?

Tug at your heartstrings? Share your thoughts in the comments below!

[serak-sarak-meta-sarahk]

In fact most cult side people who claim they know "Sarah K Musselman" claim they know my race... but that I have white priviledge by talking about racism and white priviledge. That reporting would be white priviledge and I would get too rich for reporting things mentors make me FBI tell about... anyways... while you all are trying to tell me it's white priviledge to report. And no black people say white people being able to report is snitch or priviledge when presented with situation also, the FBI tests this.

And so then it's really awkward when they try to say BLM at all... because im 12% African, when in African countries living how they do, looking of color there to the population outside. In Freedom Africa, they have pride in not treating people that way, however... And I'm just about the rest Latina, actually. And in Mexico to Spain and Brazil, my race appears Latina there. Because of how like the race there that I look. Same to living in my third race Iraq n Iran to Armenia people don't LOOK me over or try to assume I'm non belonging to be visiting there even. But I was born in the USA... so they concerned call the UN if I'm living there because then their country gets attacked if I don't tell and just move there under radar trying to avoid Faye.

If they don't tell before she finds out. She will pay to fly test tubers victims of production to attack to their country with others. And I even traveled the trip so that HER ACTUAL children she made effort to produce can survive... with the federal government and OBVIOUSLY A LIVE GLOBAL STREAM IMMEDIATELY at the time... at how much the world predicted you'd keep trying.

Then these people in Mansfield claim my mother is someone who scientifically could not be. Just to be Mansfield, and just to feel like Mansfield exists.

That's why Brown V Mansfield exists. Then, Mansfield false claimed they were the board of education, then it became Brown V Board Of Educatuon. In 2020 it became Actual Federal Directors of Education v Mansfield

Then the school system actually isn't broken. You're confused when the economy is verbalized as bad when you're away from Faye. Your confused why people would accept money from singular people away from Faye... why people fight their dads... away from Faye I have to light guilt trip fight things she says are true about my dad that arent. Because I don't want to approach my dad with the insult of telling him what she says sometimes because of how much he actually values humans for platonic minds. When does it become an insult to have your kid ask you? Because I usually pull my phone out the minute I'm away to continue the already 60 Lines if texts to him from before. And how much credit and worth and even opportunity for the platonic mind they put forward.

Cause you know, I do round a corner with a phone whiped. Then, maybe I see the 60 lines of my own thought or actions out to him before being told. I do sometimes mental health and text stream my dad my every thought for as long as I can so he has them. And so I will backspace on asking about the Faye verbalism about anything confirmation. I will backspace on even trying to confirm Faye verbalism to him at all because I've already given him my thoughts and so you know?

When people do realize this comes from spatial separation from square next to each other, they get why I back space. But that I make sure he has my personal thoughts. Then faye only has bad dad excuse... and so I can work that out with my dad as if I actually believed it. Then it's a 3 second convo at this point, "Faye said bad dad." "Well you don't stream Faye texts and so I also don't believe her. Also did I rape you?" - My dad or dad's friend. "NO."

Then its over but that one not only at the start feels insulting. It feels like middle head tension when you try to start that one. As soon as YALL START TRYING TO VERBALIZE.

None of yall actually know NWA, RIGHT? When you start verbalizing this at me with no bring up ir Playlist addition... or that my personal NWA dad is bad... you're not saying toy actually know him.

Thank you for your falsified concern, please get the fuck out of my face.

If you meet the insult that you even tried with the self perceived insult to you of being told to get the fuck out of my face, doesn't it cancel out?

It very scary an area had such goals to convince me if a false mother. And that the beauty in the actual system my dad believes in could be false. I still get moved to emotion at the idea of META World Peace existing. Or that it could.

It sounds like such a silly name in this time, META World Peace. But for people who know what the idea of META World Peace includes, it's a moving idea. I had to silent about my course taking in college to form my own mind learning to be forced to META World Peace unlearning even.

I would cry happy tears alone that JJ didn't understand me. That he would be yelling at me about clothed sit activities. It started to get to where "what are you doing??" "Why do you always constantly want to do something out?" "You have a job but forget I'm a swimmer." It would almost make me laugh. Then by the time the stanners could say he was acting that way because I was verbally abusive to him, he had already threatened suicide documenting them as the reason to me to get be to stick around. And so, yall did do something there.

