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- 07/23/17--06:30: _I’ve tested dozens ...
- 07/23/17--07:00: _Every PlayStation 4...
- 07/23/17--08:10: _'Dunkirk' rules the...
- 07/23/17--08:43: _Anyone getting a Pl...
- 07/23/17--09:20: _Pokémon Go's first ...
- 07/23/17--09:45: _Anti-gay threats, G...
- 07/23/17--10:18: _Christopher Nolan e...
- 07/23/17--12:33: _Christopher Nolan u...
- 07/23/17--20:44: _All the biggest mom...
- 07/24/17--05:52: _Here's who won on '...
- 07/24/17--06:01: _Everyone who died o...
- 07/24/17--06:56: _What every characte...
- 07/24/17--07:20: _The Rock made a 4-m...
- 07/24/17--07:33: _Here's the one sign...
- 07/24/17--07:43: _This $270 Xbox One ...
- 07/24/17--07:49: _Linkin Park wrote a...
- 07/24/17--07:57: _Christopher Nolan e...
- 07/24/17--08:32: _7 details you might...
- 07/24/17--09:30: _Steven Soderbergh m...
- 07/24/17--10:39: _The 5 ways to kill ...
- 07/23/17--07:00: Every PlayStation 4 game I own — RANKED
- 07/23/17--08:10: 'Dunkirk' rules the weekend box office while 'Valerian' bombs
- 07/23/17--08:43: Anyone getting a PlayStation 4 needs to know one crucial thing
- It enables you to play games online with other people!
- It gives you monthly discounts on games and movies!
- But, most important, it gives you free games every month. Free! For the duration of your subscription!
- "Game of Thrones: A Telltale Game Series" normally costs $19.99 for the Season Pass.
- "Until Dawn" normally costs $19.99.
- 07/23/17--20:44: All the biggest moments from 'Game of Thrones' season 7 episode 2
- 07/24/17--05:52: Here's who won on 'Game of Thrones' this week (and who lost)
- 07/24/17--06:01: Everyone who died on 'Game of Thrones' this week, and how
- Xbox One S with a 500GB hard drive
- Standard edition of Madden NFL 18
- Xbox Wireless Controller
- 1-month Xbox Game Pass subscription with unlimited access to over 100 Xbox One and Backward Compatible Xbox 360 games
Bluetooth headphones are defined by their flaws.
When you go wireless, you accept trade-offs. The questions become "Does the connection avoid freaking out all the time?" and "Do they sound that much worse than a normal pair?" Everyone would love a world without wires, and that desire goes a long way, but cords are still reliable little things from a quality perspective.
Because of those technical challenges, very few Bluetooth headphones manage to be polished enough to provide a genuinely delightful experience. But Sennheiser’s HD 1 Wireless are an exception.
They’ve been around for a while now — they used to be called the "Momentum Wireless" — and I am far from the first person to say they’re great. They also cost a whopping $500.
But that high price is really the only thing you could call a "flaw." The HD 1 Wireless aren't much of a value, but they're the type of product that just feels pleasant whenever you need them. If you must go wireless, and you simply want the best, they should be near the top of your shortlist. Here’s why:
Let’s start with the design. The Sennheiser HD 1 Wireless are at once stylish and understated. I could see them looking good on both men and women, and I had people of both genders tell me as much, unprompted, while I wore them. They’ve got this retro vibe to them, but don’t lean so hard into it that they feel corny. Looks matter with over-ear headphones, and the HD 1 have the sort of upscale feel you’d want from a $500 product.
The materials here are just nice. There’s little plastic — instead, you get a mix of metal and leather, all of which feels wonderfully smooth to the touch. It’s also sturdy enough to survive a few drops.
Everything is exceptionally comfortable, too. The leather headband is smooth and light, and the soft earpads are both thickly padded and sizable enough to fit over most ears. It’s not overly heavy, and, for me at least, it was spacious enough to keep my ears from getting sweaty. I wore them for hours at a time without issue.
Just don’t expect these things to accompany you to the gym; that’s not the point here, and you should know that just by looking at them.
The controls on the HD 1 Wireless are simple enough. There’s a power/pairing button and a toggle that manages to control volume, play/pause, and track skipping all at once. All of this works fine, though the power button could stand to be a little more pronounced.
See the rest of the story at Business Insider
I own a lot of PlayStation 4 games.
Some I've played to completion, collecting every trophy and relishing every moment along the way; other games I'd started and stopped, for one reason or another. Honestly though, I wish I had time to play them all — even some of the ones I didn't spend much time with initially.
Many people may not consider video games to be "works of art," but many of the titles on this list truly deserve that recognition.
If you own a PlayStation 4 — and you should, since it's an excellent media center (think: Netflix and Amazon Video) in addition to a game console — consider this list if you're looking for games to buy.
46. Mass Effect Andromeda
My two cents: I so badly wanted this game to be good, and it was so, so terrible. I forced myself to play it.
My verdict: Hard pass. If you can find a way to play the original "Mass Effect" trilogy, do that instead.
45. Star Wars Battlefront
My two cents: The visuals were incredible but the game felt frustratingly limited in terms of scope. The game is only multiplayer modes, with a frustrating progression system.
My verdict: Pass. The sequel actually does sound much more promising, for what it's worth.
44. Street Fighter V
My two cents: If I hadn't gotten a free copy of this game, I wouldn't have played it at all. My instincts were right: The game was simply not fun or at all satisfying.
My verdict: Pass.
See the rest of the story at Business Insider
Warner Bros. is having one heck of a summer.
Its latest movie from the DC Comics Extended Universe franchise, "Wonder Woman," has surpassed Marvel's "Guardians of the Galaxy Vol. 2" for the top-grossing title of the summer, and now Christopher Nolan's latest ambitious film for the studio, "Dunkirk," has won this weekend's box office — and exceeded all expectations in the process.
Taking on an estimated $50.5 million domestically, according to The Hollywood Reporter, the intimate war epic proves that dramatic titles catered for the 30-year-old and older crowd (and Harry Styles fans) can earn coin within the blockbuster-filled summer slate.
