SUPERSTAR_NAT

[Cinema Tweets @CinemaTweets1]

I fucking love Bruce Willis & I’m so thankful for everything this man has done for Cinema. I think a lot of people undervalued just how good of an actor Willis is, he’s not just a one-note action star. This guy’s charisma? Off the charts. You cannot replicate it. Willis is impossibly great in the Die Hard franchise. Shoutout to one of Cinema’s defining movie stars.

[All The Right Movies @ATRightMovies]

Steven Spielberg refused his salary for SCHINDLER'S LIST. He called profit from the film "blood money" and wouldn't take a single of it. He used his share to found the USC Shoah Foundation, which has since recorded around 55,000 interviews with Holocaust survivors and witnesses.

[Gangster Cinema Central @GangsterCinema]

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography

Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles.

That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness.

Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution.

He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible.

First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky.

Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity.

He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.”

They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image.

The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.

[Cerfia @CerfiaFR]

🇺🇸🎬✨ FLASHBACK | Née le 1er juin 1926 à Los Angeles, Marilyn Monroe aurait eu 100 ans aujourd'hui.

[Brut FR @brutofficiel]

"Ad Astra, ce n'est pas ma version du film, on me l'a retiré"
Vous avez aimé "Ad Astra" avec Brad Pitt ? Son réalisateur James Gray beaucoup moins. Il révèle à Aymeric Goetschy que la version projetée en salle n'est pas la sienne et qu'il renie carrément toute une partie du film…

L'intégralité de cette interview est à retrouver sur notre chaîne YouTube : https://t.co/tnmSRLfzFK

#Cannes2026

[Vashi Nedomansky, ACE @vashikoo]

Hitchcock mixing rear projection and the real location

[old memory @old_memory]

007: Nightfire

[Pokémon Aesthetics @PKMN_twt]

One of the most epic scenes in the Pokemon games

[NBA Top 10 @NBATopTen_]

Top 10 Buzzer Beaters of All Time.

[Pokémon Daily @pokemon_daily]

kids today don't understand..

[videogame music daily BR🇧🇷 @music_videogame]

Adrenaline - Call of Duty: Black Ops II

[360noscope420blazeit 🎮 @360NoScope]

Ranking all Black Ops 1 multiplayer factions

[Pokémon Posts @pokemon_psts]

One of the most legendary cut scenes in Pokémon

[DepressedBergman @DannyDrinksWine]

https://t.co/BTbYlFSp4g
Jamie Lee Curtis recalls how the iconic str!ptease scene in James Cameron's "True Lies" (1994) was filmed & her experience watching this scene with her dad, Tony Curtis in the theater:

"The thing that nobody knows [about the scene]: There was no rehearsal, there is no choreographer. Jim [Cameron] said to me, 'What do you want to dance to?'

It was when John Hiatt's Bring the Family album was out and I said, 'There's a song called 'Alone in the Dark' that has this really funky rhythm, And I said, 'I really like that song.' And that's what they played.

I don't think Jim had seen me in my underwear. We were doing it over and over and over, and it got quieter and quieter.

At one point, Jim walked up and he whispered in my ear, 'If I get a pad, will you let go of the pole?' I said, 'Sure.' So they just wheeled in a little thin mat, on the ground, and we did it again, and I let go."

The scene of her character Helen falling during the steamy dance garnered her "the single biggest laugh [she] will ever get in [her] life."

"It's because Jim knew that the dance was too sexy; it was too real, It started to actually be good, and he knew he needed to break the spell of what the husband had put his wife through. I think we did two takes where I let go of the pole.

[My dad Tony Curtis] was sitting next to me, in Westwood, at the big Fox Theater there, Thousands of people — and you know, it gets really quiet during that sequence, because it's a little sexy.

Then when [Helen] falls and then gets back up, oh my God! The place, it was a huge … because you're anxious. Then the laugh, and it's all Jim. To his great credit, it's all him. He knew, it's a comedy. It's a comedy."

[Jamie Lee Curtis Reveals How Her Iconic Striptease in 'True Lies' Came to Be: 'No Rehearsal', Jen Juneau, People, 2021]

[WAV Archive @WAVArchive]

Call of Duty: Black Ops Multiplayer Menu Music - Sean Murray (2010)

[cinesthetic. @TheCinesthetic]

The entire heist sequence in HEAT is peak cinema.

[WAV Archive @WAVArchive]

Adrenaline - Jack Wall (2012)

[Pokémon Daily Post💫 @PokeDailyPost]

One of the most epic scenes in the Pokemon games

[cinesthetic. @TheCinesthetic]

Christopher Lee once said Pierce Brosnan was the closest to the true James Bond:

“In my opinion—and I think I know as much if not more about Bond than anyone—Pierce Brosnan was by far the best and closest to the character.”

[Taste of Cinema @davidcinema]

The 100 Best Movies That Blur The Line Between Dream/Fantasy and Reality