It's amazing when you listen to what you've already been told as mansfield... the kids don't think school is broken.

These are all factual things that Mansfield ignorantly ignored or pretended never happened when it did... and yall think people are ignorant about drugs????

Yall got hella ignorance awakening coming post racism... that side.

And you'll only want to attack me if you're both on drugs and test tube attacking. So that will be another way you expose yourselves beyond. If continuing to want to gossip or attack me for whatever reason.

My stance on hard drugs will only FULL bother not to just post stark statistics you if you also rely on test tube victims of production being used for attacking or force or murder to get by... George W Bush said you would expose yourselves down the road towards my hard opiods to tab pills above and meth and above stance.

And if it bothered you that much to try to coerce the fragility of soft drugs or get upset over other things trying to dodge drug addiction that you base your hate for me in... you would be exposing yourself further than just the abduction attempts back then.

[capitanmorgancyberzine]

THE IRISHMAN press conference

London Film Festival 2019 

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London Film Festival Director Tricia Tuttle presents The Irishman’s Director Martin Scorsese with producers Emma Tillinger and Jane Rosenthal. And the actors Robert De Niro and Al Pacino.

Il film è incentrato sulla memoria e stilisticamente offre all’occhio del osservatore una quantità innumerevole di elementi visivi accattivanti. Questa opera fa dispiegare lo sguardo in modo drammatico sugli avvenimenti che storicamente si susseguono, inoltre allo stesso tempo ci fa fluttuare come in una sorta di distillazione del tempo e del luogo in cui è ambientato. L’uso degli effetti speciali è straordinario e come per quasi tutti i film di Scorsese ci troviamo di fronte a un capolavoro di genere.

The film is focused on memory and stylistically offers the eye of the observer an innumerable amount of captivating visual elements. This work makes the viewer's gaze unfold dramatically on the events that historically follow one another, and at the same time makes us float as if in a sort of distillation of the time and place where it is set. The use of special effects is extraordinary and like almost all Scorsese's films we are faced with a genre masterpiece.

Regia: Martin Scorsese

Interpreti: Robert De Niro, Al Pacino, Joe Pesci, Romano Bobby Cannavale Anna Paquin, Stephen Grahm, Harvey Keitel

Paese: USA

Anno: 2019

Durata: 209′

di seguito l’intervista    ==>

Q:

Why did it take so long? You've known each other for decades. I know this project it has been in your mind for a while...

Bob De Niro: Yeah... he said, I just read it, it just had come out, I got to read that book... That was about three years earlier.. Marty was starting to show me ..

Martin Scorsese:

Some special work that Bob and I'm involved in for twenty somewhat years. that we were trying to get another project film, based on... Hollywood in the 70s 80s.. that developed into something else, about something else. We never quite settled on the project. The last time we worked together was in 1995: 'Casino'. So from that point on we would check on each other what we were doing, whether I could fit into his plan or vice versa. Ultimately we did, I think, in the winter of Frankie Machine... We decided we had to do something... maybe in 2010, no, 2008.. We thought this might be a project with possibilities... I was really looking for something that would enrich more or less where we had gone in the 70s and the 80s and early 90s.. to just replicate or trying to do the beginning of our careers wouldn't be anything enriching. So, you were about to direct the 'Good Shepard' - Eric ... was writing that... And Eric, knowing that we were trying to do something called 'Frankie Machine'  about a hitman who retired... Eric gave you a book called 'I heard you paint houses' by Charles Bran for research

MS:

Jean Gabin film like 'Touches pas gris be'??? Matfields too low (Toulaux) Le deuxiËme circle...pictures like that... Gabin character...

By the time you're doing 'Casino', I felt that presence was similar

Bob:

And then I survived to read this book that I 've been always wanted to read called 'I heard you paint houses'. I read it just as research character . When I had read it I got together with Marty and said: you gotta look at this ... So that was it.

MS:

You had the story about (on the telephone) Brad Brit?? right?