Playing on over 3,700 screens, and fueled by the constant recommendation through social media to see the movie on IMAX (which assisted in $11.7 million of the movie's opening weekend), "Dunkirk" ($150 million budget) opened with a strong $19.7 million on opening day. And the movie continued to find audiences as the weekend continued.
This opening weekend surpassed Nolan's previous movie, the ambitious $165 million-budgeted sci-fi drama "Interstellar," which opened at $47.5 million.
Now we'll watch if Warner Bros. will make a push for the movie to find award season glory later this year, especially a best director campaign for Nolan, who has never received a nomination.
Coming in second place was the Universal comedy "Girls Trip," starring Jada Pinkett Smith, Queen Latifah, and Regina Hall. Proving the female comedy is still alive and well, the raunchy, R-rated romp took in $30.4 million.
Luc Besson's passion project, "Valerian and the City of a Thousand Planets," completely bombed with only a $17 million opening. STX Entertainment (which distributed the movie but was financed through Besson's Europa company) thought it had a title that summer movie audiences would flock to as it had "The Fifth Element" director making a movie based on the comic he grew up on back in France, but that didn't happen.
Though "Valerian" is visually stunning, its over-two-hour running time and lack of chemistry between its leads, Dane DeHaan and Cara Delevingne, led to a 54% rating on Rotten Tomatoes and a very poor turnout at the over 3,500 screens for the $200 million sci-fi spectacle.
You finally got a PlayStation 4. You're ready to dive into all the action.
But where should you start?
OK, yes, definitely play "Horizon Zero Dawn." But also, at some point on that first day, there's one other crucial thing you should do: Pay for an annual subscription to PlayStation Plus.
What's PlayStation Plus?
PlayStation Plus, a paid loyalty program, is a crucial addition to your PlayStation 4. Why?
What types of games? Really great games! Like "Rocket League":
And "Metal Gear Solid 5: Ground Zeroes":
For an annual fee ($60 a year, or $10 a month if you prefer a shorter commitment), you get what Sony calls an "Instant Game Collection."
This month, that means two pretty-great games on the PlayStation 4:
If you want an idea for how many games this means over time, check out the running list on Wikipedia— it's an impressive library.
And that game library grows every month. As long as you continue paying for PlayStation Plus, you retain access to every game you've ever added to your library. You don't even have to download the game; you simply select "Add to Library" so you have access to the game whenever you do want to download and play it. Pretty incredible!
So let's do some quick math:
The value you get from just this month is more than half the cost of an entire year of PlayStation Plus.
If you download and play three to four games through PlayStation Plus, the service pays for itself. Anything beyond that is pure bonus value.
One more thing: If you own a PlayStation Vita or a PlayStation 3, you'll also get free games on those platforms. Some of the games are even "cross-buy," meaning you'll get access to them across multiple PlayStation devices ("Spelunky" is this way — once you own it on one PlayStation console, you own it all PlayStation consoles).
So remember: Before dropping hundreds of dollars on $60 games with your new PlayStation 4, snag a $60 annual subscription to PlayStation Plus. It's a smart investment.
DON'T MISS: Every PlayStation 4 game I own — RANKED
Thousands of people arrived in Chicago on July 22, 2017 to catch some extremely rare Pokémon, but server and networking issues ruined the day. The first big live event for the popular augmented reality game didn't exactly go as planned, with the festival goers screaming at the company to "fix the game" and booing the CEO John Hanke. Here's what happened and what they did to make it up to players.
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On Tuesday's episode of HBO's "Real Sports with Bryant Gumbel," correspondent David Scott got the rare opportunity to speak to the pugnacious leader of the Chechen Republic, Ramzan Kadyrov.
The result was an explosive encounter in which Kadyrov voiced his hatred of the West and condoned violence against gay men in Chechnya.
"We don't have any gays," Kadyrov told Scott in the segment. "If there are any, take them to Canada. Praise be to God. Take them far away from us. To purify our blood, if there are any here, take them."
When Scott asked Kadyrov whether he believed America was an enemy of his country, Kadyrov replied:
"America is not really a strong enough state for us to regard it as an enemy of Russia. We have a strong government and are a nuclear superpower. Even if they completely destroy our government, our nuclear missiles will launch automatically. We will turn the whole world over to screw it from behind."
Scott and his crew went to Chechnya on two occasions to get the Kadyrov interview, one of the few times the leader has allowed a Western journalist to talk to him.
Along with getting Kadyrov's controversial comments, Scott also delved into how Kadyrov's state-run mixed martial arts program, Akhmat MMA, has been a breeding ground for his military — over 5,000 people have signed up in the past two years.
Stood up by Kadyrov
Scott became interested in Kadyrov last fall, when news circulated of the leader's Instagram post of his three sons at a children's MMA tournament. Digging deeper into the man and his love of MMA fighting, Scott also found accusations of human-rights violations in Chechnya, including reports of gay men being systematically captured, and tortured or killed. Scott saw a story that would cross sports and social issues, the kind that "Real Sports" strives to tell.
The show reached out early this year to Kadyrov's press secretary, pitching the story as a way for Kadyrov to address an American audience. Though it took months, with the help of colleagues the show has in Russia, it got a "yes."
"But we didn't know what the 'yes' meant," Scott told Business Insider. "It's not like they are going to give you a time and a place and a date. What they said was, 'You can come, you can shoot our tournament, and we'll make him available when we're ready. You'll get 10 minutes' notice.'"
Scott and his team traveled to Grozny, the capital of Chechnya, and spend nine days there. While shooting Kadyrov's latest MMA tournament and interviewing fighters in the Akhmat MMA stable, they waited patiently for the call that Kadyrov was available.
But that never came. Their travel visas expired, and they had to go home, with no explanation why they never got to interview Kadyrov.
"We left forlorn, because we got all this good stuff but without the main event, what's it really going to be?" Scott said.
As planned, Scott and his team then traveled to Moscow to interview men who say they are victims of the gay purge, as well as the journalist who broke the story. But since they were only two and a half hours from Grozny, Scott wanted to try to get Kadyrov one more time.
"We're going to give it 24 hours, and if we don't get him, we'll surrender and do the story without him," Scott said.
The John Oliver problem
Scott and his crew returned to Grozny, and by 8 p.m. the day they arrived, Scott had a sit-down with the press secretary, who started the conversation interestingly.
