2008.10.24 20:05 Real Estate Investing
2008.08.13 23:06 Existentialism: Being and Nothingness
2013.10.30 16:32 MasterLawlz Produce My Script: Making scripts come alive
2024.05.20 02:29 RodeoBoss66 Kevin Costner: No Bull, No Compromises
https://www.cowboysindians.com/2024/05/kevin-costner-no-bull-no-compromises/ submitted by RodeoBoss66 to YellowstoneShow [link] [comments] by Joe Leydon May 14, 2024 At the heart of HORIZON: AN AMERICAN SAGA, the prodigiously ambitious and dramatically potent western epic starring and directed by Kevin Costner, there is a scene where the commander of a far-flung 1860s Army post (Danny Huston) explains to a concerned subordinate (Sam Worthington) why, despite the rigors of overland travel by wagon train, and despite the repeated attacks by Indians who are understandably protective of their land, nothing will stop the seemingly endless waves of pioneers bent on settling the West. “These people,” the commander says, not entirely sympathetically, “think that if they’re tough enough, smart enough, and mean enough, all this will be theirs someday. There’s no army of this earth that will stop those wagons coming. Little as they be wanted.” But what will happen when those hearty pioneers see along the sides of the trail the countless graves of those who went before them, and didn’t survive the journey? The commander shrugs. The newcomers will think they’re luckier, and that they’ll survive and thrive. “And you know what?” he adds. “Some of them will.” Costner intends HORIZON as ultimately a series of four films — with the first two opening this summer, June 28 and August 16 — that, while focusing on a roughly 15-year period before and after the Civil War, will dramatize, even-handedly and excitingly, how the allure and promise of new lives in a new land fueled an unshakable belief in what has become known, for better or worse, as Manifest Destiny. Some of the characters journey westward to fulfill dreams. Others move along to escape lives that have become nightmares. And still others — specifically, the Native Americans who inhabit the lands that the settlers covet — must cope with the repeated appearances by these intruders. Some live. Some die. And, yes, some kill. Costner earns his top billing in HORIZON with his meticulously understated yet richly detailed performance as Hayes Ellison, the traditionally laconic western protagonist who never goes looking for trouble — goes out of his way to avoid it, actually — yet finds it follows him like a faithful dog. But he is just first among many in an exceptional ensemble cast that also includes (in Part 1) Sienna Miller, Sam Worthington, Giovanni Ribisi, Jena Malone, Abbey Lee, Michael Rooker, Danny Huston, Luke Wilson, Isabelle Fuhrman, Jeff Fahey, Will Patton, Tatanka Means, Owen Crow Shoe, Ella Hunt, and Jamie Campbell Bower. I caught up with Costner in March — by sheer coincidence, the 33rd anniversary of the night he won Oscar gold as Best Director of Best Picture winner DANCES WITH WOLVES (1990) — just as he was putting the finishing touches on HORIZON: AN AMERICAN SAGA, PART II. Since he’d recently been under so much pressure while making not just one but two epics while avoiding tabloid reports about his possible departure from the popular TV series Yellowstone and the breakup of his 20-year marriage, I figured it might be a great idea to break the ice with a different spin on a predictable question. Cowboys & Indians: So, it’s been quite a while since you directed this actor, Kevin Costner. Since the terrific 2003 western Open Range, *as a matter of fact. Has he learned anything since you last worked with him?* Kevin Costner: [Laughs] It’s really hard to know. I mean, I look at this movie, and the thing that stands out to me is not what I’ve learned, but maybe what I’ve brought to bear in getting it shot in 52 days. I shot DANCES in 106, WYATT EARP (1994) was about 115, and we did this in 52 — and it’s actually as big if not bigger than both of those. C&I: But your lead actor wasn’t one of your problems? Costner: I am a better actor now than I was. I’ve consciously tried to become better — but I typically don’t give myself as much time as the other actors. And it takes somebody else to say, “Why don’t you give yourself another take?” But nobody was indulged on this movie. I didn’t move until I thought I had it. But as I’ve been in that editorial process, I can’t tell you how many times when I’ve seen a scene as I’m editing it, and I think, “Okay, that’s really good. Let’s see the second take.” And I get this dumb look from my editors and they go, “That’s all there is, one take.” And so I’ve got coverage — as you can see, it blends together really well. But we were out there on the razor’s edge trying to get through those days when you’re not doing one scene a day, but doing three. C&I: I think it’s safe to say this has been a labor of love for you. I mean, you have mentioned HORIZON *to me as a dream project several times over the years. And at one point, you even said, “This might even be three movies.” Well, you’ve kind of upped the ante a little bit, haven’t you?