Lady:

So you were ready to comit to making Frankie Machine, financed by Paramount, we were all on call together to get the green light and in the middle of this conversation Bob said:  Well, this other book that we are thinking about, maybe we could combine these two movies . And Brad said: So you want to take a go with it and turn it into a development project?... That was 2007 ... Then we brought Steve Zillion on and Steve delivered (Steven, Marty and Bob worked together and did option 'I heard you paint houses' and Frankie Machine went away and Steve delivered the script in 2009..

MS:

The point is that we were trying to find something that we could ride /write with (I don't know how you define ride/write... it's ambiguous... kind of we felt comfortable in a way.. something we could not articulate and once he described this character to me, I felt that  he had a good sense of it so I said: this is maybe where we could really try to explore and see what we could come up with, that it might really be of value ultimately or as a creative point which is what he cared getting out.. to impress the cast ... so we took a chance... Steve pulled together a wonderful script, and it took a number of years...

Bob:

Steve wrote the script which is terrific, wonderful as Marty says, and it was a matter of getting everybody's schedules to line up. Marty was doing ... coming over here.. I don't know when you was doing Euro.. 2009/ 2010.. We would talk about what we were going to do, if there was availability, you wanted to do 'Silence'... I said to Marty I wanted to make sure he was okay if we would just let it out there.. usually I am very superstitious about that it usually doesn't happen... I felt maybe in this case since we got no backers, no people really interested in the idea that we were doing it with Al and Joe... if they were okay with mentioning that they were on board.. So we did that and then we had a reading of the script..

Lady:

the reading of the script January right before you left to go to 'Silence'. That was this one opportunity to get everyone together, and we taped the reading 2012... I thought that that would be all we would have of the Irishman, since it would be difficult to get financing. Then when everybody heard it , there was a new energy, but Marty and Emma went back to shoot 'Silence', so we had another delay.. A good one.

Al Pacino:

I've known Marty and Bob for very long time..Anthony called me about it, it sounded really interesting...The opportunity to work with them was very important for me. For years we always spoke together, Marty and I, about different things.. and of course Bob and I worked together  we had known each other since we were young actors

MS:

The first meeting we had about this, we talked about it in a hotel in LA

AP:

That's right! The hotel! It's all coming back to me now...

MS:

After all the discussions he looked at me and said, is this gonna happen, because... the complications and schedules and then of course, no real enthusiasm to say the least about financing, really made it something that is a nice dream and you said: that maybe the reading was going to be the only time you've heard it or seen it... we knew that from the beginning

AP:

I think that reading was very well orchestrated 09.06.72

Very effective...

MS:

Bob arranged it so there were the right kind of people there

Yeah, they got excited about it but still didn't raise the money

I remember, it was you, Al, Bob, ... Bobby Carneval, pauly Herman??? Joe pesci, Stefanie...

AL:

You can feel it that there was a live wire there.. I always thought it wouldn't happen...

Bob:

I got a call from Al...is it gonna happen..?

don't worry, they'll work it out...

Lady:

Thank goddness you did, because there were these fantastic time sugressions?? ..

Journalist:

Hello, Catherine Dreyer from Free Cinema... I just saw the film ', of course mind blowing.. one of those old epic things that make you like it to be in the cinema and watching it.. So thank you so much already for that. The question is... this is obviously a Netflix production, it's coming out very shortly after running in the cinemas. It seems to be a very good collaboration between TV / internet companies with the film industry.. Will we have at some point to redefine perhaps what is cinema?

MS:

...I think it's not just an evolving sort of thing, it's a revolution, even bigger a revolution that sound was for cinema, it's the revolution of cinema itself. A new technology, bringing things that are unimaginable... is it something extraordinarily good for narrative films, or stories told in motion pictures... it opens up the original conception of what a film is and where it's to be seen has now changed so radically that we may have to say, okay, this is a certain kind of film, it's made here... there might be a virtual reality films that have holograms, all sorts of things that are coming that we don't even know... Something that should always be protected as much as possible and that I think will always be there, is a comunal experience. I think that's best in the theater... Now, homes have become theaters, too... It's a major change... just keep an open mind... there is no doubt that seeing film with an audience is.... there is a problem though.. you have to make the film.. we ran out of room in a sense... there was no room for us to make this picture... for many different reasons, ultimately there was financial issue, too in terms of the CGI that we did and the reason why, the CGI is kind of complicated...because at a certain point if I made the film earlier they could have played younger and then at a certain point we missed that, and then they said, use younger actors who play them younger, and I said, well, what's the point of that... I want to find a CGI... let's see what they experiment, open it up... I mean CGI to that extend is really an evolution of make up... you'll accept certain make up, you know that she is not that old, she's not that young. You accept that as a norm. I mean you accept the illusion so to speak. Taking that and having the backing of a company that says, you have no interference, you can make this picture as you want, the trade off is its streams with the attribule distribution prior to that. That's the chance we take on this particular project. What streaming means and how that's going to define a new form of cinema, I'm not sure. I thought for a while maybe long form TV cinema- it's not! It simply isn't. It's a different viewing experience. You're going to get three episodes, two, four-ten... one one week, second episode the second week... that's not ... it's a different kind of thing, so there's got to be still what has to be protected is the singular experience... experiencing a picture, ideally with an audience... But there's room for so many others now, and so many other ways. There's gonna be cross overs... Value..? the value of a film that's like a theme park film for example, where the theme is becoming amusement parks... that's a different experience, it's not cinema, it's something else.. and it shouldn't be rated ?? by it.. That's a big issue.. We need the theater (audience?) to step up to that, to allow to show films that are narrative films. A narrative film could be one long take for three hours, too, you know. It doesn't have to be a conventional 120 minute film.

What Marty said, it will be in theaters and even when it goes on plate-work??? it still will continue to be in theaters, so audiences have their choice of whether we're going to watch it in theater and have an amazing cinema comunity experience or whether they want to watch it on the platform. Roma, for example, is still in theater around the world. So the audience has the choice of how they want to use something...

LADY:

Cinema has reached a point where changing has the option of having streaming as it were in this case...???

Journalist from AUSTRALIA:

Sergio Leone's 'Once upon a time in America', started de Niro, a film had small similar to this one,... do you think there are any references to that film here?... It's a long film, not as action packed as your early gangster films, I think they are very different to this.

But how is it different to your early gangster films?

MARTY:

Well, this underworld milieu... I guess the similarity is that it's very long and Bobby de Niro is in it.... I guess the two of us made a movie, when we were trying to get the  finances, I know how to do this... I know how to follow it through.. I just went with that..

What did you feel looking at  yourselves younger for the first time when you're looking back at the movie. Was it a bit crazy?

MS:

How does it relate to them? Well, back in 1973 we're 29, 30 years old, now we're much older and so we hope that maybe the... over time... that something has evolved, maybe deepened to a certain extend of our life... in a back it can be conveyed in a story, performances, in the way a film is put together, that would be some sort of an advancement, rather then just replicating what we have done in the past

New technology and all that... does it open a brand new world for everyone?

AP:

Considering everything is crazy. It was crazy. I don't know quite what you mean though, I'm sorry... what were you saying?

AP:

I don't feel that way, personally... this is a technique that is barely on? It's what they have said, it's a form of make up.. It could change things... But I don't think you feel that way -- as an actor -- I think you feel that as an actor, you're playing a role,... a role that more then likely hopefully you're suited for... so when you do that... it doesn't matter what you look like.. It is sort of true in a way... because, when I saw the film.. he showed it to me without anything... I just went with it and I didn't think anymore that.... this was a story... it was handled / delivered in such a way, alectorially, visually, costumage.. everything. And also the acting. I think that was what was taking me up... the story... I wasn't thinking about anything else after a while, I mean I didn't even think about when we first started.. Of course it was me ... I wasn't thinking about the wines, our faces or anything... this was accepting these people.. they existed, too, this is another thing. This was an interesting thing... because it's a story about real things that happened. people really lived.. Maybe that had something to do with my reaction. This whole thing can be innovative, of course, but at the same time it tells a story... I'm a little more concerned about that...