"The first words out of his mouth, sarcastically, were 'Well, I hope no one on your crew is gay, because you know we like to throw them in secret prisons and torture them to death,'" Scott said. "That's how he opens a booking meeting."
They spoke for an hour, and John Oliver was repeatedly brought up. The host of HBO's "Last Week Tonight" did a segment last year on Kadyrov and his lost cat that went viral.
"I think it was one of the things that had become an obstacle," Scott said, adding that the press secretary brought up Oliver in Scott's first visit to Chechnya. "They associated HBO with John Oliver and the ridicule. So that's the thing they were worried about — that we were coming to make fun of him, to embarrass him, which we had no intention of doing. And so I told them, 'Look, that's a satire show, that is a comic show, we are the opposite of that.' They were comforted by that."
Soon after their meeting, Scott got word to come to the palace. Kadyrov would do the interview.
He and the crew members went through an intense screening process before seeing Kadyrov. The security guards disassembled all their gear. They learned that the soundman was from Ukraine, so he got a higher-level security screening, including an examination of his shoes with a Geiger counter, which measures radiation. Even Scott's makeup he applies before going on camera was tested. The guards put it on their skin to ensure it wasn't something Scott could put on Kadyrov to harm him.
Scott, a cameraman, and their fixer were then taken to the soccer field inside the palace, where Kadyrov was playing with some other men, and invited to film him.
"It had full stadium lighting and bleachers on both sides," Scott said. "It looked like it had a broadcast booth, too."
Scott watched as Kadyrov played with the men, who Scott could see were not playing much defense. When Kadyrov was through, he went over to Scott and told him, "You people are saying terrible things about me," Scott said.
Scott reassured him that they were here to give him the opportunity to address all issues. Kadyrov told them to go set up in the state room. He was going for a swim and would be there in an hour.
"We were set up by midnight, and he shows up at 1:45 in the morning," Scott said.
'Every man and boy between the ages of 11 to 75 looks like they are about to kick your a--'
Scott said the plan was to start the interview with Kadyrov about MMA, then get into the other issues, like the reported gay purge. But looking back, he thinks Kadyrov "saw us coming a mile away."
Scott said Kadyrov went on a 20-minute rant about gay men — even condoning family members hurting or even killing a relative if they are gay, known in Russia as "honor killings" — and then against the West. Kadyrov blew off the call to prayer at 2:30 a.m., something he had repeatedly said he had to go to.
"He sat there for 45 minutes longer than we expected because that's the stuff he wanted to say," Scott said. "That's what he wanted out of this."
The interview ended, and Scott and his team rushed back to their hotel. They stayed there until it was time to get to the airport and fly home.
"That's the point when anything could happen," Scott said, adding that they had cameras with dual recording and a separate audio recording, just in case any of their equipment was confiscated.
Scott and his team had reason for concern. In their first visit to Chechnya, he said, they were eating lunch at an outside cafe when the motorcade for Kadyrov's three sons, known as "The Princes" in Chechnya, pulled up.
The team was without their cameras, so Scott began recording on his phone. But Abdul-Kerim Edilov, who watches over the princes and is a recent Akhmat MMA fighter now signed to the UFC in America, saw what Scott was doing. In a cursed-filled tirade, he ordered Scott to delete the footage, Scott said.
"This was the most intimidating place I've ever been," Scott said of Chechnya. "Every man and boy between the ages of 11 to 75 looks like they are about to kick your a--."
But Scott and his team returned home safely after interviewing Kadyrov.
"It's taken me a while to see this, but in the end, he's going to be pleased with the piece," Scott said of how he thinks Kadyrov will react to the story. "He's not going to like being taken to task on the gay issue, but it's exactly what he wants, the projection of power. The idea that Ramzan Kadyrov is a buffoon or a puppet is wrong. We've gotten that impression from the fun that's been poked at him, and his Instagram feed looks so ridiculous to us.
"But sitting in his presence, watching his operation, I'm convinced he's the real thing. He knows exactly what he wants. He's not to be someone to be underestimated."
Here's a clip from the Kadyrov segment:
From instant classics like “Memento” and “Inception,” to his flawless “The Dark Knight” trilogy, director Christopher Nolan has spent his career telling unique stories while pushing the medium. And for his latest movie, “Dunkirk” (opening July 21), he’s pushed it further than most ever have.
Recounting the evacuation of close to 400,000 British soldiers from Dunkirk, France during World War II, Nolan tells the story in three parts: soldiers on the Dunkirk beach trying to survive as German planes drop bombs on them, British Spitfire aircraft trying to shoot down the German bombers, and civilian boats taking a day trip to assist in the evacuation.
In typical Nolan fashion, he goes beyond the norms to depict the events. Filmed with little dialogue and a non-linear story, powered by the ticking clock score of composer Hans Zimmer, it’s the incredible images filmed on an IMAX camera that move the story.
Business Insider spoke to Nolan about the challenges of making “Dunkirk,” using as little CGI as possible to pull off the action, casting Harry Styles in one of the main roles, and why he can’t get enough of the comedy “MacGruber.”
Jason Guerrasio: One of the big things I took away from the movie was how intimate the setting and characters were compared to the subject matter and the IMAX format. I hope that reaction doesn't disappoint you.
Christopher Nolan: No. I refer to it as an intimate epic. That was very much my ambition for this film. To immerse the audience in aggressively human scale storytelling, visually. And by contrasting multiple points of view but each told in a disciplined way. Try and build up a larger picture of the extraordinary events at Dunkirk.
Guerrasio: So was that one of the biggest challenges of pulling off this project? Condensing the events at Dunkirk into intimate storytelling.
Nolan: Well, the tension between subjective storytelling and sort of the bigger picture is always a challenge in any film, particularly when you're taking on, which I never have done before, historical reality. So I really wanted to be on that beach with those guys. I wanted the audience to feel like they are there. But I also need them and want them to understand what an incredible story this is. I never wanted to cut out generals in rooms pushing things around on maps, so I settled on a land, sea, and air approach. I settled on subjective storytelling shifting between very different points of view. You're there on the beach with the soldiers, you're on a civilian boat coming across to help, or you're in the cockpit of the Spitfire dogfighting with the enemy up above.
