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might sound like a huge victory to the ponder but i'm told it's a bfd in the gaming world. so very nice. heart-warming story showing a devoted father carrying his paralyzed son up three flights of stairs after a train station elevator broke down leaving them in a tough spot. mom brings the wield chair up the stairs after them. the son using his phone to capture his parent's dedicated solution to the problem. very good. and finally talk about birds of a feather. several hundred birds scattered across a texas parking lot, these are great tailed grackles and they like to gather where there is a lot of fast food trash. if this happened to you and these were on your car what would do you? would you try to get into your car and take off or take a beating and wait until the birds took off? there is still time to weigh in at x and instagram.
of lgbtq lessons in kindergarten. and later in the nightcap, a big story this week. the lotto player who won a billing and a half dollars. we are donating all of you as lotto winners. but in the nightcap version, you know, there's a catch. it can only buy things that start with the first letter of your name. betty can buy a bmw. with you agree to a deal? and what would you buy? let us know on twitter at x, and we will told the worry of this world you said. 8:21 at the west coast. here is a "fox news @ night" trip across america. a live look at lake tahoe where the sun sets are spectacular and the taxes are much lower. and a quiet night in michigan on the lake. the boats are docked and if you cannot join us live, don't forget to set your dvr and watch as anytime. we are coming back with common
money on the table. it insists the offer up a teacher and jarvis was a good one. offer up a teacher and jarvis was a lood one. , ., ., ,, ,._ good one. this would take their pay u n good one. this would take their pay u- to good one. this would take their pay up to £65,000. — good one. this would take their pay up to £65,000. there _ good one. this would take their pay up to £65,000. there are - good one. this would take their pay up to £65,000. there are no i good one. this would take their pay i up to £65,000. there are no changes to the hours_ up to £65,000. there are no changes to the hours i— up to £65,000. there are no changes to the hours i believe that not only it is a _ to the hours i believe that not only it is a generous pay rise in mind that their— it is a generous pay rise in mind that their pay has gone up almost 40% since — that their pay has gone up almost ao% since 2011. that their pay has gone up almost 4094. since 2011.— that their pay has gone up almost ao% since 2011. national strikes by the rmt union _ ao% since 2011. national strikes by the rmt union began _ ao% since 2011. national strikes by the rmt union began last - ao% since 2011. national strikes by the rmt union began last june. it's the rmt union began lastjune. it's member at network rail maintenance workers and sigma letters voted to accept the deal in march. at the dispute with 1a train companies goes on. workers at those operators such as train guards will be on strike against the marvels of the rmt committee has rejected the government has called a best and final offer. 5% one year and a% at x. its members have backed strike action but potentially another six months. they walk out to services in many places and drivers have two more sharks in the diary. for real passengers there is more disruption i had. michael isjust glad he got to liverpool in the end. i i had. michael isjust glad he got to liverpool in the end.— i had. michael isjust glad he got
not about that, just about life, you know, and the film and he was so pleased to be working on a film that actually felt meant something at that point in his life, because he'd been doing a few films that he wasn't that proud of. and it was just really lovely to sit and talk with somebody of his reputation, but, you know, just a regular guy. the point about introversion or maybe self—effacement, with you seems to go even further, though, because you have always said, i think, about the way you make your movies that you don't want people to really think hard or notice or regard as sort of special the treatment, visual treatment you've given the movie because you sort of say if they're coming up to me, saying, "i love that brilliant shot you put in "at x or y point in the movie," you almost feel that's a failure.
so pleased to be working on a film that actually felt meant something at that point in his life, because he'd been doing a few films that he wasn't that proud of. and it was just really lovely to sit and talk with somebody of his reputation but, you know, just a regular guy. the point about introversion, or maybe self—effacement, with you seems to go even further, though, because you have always said, i think, about the way you make your movies that you don't want people to really think hard or notice or regard as sort of special the treatment, visual treatment, you've given the movie because you sort of say if they're coming up to me saying, "i love that brilliant shot you put in at x or y point in the movie," you almost feel that's a failure. why is that? i do think if the cinematography, the imagery or any other aspect of bringing
not about liz taylor and stuff, not about that, just about life, you know, and the film and he was so pleased to be working on a film that actually felt meant something at that point in his life, because he'd been doing a few films that he wasn't that proud of. and it was just really lovely to sit and talk with somebody of his reputation but, you know, just a regular guy. the point about introversion, or maybe self—effacement, with you seems to go even further, though, because you have always said, i think, about the way you make your movies that you don't want people to really think hard or notice or regard as sort of special the treatment, visual treatment, you've given the movie because you sort of say if they're coming up to me saying, "i love that brilliant shot you put in at x or y point in the movie," you almost feel that's
working on a film that actually felt meant something at that point in his life because he'd been doing a few films that he wasn't that proud of. and it was just really lovely to sit and talk with somebody of his reputation but, you know, just a regular guy. the point about introversion or maybe self—effacement with you seems to go even further, though, because you have always said, i think about the way you make your movies, that you don't want people to really think hard or notice or regard as sort of special the treatment, visual treatment, you've given the movie, because you sort of say if they're coming up to me saying, i love that brilliant shot you put in at x or y point in the movie, you almost feel that's a failure. why is that? i do think if the cinematography, the imagery
i think about the way you make your movies, that you don't want people to really think hard or notice or regard as sort of special the treatment, visual treatment, you've given the movie, because you sort of say if they're coming up to me saying, i love that brilliant shot you put in at x or y point in the movie, you almost feel that's a failure. why is that? i do think if the cinematography, the imagery or any other aspect of bringing that story to a screen is more noticeable, or draws attention to itself, whether it's a flamboyant camera move or some very kind of well crafted arty lighting, i think it's a mistake, you know. so, you consciously are seeking to avoid that? i think sometimes i kind of draw back and say, no, that's going to draw attention to itself, you know. let me ask you about one particular film where there was a huge amount of discussion
and he was so pleased to be working on a film that actually felt meant something at that point in his life because he'd been doing a few films that he wasn't that proud of. and it was just really lovely to sit and talk with somebody of his reputation but, you know, just a regular guy. the point about introversion or maybe self—effacement with you seems to go even further, though, because you have always said, i think about the way you make your movies, that you don't want people to really think hard or notice or regard as sort of special the treatment, visual treatment, you've given the movie, because you sort of say if they're coming up to me saying, i love that brilliant shot you put in at x or y point in the movie, you almost feel that's a failure. why is that? i do think if the cinematography, the imagery or any other aspect of bringing