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Me. or his refusal to do what s expected of him. don t you ever talk that way to me. the warden in the film is played by strother martin. it s one of the great ten-line performances in movies. what we ve got here failure to communicate. and it really feels like a 60s line where you know, just in one moment, kids and adults could see the generation gap and see each other on the other side. sorry, luke. just doing my job. you got to appreciate that. ah. calling it your job don t make it right, boss. i still think he s the last of the old movie stars when he starts the 60s, he s up against the likes of carry grant and john wayne and marlon brando and by the end of the 60s, he s up against the likes of steve mcqueen and sean connery. and for mcqueen, i think new man was sort of a target. ....
Character. paul new man came out of the 1950s as one of the top leading men in hollywood. there was an oscar nomination for cat on a hot tin roof from 1958. he also looked like paul new man. could he have been in any movie he wanted to be in. i m the best you ever seen. i m the best there is. he had everything. he comes from the actor s studio. a major star on broadway. charisma on screen. he was the hustler. you can t get better than that. that man shoot a great game of pool. so do you, fast eddie. that wide screen black and white with him and jackie gleason and george c. scott was something so unique at that time. a character piece that way. joe. i just hope for your saking that this house is on fire. i m sorry to roust you out but we ve got trouble at the ....
And there s a very passionate kiss that goes on and on. and the director, joe mankiewicz, said, cut, cut, cut. and it was clear something had been ignited, and then suddenly you had this scandal. all the paparazzi in the world converged, and everyone was all about burton/taylor. what s happening? they were both married to other people. in some ways, the drama outside the movie got more involving than the drama inside the movie. this life, how it hurts, how love can stab the heart. cleopatra in many ways wrecked my uncle s career. it sort of he hated it. congratulations. a wonderful, wonderful evening. you must know something i don t. well, i must tell you, i do. cleopatra actually made good money. it just didn t make enough money ....
Working for that studio so they could use their experience. did you get a chance to produce the film? the movie has changed. that s me. that s the basic change. that means that i m able as peter fonda to walk into somebody s office, sit down, and say here s the story in my head. if you think about the generation, we had our own clothes, our own music. we had our own books. but we didn t have our own movie. and that s the slot i wanted to fill. get your motor running came out in the sum ore 69, could not be a more perfect time capsule, the restlessness. for truly expressing yourself. ....
there was no culture, there was no society. there was no mores. you know, it was minimalist. my mistake. and clint eastwood fit perfectly into that. he was the man with no name. according to the powers vested in us. the western s forever changed with the sound tracks. his approach to using music to kind of punctuate the theme and tone of the film. he had done his score before they shot the movie and so in the graveyard sequence at the end of the good, the bad and the ugly on the day they can hear the score that we as an audience are hearing. if you did that just silent, i think actors would start to wonder what s happening. when you play the marconi music, now you re in an opera and it changes their performances. ....