Guerrasio: That's what's crazy, though the story is told on a huge IMAX screen, the shots from inside the cockpit of the Spitfire feel claustrophobic.
Nolan: What I love about IMAX is with its extraordinary resolution and color reproduction it's a very rich image with incredible detail. It lends itself wonderfully to huge shots with much in the frame. Thousands of extras and all the rest. But it also lends itself to the intimate, the small, the detail, incredibly well. The high aspect ratio on those screens, you're getting the roof of the set, the water creeping in from the bottom, you can get a very tactile sense of the situation we're trying to present.
Guerrasio: You've done more with an IMAX camera on this movie than anyone has yet, is there something you will never try to attempt again with this equipment in a future movie?
Nolan: I think, to be perfectly honest, everything we managed to do with the IMAX camera has encouraged us to try more and more.
Guerrasio: So there wasn't one thing you were like, "Nope, never again."
Nolan: No. I think in truth the only real limitation for me of those cameras is we haven't found a way to make them sufficiently soundproof to record dialogue. For other filmmakers this wouldn't be a problem, but I personally really like to use the dialogue that's recorded live on set. I don't like to ADR [additional dialogue replacement] things. I think you lose something in the performance. So that means that any time there's a really intimate dialogue scene, I need to use another format. In this case, for "Dunkirk," we used 5 perf-65mm. So our kind of smaller format was the format “Lawrence of Arabia” was shot on.
Guerrasio: What is your approach to editing? It's important for every filmmaker but your stories are often told in a unique way where editing really must be a high priority. Do you edit while shooting?
Nolan: My approach to the edit is I have a great editor in Lee Smith who I have worked with for years, he edits as we go along. He assembles the film. I tend not to look at any of that. I don't cut while I'm shooting. I'm too busy shooting. I watch dailies every day the old fashioned way, which I'm surprised so few filmmakers do anymore. It used to be a requirement of the job. But we project our dailies on film everyday and we sit there and talk about what we've done and sort of steer the ship. Lee goes ahead and edits but I tend not to look at those cuts unless there's a problem. If he sees a problem and thinks we've missed something at that point I'll go in and look at stuff. But generally what I do is I wait until filming has finished and then we get into the edit suite and start again from scratch. We view all the data and we start building it up from the beginning.
Guerrasio: Was there any specific sequence in this movie that was a challenge in the edit?
Nolan: The aerial sequences were particularly challenging because the reality of aerial sequences is they are tremendous eye candy. You watch the dailies you just want to use everything. But you have to be constantly aware in the edit that story drives everything for an audience. And if there isn't a new story point being made you have to be disciplined, so in the aerial sequences we were throwing away some of the most incredible aerial footage that I've ever seen and not putting it in the film because that's what you have to do. You have to trust that with what you are putting in there you are going to convey that sense of visceral excitement and wonderment that you felt in the dailies. That's always a challenge and it takes a long time to hone the whole thing down from a longer cut to a shorter cut.
Guerrasio: I couldn't tell what was visual effects and what was practical in this movie, particularly the sinking destroyers and dogfights. How much visual effects were used?
Nolan: I’m very proud with the visual effects being as seamless as they are. I worked very closely with my visual effects supervisor, who was there shooting with me on set. He basically was doing himself out of a job because he was able to help me achieve things in-camera that would have actually been visual effects and then didn't need to be. So, there's really nothing in the film that isn't in some way based in some kind of practical reality that we put in front of the camera. We didn't want anything to go fully CG and I'm very proud to be able to say that of my films this is the first time when we've been able to make a film that I actually can't remember which of the shots are visual effects and which aren't in some of the sequences. We've never been able to get to that point before.
Guerrasio: So the Spitfire doing the water landing, that was a replica plane?
Nolan: Yeah, we built a full size replica Spitfire and landed it on the water for real. And we actually strapped an IMAX camera to it for the crash and the thing sank much more quickly than we anticipated, because you never know, no one has done this before. And in the hours it took to retrieve the IMAX camera its housing, which was a big plastic barrel, actually had a hole in it and the entire thing filled with water. So the camera was completely submerged. But we called the lab and they clued us into an old fashioned technique that used to be used on film shoots. You keep the film wet, you unload the camera, and you keep it damp the whole time. We shipped it back to Los Angeles from the set in France, and they processed it before drying it out and the shot came out absolutely perfect and it's in the film.
Nolan: Try doing that with a digital camera! [Laughs]
Guerrasio: The scores in your movies are always so memorable, how did the second hand on a clock ticking theme come to you, and how did that evolve with your composer Hans Zimmer?
Nolan: The screenplay had been written according to musical principals. There's an audio illusion, if you will, in music called a "Shepard tone" and with my composer David Julyan on "The Prestige" we explored that and based a lot of the score around that. And it's an illusion where there's a continuing ascension of tone. It's a corkscrew effect. It’s always going up and up and up but it never goes outside of its range. And I wrote the script according to that principle. I interwove the three timelines in such a way that there's a continual feeling of intensity. Increasing intensity. So I wanted to build the music on similar mathematical principals. Very early on I sent Hans a recording that I made of a watch that I own with a particularly insistent ticking and we started to build the track out of that sound and then working from that sound we built the music as we built the picture cut. So there's a fusion of music and sound effects and picture that we've never been able to achieve before.
Guerrasio: You certainly gained your auteur status some time ago, but you also manned a huge Hollywood franchise, I want your perspective on today's blockbuster making. Has the director's voice been lost in today's blockbuster? It seems producers like Kathleen Kennedy at Lucasfilm and Kevin Feige at Marvel Studios are making all the creative moves.
Nolan: I think the Hollywood machine as an industrial process, there's always been a tension between art and commerce in Hollywood filmmaking, so the machine itself is often looking for ways to depersonalize the process so that it is more predictable as an economic model. But in truth, thankfully for directors it never works. [Laughs] Not long term. The director is, I think, the closest thing to the all-around filmmaker on set. You need a point of focus, a creative point of focus, through which the rest of the team's input can be focused on and I think the director is the best person suited to do that. At the end of the day, I think directors have always been absolutely driving the creative process.