* Costner: Well, as Mark Twain said, “He didn’t exaggerate, he just remembered big.” It went to four — what can I say? It’s a labor of love. And the reality is, I don’t fall out of love with something I think is good. I just continue to push it. I mean, the wisdom of having the first one, written in 1988, be essentially rejected — nobody saw any value in it — and me turning around and not putting it in the drawer, but instead come out firing and write four more is kind of ... I don’t know. That’s probably therapy stuff, right? Somebody might say, “Why would you do that?” I mean, conventional wisdom was not allowing this movie to be made. But that being said, my feeling about conventional wisdom is: What if everybody’s wrong? C&I: Do you think if Yellowstone had not come along and become as popular as it has, you might still be out there beating the bushes trying to find somebody to back HORIZON? Costner: No, not at all. Because I used my own money this time. Nobody beat the door down for the four. They rejected all four. I put my own money up. I was just going to do it because I realized I needed to work more. I lost a whole year when we didn’t work on Yellowstone. And I realized that couldn’t happen again. And so I just recommitted myself to HORIZON, essentially burned my ships, and I realized it was time to do this for, really, a lot of reasons. C&I: Such as? Costner: I just thought it was a really good offering. And that’s really what I’m in the business for, to offer up a level of entertainment that gets over my bar, that I think can entertain not only the person watching it opening weekend, but somebody watching it 30 years from now. C&I: How difficult has it been for you to focus on the task at hand, which is in effect making two movies and finishing them to be released in the same year? I don’t have to tell you, you’ve had your personal life in the tabloids. You’ve had your professional life in the tabloids. How do you decide not to talk about the divorce, or Yellowstone, *and simply focus on making this scene match that scene?* Costner: Well, people are going to write what they want to write, and people are responsible for what they say in these things. And I look at what’s being said in many instances, and I know the truth, but I don’t feel the need to try to set the record straight every time there’s something going on. I mean, now I can talk about these things because we’re talking about them within the lines with my movie. I don’t try to live in the press outside of making movies. But when people are saying all these things, you don’t really see me say much. I know what’s true. And you can read between the lines. Like, you never thought I’m really a person who only wanted to work one week [on Yellowstone]? You don’t believe that was true? C&I: [Laughs] No, Kevin, I really don’t. Costner: So, I could tell you exactly how that came about, but that’s simply not the truth. And I’m always kind of disappointed that people can’t set the record straight. That’s just simply not true. I had given Yellowstone 25 days in November and December [of 2022], 25 days of my shooting, but the scripts never came. I gave them the month of March per a contract, and the scripts didn’t come. So, I really am going to make my movie, because I have 300 people waiting. So, I said, “Look, I will stop for a week before I start to shoot. And if you want to kill me, or you want to do something elegant for the show, because I love the show — I’ll give you a week.” So for them to take that gesture, and that’s all that was — and look, I don’t know any director that would take a week off before he started shooting, but I gave them the most valuable thing I had, which was time, three different times. And to turn around and use that as a statement against me is disappointing. And it was disappointing that nobody on that side would come out and say, “That’s just simply not true. He offered that as a gesture when we couldn’t figure out how to do things.” C&I: So basically what you’re saying is because of the Yellowstone *production delays ...