As I say, I did see the film without any work... and it was fine.. as a matter of fact, I'm the only one who felt that way

MS:

I think it is really good that we have that potential, it is stating what it's stating: the old days... some actor that we all knew and love and they put grey hair on him, we say, oh, he got older, but you accept it, because this is in the story

Bob:

I always joked that my career will be extended another thirty years... No, it's a whole industry... where / how it will evolve... I was just thinking about copyrights... likeness, and who gets it long after we're all gone, families and stuff like that. We even have that now in some way, using famous actors from years ago, commercial... to represent that product... I don't know, I'm just happy we're at the beginning stages of really being ... God knows where it goes... what excited me about it was that pablo helman was doing this thing and wanted to make it state of the art, the best it could be to date. That was an ambition for this movie, which was ambitious always... it fit the whole enterprise

MS:

It's also how you move... these are the little things

AP:

You're walking along looking... pretty and then you got to get up... (grimace)... hey, man, what are you doing, you're 39!  25.22.23

Question from German Journalist :

What was the biggest challenge for each one of you on this movie (directing - acting

MS:

Making (movies?) is a big challenge.. in terms of realm... the guys are performing.. so I cannot speak for them, but for me it's cutting through all the issues of how you perceive a story, the sweep of a story, what's essential, what isn't essential, making those editing choices right there, on the set. First of all even before set, before shooting begins, make those editing choices, and in shooting  even top around those editing choices because it's very complex.. in terms of technology... and staying on point, staying on what's essential to the story. Those are the characters, particularly Frank's character, and eliminating everything else around that was getting in the way. And this I think was a 108 day shoot. So this is one thing. And then the editing, too. So it's wrangling the picture, in a way.. always threatening to run a little bit out of control, but grabbing it again, and using Frank Sharon as the anchor. The whole picture took finally to wind up with him alone. That's what all film is about. That's just general of how you make a movie. Otherwise you sometimes make a movie you don't know what you're going to do when you get there on the set... I tried that once, it didn't work... for me it didn't work... I usually like planning and fighting my way through the whole process.. until we get, the best we can, to the end... resolve with the character...

BN:

Yeah, I mean, certain things.. like Marty, every so often, I would come in to narrate pieces that Marty figured that had to voice over to give information or whatever... That's a novel part of making a movie...

MS:

You went into the audio tracks... the voice stories and setting and then we'd go... tell me something

Interesting... and then try to find time to shoot it.. in the film, like give it to Emma and tell her to find some production time, please

Emma:

I'd say yes

Q:

So was that your biggest challenge...

Emma:

.. helping Marty realize everything?... yeah...

(laughter)

We want all of them to have the time...time to create and the environment,  a quite / safe space for them to do. You wanna wrab that at all... it's a challenge, but we are phenomenal partners, the best, we carved out that time in stakes, I hope

Q:

Why do you think we are constantly pulled back into talking about films about pain and trauma as in the Irishman, there's a lot on the macro level with the asasination section, but it really does go into personal individual pain

MS:

I think pain is an important story to everybody, pain, suffering... that idea what makes an interesting story... what do you think?

Bob:

Well I think, this was a simple story. It was about a guy who was caught between two people... powerful people.. One of them disappeared - we never knew what happened really to this day -  the other one was also -- Joe Galler (?).. for him.. you still don't know who did that to him... it had that to hang on someway... this political, this grand story with these historical (if you want) type of characters... a simple story

MS:

... and not so far - in terms of that - of what we were talking about these guys.. and on the other level you have JFK, Bobby Kennedy, Martin Luther King... all this going on.. and nobody knows really what happened there... I always say, would it make any difference now if we knew exactly who, when, how, and where..

... the dark course of it take over (???)... that are always present... these guys are right in the middle of it, in a way... they just walk by a TV and there is missles coming from Cuba... and that's your afternoon lunch... when we say a simple story is because the rest is so complicated

Q:

For me in many ways this is about reflection. I was wondering as you have amazing careers... do you guys ever sit back and reflect or do you always look to what's the next project

And I was wondering... do you think you could have made this ...now, cause you have lived and are still alive ..so that now that you're in a kind of position to understand better the texture of this narrative

MS:

you mean, if we had made this film earlier it would have been different

Q:

Yeah

MS:

Absolutely, I mean... I don't think we got together and said, let's make a movie and reflect... as I say, it's intuitive