Guerrasio: But the argument can be made that currently the producers on particular tentpole projects are the creative point of focus and they then hire a crew, including a director, who will follow that vision. I'm sure you had to listen to your share of notes from Warner Bros. while making your Batman movies, could you make a franchise movie in today's conditions?
Nolan: I think those conditions are being overstated. Like, everyone talking about "Star Wars" as an example are willfully ignoring what J.J. Abrams did in the process. Which isn't appropriate, J.J. is a very powerful creator. Not to mention, George Lucas, by the way. [Laughs] I mean, there is a bigger reality here in terms of where these things actually come from.
Guerrasio: Obviously, there's always the originator. Which, thankfully, is an individual and not something done by committee.
Nolan: Well, and I don't think anybody thought that Jon Favreau was doing a sensible thing by casting Robert Downey Jr. as Iron Man, but what an incredible decision he made. There's an entire industry based on that now.
Guerrasio: Very true. And we can pivot that a little to you casting Harry Styles. Many were scratching their heads about that casting and I think many will see you’ve really discovered a talent. Do you pat yourself on the back with this one or was it casting director magic?
Nolan: Oh, I'm very much patting myself on the back. [Laughs] Well, I'm the guy who is always taking it on the chin if I make the wrong decision. The truth is ever since I cast Heath Ledger as The Joker and raised all kinds of eyebrows, I've recognized that this is my responsibility and I really have to spot the potential in somebody who hasn't done a particular thing before. Because whether you're taking about Harry Styles or Mark Rylance you don't really want to cast them in a position where they are doing something they've already done. You want to give the audience something different. So you're looking at their talent and how that can be used. The truth is, Harry auditioned for our casting director, he sent the tape along. The casting director rightly pointed out how good it was. We threw him into the mix with many, many other young men and he earned his seat at the table over a series of very hard-fought auditions.
Guerrasio: He's very good in the movie.
Nolan: I’m very excited for people to see what he has done in the film. I think it's truthful and it's a very tough role he's playing, too.
Guerrasio: Do you get to watch a lot of new releases? Do you try to keep up on everything?
Nolan: I do when I'm not working. It depends on what phase I'm working. Obviously, this year I've been very buried in my own process. But in between films I absolutely try to catch up on everything.
Guerrasio: When's the last time you've laughed uncontrollably while watching a movie.
Nolan: Oooo. [Pause]
Guerrasio: There has to be one.
Nolan: Oh, there are many, but I'm trying to think if there's a recent. You know, I've been outed in the past as a "MacGruber" fan and I have to say there are a couple of moments in that film that had been howling uncontrollably.
Guerrasio: Give me one in particular, I have to know.
Nolan: [Laughs] I'm not going to go any further!
"Dunkirk" didn't just mark the first time Christopher Nolan had made a war movie; it was also one of the rare times a filmmaker had ever shot a majority of a movie with an Imax camera.
So, Nolan did a lot of things he didn't know were possible until he actually did them.
And in one instance, a blunder on set led to a fascinating discovery.
In exploring the historic evacuation of Allied forces from Dunkirk, France, during World War II, the movie highlights British pilots fighting German planes to protect the Allied troops on the ground. The dogfight sequences in the movie are thrilling and in some cases very authentic. The production stayed away from CGI as much as possible, and in one sequence Nolan had a replica Spitfire plane perform a landing in the English Channel.
An Imax camera was strapped into the cockpit, filming as actor Jack Lowden struggled to get out. Viewers watch as the water begins to fill the cockpit, delivering one of the movie's most dramatic scenes.
During filming, however, the plane with the camera still inside sank quicker than anyone on the crew thought possible. Nolan was certain the footage had been lost.
"In the hours it took to retrieve the Imax camera, its housing, which was a big plastic barrel, actually had a hole in it and the entire thing filled with water," Nolan told Business Insider.
Imax told Business Insider an Imax camera of the kind used on the movie cost about $1 million.
"But we called the lab and they clued us into an old-fashioned technique that used to be used on film shoots," Nolan said. "You keep the film wet, you unload the camera, and you keep it damp the whole time. We shipped it back to Los Angeles from the set in France, and they processed it before drying it out, and the shot came out absolutely perfect and it's in the film."
Here are some shots of the dramatic scene Nolan thought would never see the light of day:
"Try doing that with a digital camera!" Nolan said with glee. In the age of digital, the director is one of the last to be a major supporter of shooting on film. Though shooting digitally is cheaper and provides more flexibility in the kinds of shots you can do, Nolan's footage from inside the cockpit really would have been destroyed if "Dunkirk" weren't shot on film.
"Dunkirk" opens in theaters on Friday.
Catch a glimpse of the Spitfire water landing at the end of the TV spot for the movie below:
Warning: Huge (very huge) spoilers for "Game of Thrones" season seven, episode two. If you aren't caught up on the series, read at your own risk.
After what felt like the longest seven days in history, season two episode seven of "Game of Thrones," titled "Stormborn," finally came on TV.
The majority of this episode felt similar to the season premiere: catching up with characters, and seeing the story mechanics that will bring everyone closer together as the series moves toward the end. But then it ended with an unexpected battle, as Euron attacked his niece's fleet at sea.
Storms and trust (or lack thereof) were big themes this week. No one seems to trust anyone, which is a pretty smart way to live in Westeros. But it's also frustrating for the audience, because we want some of these people to just get along.
There's a lot to remember — between Sansa ruling the North and Grey Worm going all the way with Missandei — so we highlighted the episodes biggest moments.
Here's our recap of season 7 episode 2 of "Game of Thrones:"
Daenerys doesn't trust Varys. And Melisandre wants her to team up with Jon Snow.
Daenerys doesn't feel at home in Dragonstone, even though it's her ancestral home. And for the first time, she addresses her distrust of Varys. This is actually coming from a solid place, and it's surprising she didn't bring it up when he came to Meereen. Varys betrayed her father, and then served as Master of Spies for Robert Baratheon. While doing that he, betrayed Robert as well. And he also helped facilitate the attempt on her life, with the help of Ser Jorah Mormont.
Daenerys tells Varys that she doesn't know she can trust someone when she doesn't know where their loyalties lie. But Varys smartly responds by telling her about his background. He is not from a noble house. Like Missandei and Grey Worm, he was a slave, so he cares about the good of the people in Westeros — not just the lords. This worked on Daenerys, and then Melisandre showed up to tell her that she should team up with Jon Snow, who can definitely use her help defeating what's coming from the North.
Jaime doesn't trust Cersei, or believe in the Lannister army — and he goes behind her back in a meeting with Randyll Tarly.
Randyll Tarly (Samwell Tarly's dad, who we met in season six) is summoned to King's Landing to see Queen Cersei. She asks him for his allegiance to the Iron Throne. Tarly is fiercely loyal to the Tyrell family, but Jaime takes him aside and offers him a position as the ranking general in his Lannister army.
This scene proved that Jaime doesn't trust Cersei. She's literally a mass murderer, so lords of Westeros aren't likely to ally with her. At this point, anyone can be killed no matter what they do for her. Jaime also doesn't believe his army is strong enough, and needs all the help he can get.
The North doesn't trust Tyrion Lannister or Daenerys Targaryen, and with good reason.
As viewers, we know we can trust Tyrion Lannister and Daenerys Targaryen. So far on the series, Tyrion has been kind to any of the Starks who cross his path. And in general, he treats people with kindness, unless they've done him wrong.
And Daenerys hasn't shown her father's madness. Though some theorize that it's in there, we've seen a strong, brave, and confident leader who cares about her people.
But the people in the North haven't seen the good sides of these people. They hear stories, and they associate them with the people they're related to. The people of the North don't have enough knowledge of Tyrion and Dany to fully trust Jon and Davos's mission to ally with the young queen. But Jon's doing it anyway, because the White Walkers are coming, and they can't defend themselves alone.
See the rest of the story at Business Insider
When you play the game of thrones, you win or you die. There is no middle ground.
Now that we're getting closer and closer to the end of the series, that powerful quote from Cersei back in season one (we were all so young!) is proving to be true.
Any week, anyone can go, and anyone can get some major (or minor) wins. This week, the big wins and losses came mostly from secondary characters. One of the winners saved their own life, and some of the losers lost theirs.
Every week, we'll round up who had the best week, and who had the worst.
Here's who won the game of thrones this week (and who lost):
After having his loyalty questioned, Varys saves himself by successfully convincing Daenerys that, as a former slave (from no noble family), his motivation is the good of the people.
Varys has a way with words, but these words definitely feel truthful. He's one of the winners this week because he saved his life (and basically got himself a job) by opening up to Daenerys.
Dragonstone is far from King's Landing. And who knows how Euron knew where his niece was headed, or why Yara didn't prepare for battle in a time of war. It doesn't matter now. Euron, as much as we hate to say it, definitely won the week by attacking his niece's fleet in the middle of the night. He also killed two Sand Snakes, and they were quite annoying.
See the rest of the story at Business Insider
Warning: Spoilers for "Game of Thrones" season seven, episode two. If you aren't caught up on the series, read at your own risk.
It wouldn't be "Game of Thrones" without all the deaths. While last week's season premiere was a breath of fresh air — save for the deaths of all the Freys at the hands of Arya — this week's episode, "Stormborn," ended with an unexpected and violent attack on Yara's ship by her Uncle Euron.
On "Game of Thrones," there are so many characters to keep up with. And even in its seventh season, it can get a little hard to keep track of who lived and who died.
So here is your guide to who died on "Game of Thrones" last night:
In his attack on Yara's fleet, Euron Greyjoy stabbed the daughter of Oberyn Martell in the gut with a spear. By the end of the battle, her body was hanging from the ship, so she's definitely dead.
In Euron's attack, he strangled Nymeria, who is definitely a daughter of Oberyn and not Arya Stark's direwolf. At the end of the battle her body was hanging from the ship. So she's definitely dead.
Maybe: Yara Greyjoy
We're guessing that Euron is keeping his niece alive, but she's definitely not safe in the hands of her uncle, who will probably bring her to Cersei.
See the rest of the story at Business Insider
Warning: Very big spoilers if you have not seen "Game of Thrones" season seven, episode two.
Remembering the gargantuan number of character plotlines on "Game of Thrones" isn't always easy.
Hopefully this comprehensive list of this week's character plotlines will be able to refresh even the foggiest of memories.
Here's what every character was up to on this week's episode of "Game of Thrones."
Daenerys Targaryen and Tyrion Lannister
Daenerys questions Varys about whether or not he can be trusted, given his proclivity for arranging the downfall of rulers he did not like in the past. Varys explains everything he does is for the good of the Seven Kingdoms, and the two come to an understanding.
At the recommendation of Tyrion and Varys, Daenerys invites Jon Snow to Dragonstone to discuss forging an alliance against Cersei.
Daenerys and Tyrion plan a strategy of attack for taking hold of Westeros with their allies, Olenna Tyrell, Yara Greyjoy, and Ellaria Sand. Daenerys and Tyrion ask that the Tyrell's army, along with the Dornish army, attack King's Landing, while the Unsullied and Dothraki go to Casterly Rock to siege the Lannister army.
Daenerys speaks privately with Olenna Tyrell and is advised to ignore the advice of her male advisors.
Jon Snow and Sansa Stark
Jon Snow receives an invite from Daenerys to go to Dragonstone, and debates whether or not it's smart to accept her invitation. Davos Seaworth points out that having access to Daenerys' dragons could be a useful tool in the impending war against the White Walkers.
Upon receiving a letter from Samwell Tarly explaining that Dragonstone has a massive amount of dragonglass (which can slay White Walkers) beneath it, Jon decides to make his way to Dragonstone to meet with Daenerys.
Jon is met with heavy amounts of disapproval when announcing his decision to meet with Daenerys in Dragonstone, but he insists that his decision is for the good of Winterfell. Jon leaves Sansa in charge until he returns.
Lord Petyr "Littlefinger" Baelish tells Jon he loves Sansa, which angers Jon, who then immediately chokes Littlefinger.
Cersei asks her allies to band together against Daenerys Targaryen. Cersei tries to frighten her allies by the prospect of what could happen if Daenerys sits on the Iron Throne. Cersei insists that the people of Westeros would be enslaved by Daenerys (and possibly fed to her dragons).
New Hand of the King (and zombie maker) Qyburn shows Cersei a weapon he's had made for her that can pierce a dragon's skull, should Daenerys and her dragons arrive at Kings Landing.
See the rest of the story at Business Insider
Over the weekend, Dwayne "The Rock" Johnson teased a new movie he made with Apple and Siri, called "Dominate The Day."
The full movie, with a run time of three minutes and 45 seconds, was posted on YouTube on Monday.
Here is our review of "Dominate the Day":
The film starts off with The Rock doing what he's known for: a million different things at once. He's pruning a bonsai tree, reading a script, lifting weights ...
... and getting ready for his 25 appointments for the rest of the day.
Suddenly, The Rock glimpses a well-timed news spot about The Rock's life that says he can't possibly do any more.
See the rest of the story at Business Insider
Warning: Spoilers for "Game of Thrones" season seven, episode two. If you aren't caught up on the series, read at your own risk.
Being on one of the most brutal TV shows in history, "Game of Thrones" stars know they can be killed off at any time.
No one is safe, just ask Ned Stark.
And according to actress Jessica Henwick — whose character Nymeria Sand suffered a violent death on Sunday's "Thrones" — there is one tell-tale sign that lets actors know when they're about to get the axe.
Henwick told Entertainment Weekly that she was busy in New York filming Netflix's "Iron Fist" when she got a call from both showrunners, David Benioff and D.B. Weiss. Both, it turns out, is the operative word for actors trying to parse whether their character will make it another week.
"As soon as you hear that more than one of them is on the call, you know what that means," Henwick explained. "If it's just one they're probably talking about the story. But if it's both of them then you know."
Benioff and Weiss told Henwick that the death of Nymeria Sand was crucial to the show.
"It's really important that you come back," they told her. "Otherwise your character will just disappear and fans will never get a resolution."
In the end, Henwick negotiated a two-weekend release from "Iron Fist," and got on a flight from New York to Belfast, where "Thrones" is filmed. There she met her gruesome end at the hands of Euron Greyjoy's army.
This year's "Madden" is almost here, and the best way to buy it is obvious.
The $279 bundle you see above is, by far, the best way to buy "Madden NFL 18" if you don't already own an Xbox One or PlayStation 4. The game, of course, is identical on both platforms.
Here's what comes in the box, according to Microsoft:
That cuts the price of the game in half, from $60 to $30, and it comes packed in with everything you need to get started — there's even a 14-day trial for Xbox Live so you can play some "Madden" online with friends before deciding whether or not you want to pay for Microsoft's online service.
Notably, this bundle isn't the original Xbox One, but the newer model Xbox One S. What that means for you is you get a slimmer, sleeker console that's capable of powering games in HDR (if you have an HDR-ready TV, games will look even better than normal). The console is also capable of powering 4K movies (streamed and on Blu-ray).
Wondering what's new in this year's "Madden" game? Check that out right here:
This bundle and the new "Madden NFL 18" arrive on August 25 — "Madden NFL 18" costs $60 and launches on both Xbox One and PlayStation 4.
On Monday, Linkin Park issued a moving tribute to Chester Bennington, the band's late lead singer, who committed suicide last week. The band has also launched a suicide-prevention website in Bennington's memory.
Read the band's letter in full below:
Our hearts are broken. The shockwaves of grief and denial are still sweeping through our family as we come to grips with what has happened.
You touched so many lives, maybe even more than you realized. In the past few days, we’ve seen an outpouring of love and support, both public and private, from around the world. Talinda and the family appreciate it, and want the world to know that you were the best husband, son, and father; the family will never be whole without you.
Talking with you about the years ahead together, your excitement was infectious. Your absence leaves a void that can never be filled—a boisterous, funny, ambitious, creative, kind, generous voice in the room is missing. We’re trying to remind ourselves that the demons who took you away from us were always part of the deal. After all, it was the way you sang about those demons that made everyone fall in love with you in the first place. You fearlessly put them on display, and in doing so, brought us together and taught us to be more human. You had the biggest heart, and managed to wear it on your sleeve.
Our love for making and performing music is inextinguishable. While we don’t know what path our future may take, we know that each of our lives was made better by you. Thank you for that gift. We love you, and miss you so much.
Until we see you again,
Christopher Nolan has never been shy about challenging audiences with unique musical scores in his movies.
For 2010’s “Inception,” composer Hans Zimmer took Nolan’s reference in the script to Edith Piaf’s song “Non, je ne regrette rien,” and slowed it down to create one of the major musical themes of the movie. Then Zimmer and Nolan’s collaboration for 2014’s “Interstellar” led to the movie’s powerfully haunting organ music.
Nolan is constantly thinking about the music for his films at the script stage, and his latest, “Dunkirk,” is no different.
“Very early on I sent Hans a recording that I made of a watch that I own, with a particularly insistent ticking, and we started to build the track out of that sound. And then working from that sound, we built the music as we built the picture cut,” Nolan told Business Insider.
But the score went beyond having just a ticking theme for the story, which tells three different timelines surrounding the evacuation of Allied forces from Dunkirk, France. To build the drama of those three stories coming together for the movie’s dramatic conclusion, Nolan went back to a musical technique he played with in one of his early movies.
“There's an audio illusion, if you will, in music called a ‘Shepard tone’ and with my composer David Julyan on ‘The Prestige’ we explored that, and based a lot of the score around that,” Nolan said. “It's an illusion where there's a continuing ascension of tone. It's a corkscrew effect. It’s always going up and up and up but it never goes outside of its range. And I wrote the [“Dunkirk”] script according to that principle. I interwove the three timelines in such a way that there's a continual feeling of intensity. Increasing intensity. So I wanted to build the music on similar mathematical principals. So there's a fusion of music and sound effects and picture that we've never been able to achieve before.”
Perhaps what makes this score by Zimmer the most powerful out of his Nolan projects (a collaboration that goes back to “The Dark Knight” franchise) is the limited amount of dialogue in “Dunkirk.” Zimmer’s ticking score doesn’t just heighten the thrills, but explains what’s going on in the scene as much as the photography does.
Listen to a portion of the "Dunkirk" score below:
There was a lot going on in the most recent episode of season 7 of "Game of Thrones," including a long awaited reunion between two old friends and the set up for a highly anticipated meeting between two of the main characters. Here's a look at some of the details you might not have picked up on the first time around, including several references to season 1.
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If you ever think, "I wonder how this movie would have looked without the watered-down movie studio treatment," then get ready for Steven Soderbergh's return to making feature films.
After a self-inflicted retirement of four years (his last feature film was 2013's "Side Effects"), the Oscar winner gives us "Logan Lucky," a movie that's basically an indie version one of his biggest box office successes ever, the Las Vegas heist movie, "Ocean's Eleven."
This is not a knock on Soderbergh. I'm not trying to imply that he's just going back to familiar territory. He's the last person in Hollywood you could ever make that claim about. What I see in "Logan Lucky" is Soderbergh showing us that despite how much we loved it when Clooney and Pitt were running around outwitting the major Vegas casinos, it's better when Channing Tatum and Adam Driver try to rip off one of NASCAR's biggest races — with zero studio interference.
Always looking for a way to be in control of every aspect of his creations, Soderbergh has started the domestic distribution company, Fingerprint Releasing, and through a first-look deal with Amazon Studios, is looking to push out wide-release titles. "Logan Lucky" is the first, and he's teaming up with distribution company Bleecker Street to release it on August 18.
And it certainly looks like he's got a hit coming.
Tatum and Driver play the Logan brothers, Jimmy and Clyde. Born and bred in West Virginia, the two have suffered a lifetime of things going wrong. Jimmy was a high-school football star who was NFL bound, until his knee blew out. Clyde has always had his brother's back, and it's led to him going to prison, and losing his hand during a tour in Iraq. Convinced their family is cursed, Jimmy decides to change their luck. After being laid off at his latest job, he hatches a plan to rob all the cash that flows through the Charlotte Motor Speedway on race day.
Along with Clyde, they assemble their team for the job, which includes their sister Mellie (Riley Keough), and the best explosives man they know, Joe Bang (Daniel Craig).
Like every great heist movie, nothing goes according to plan, leading to some great thrills. But the movie, written by Rebecca Blunt, is also extremely funny. Tatum and Driver have some laugh-out-loud exchanges and Craig, who's sporting a fantastic southern drawl, steals every scene he's in.
You might be asking, "So how is this better than 'Ocean's Eleven'… or 'Twelve' … or 'Thirteen'?"
Well, there's a pace to the movie that most studio heads (and test audiences) just would not have the patience for. One of the movie's subplots is Jimmy's relationship with his ex-wife (Katie Holmes) and daughter. It's an important component to the story, but would likely have been cut up into just a forgettable glance if this was made at the studio level.
And the third act brings in the investigator of the robbery (Hilary Swank), which also would have likely been slimmed down for fear of losing the audience.
But all these things give the story and characters a richness that betters the movie. Soderbergh — who absolutely hasn't been sitting around doing nothing the last four years, as he directed two seasons of the acclaimed series "The Knick" — shows here that the melding of mainstream storytelling and artful execution is possible.
I'm thankful he's back directing features, and can't wait for the next ride he takes us on.
“Logan Lucky” opens in theaters August 18.
Warning: major spoilers for season seven of "Game of Thrones" lie ahead, including some speculation from the "A Song of Ice and Fire" books. Read at your own risk.
One of the biggest threats to Cersei right now is Daenerys Targaryen, who has a larger army, even without Yara's Ironborn and the Dornish. Daenerys also has three dragons, and unfortunately for Cersei, there's not much known about how to kill the magical and violent creatures. But in episode two of this season, Qyburn (who seems to serve every position on the Queen's council now), shows Cersei an invention that might work.
Although there's no proven and concrete way to kill a dragon, here are some of the ways that dragons could be killed, based on knowledge from the books and the show.
Spears (with a lot of force)
In season seven, episode two ("Stormborn"), Qyburn shows Cersei a secret weapon he's developed that could kill Daenerys Targaryen's dragons. Upon hearing that Dany's dragons were wounded in Meereen by spears, he created a giant ballistae that shoots giant spears. He has Cersei test it out on the skull of Balerion the Black Dread. The spear goes through Balerion's skull, and Cersei has a look of satisfaction that rivals her look as she watched the Sept of Baelor collapse.
Could it work? Maybe. Possibly. But probably not with Drogon, the largest and most powerful of Dany's three dragons. In the story ofUrrax and Serwyn of the Mirror Shield from the books, Serwyn kills the dragon Urrax with a spear through the eye. The spear Cersei shot at Balerion's skull was through the eye. Meraxes, one of the great dragons used by Aegon the Conqueror to conquer Westeros (his the second largest dragon), was killed by an iron bolt to the eye from a scorpion, a weapon similar to what Qyburn made.
Qyburn's device could work on Dany's dragons, but they'll have to be really careful, and aim well. Unlike dragon skulls, alive dragons move, fly, and breathe fire. And even the fall of a dragon can kill those near it.
The Dance of the Dragons was a civil war between two Targaryens fighting for the Iron Throne, about 170 years before the events of "Game of Thrones." It was the only major war that had dragons fighting on both sides. Most dragons were killed during the war, killing each other.
After Aegon III (who hated dragons) defeated his half-sister, Rhaenyra, he put the remaining dragons in chains. They went extinct within a few years.
Could it work?It's possible, if only someone can find a way to pit Dany's dragons against each other . . .
Dragonbinder, also known as the hellhorn, is a large dragon horn that is supposed to control dragons. In the books, Euron Greyjoy has Dragonbinder. It is said that anyone who blows the horn will die but any dragons that hear it will obey the horn's master. Valyrian glyphs on the horn read, "I am Dragonbinder ... No mortal man should sound me and live ... Blood for fire, fire for blood."
Could it work?If the writers introduce Dragonbinder to the series, it could help someone make Dany's dragons turn on each other. And that's likely considering how they've made Euron an influential character and ally to Cersei in season seven. Not sure how a dead person can tell dragons what to do, so we'll see.
See the rest of the story at Business Insider