* Costner: Let’s get the scripts, let’s go do it. But it’s hard to write that much. And there’s a tremendous load on [producer and series co-creator Taylor Sheridan], but I have to take care of myself. Make no mistake, I love Yellowstone. I love the people that love it. I wanted to keep making that and making this movie. I didn’t do HORIZON because I wasn’t doing Yellowstone anymore. I did HORIZON because I wanted to do HORIZON while I was doing Yellowstone. Yellowstone had a first position, and in each instance, it was negotiated for. I gave them a preferential spot every time. Every time. So I felt like I needed somebody on that side to speak up and say that version, and they never did. I don’t know why. I don’t know why that was so hard. It just confused the cast and it confused the people who love the show. C&I: While we’re talking, they still haven’t started filming the final Season 5 episodes of Yellowstone. *Is it reasonable to expect you’ll make some sort of appearance in at least one of them?* Costner: I don’t know that it’s reasonable. I know I’m open to it, but I don’t know that it’s reasonable to think that it can happen. I don’t have anything to do with how they are doing things. I like the character. I’d love to see it go on. I’d love for it to continue to be inventive. C&I: Let’s get back to HORIZON. Back when I interviewed you for our cover story on OPEN RANGE (2003), you mentioned that HOW THE WEST WAS WON (1962) was one of your all-time favorite westerns, not only because it had spectacle, but a love story as well. How much did HOW THE WEST WAS WON influence you while making HORIZON *?* Costner: Well, I saw HOW THE WEST WAS WON when I was seven. And I think if it could engage a 7-year-old boy to not look at his watch, and be able to watch the screen on his own, it just informed me that if things are interesting, if they’re compelling, if the screen picture is continuing to change and when it changes, it changes to something equally interesting, and then it starts to form a weave and suddenly these things that you were willing to watch on an individual basis began to somehow get closer and closer together, and then all of a sudden you see intersections — I love that kind of storytelling. And that’s what I have tried to do with HORIZON. C&I: So you finished the first two, is that correct? Or are you still editing the second film? Costner: Yeah, I’m looking to finish the montage for the end of [PART] 2. Just the way you saw a montage happen at the end of [PART] 1 — it advances things — this material has to be pulled from [PART] 3. So I was actually writing [PART] 3 when I walked over here to talk with you. I was starting to bend the scene to my will. C&I: When will you know for certain you can go ahead with [PARTS] 3 and 4? Costner: Well, you know for certain I’m going to make them. C&I: There you go, C&I readers! You’ve heard it straight from Kevin Costner himself! Costner: [Laughs] But it’s not an easy task to go out and find that kind of money. I’ve run out of property I can mortgage. I mean, I see where it says something like I have $20 million into the film, right? You’ve read that. C&I: Yes, but ... Costner: Well, it’s not — it’s $38 million, okay? Cash. It’s $38 million. And if it has to be, it will be more. You might ask yourself, “A person who writes [PART] 4 when no one liked [PART] 1? What is it going to take for you to get the message?” But to me, it’s like, I will look and see what I own and maybe keep a few things that I won’t forfeit, but I don’t want to hold onto things so tight that I can’t accomplish the things I want to accomplish. Maybe the reason I have some nice things that I could risk is because this is the life I chose, and so I can identify the amount of things I need, what my family needs. But some of these other things, for as much as I’ve worked for them, and hard, I’m also not going to be a slave and hold onto them and let something else that I’m trying to do suffer when they’re sitting right there. You could, biblically speaking, look at them and go, that’s why they were there. And I’m not going to lose it. I’m going to make it. I’m going to look at those graves where those people are on the side of the road, and I’m not going to be with them, Joe. I’m going to get there. This cover story appeared in our July 2024 issue. PHOTOGRAPHY: Richard Foreman, Courtesy Warner Bros. Pictures |
2024.05.20 02:29 Expert_Individual204 Scream (1996)
2024.05.20 02:26 webistrying [US-VA][H] Marvel Premiere Classics in Hardcover, Days of Future Past OHC, Batman Deluxes, Fourth World Omnis, Flashpoint Omnis, Irredeemable Trilogy Deluxe, and More [W] PayPal, Trades
2024.05.20 02:25 RodeoBoss66 Kevin Costner: No Bull, No Compromises
https://www.cowboysindians.com/2024/05/kevin-costner-no-bull-no-compromises/ submitted by RodeoBoss66 to YellowstonePN [link] [comments] by Joe Leydon May 14, 2024 At the heart of HORIZON: AN AMERICAN SAGA, the prodigiously ambitious and dramatically potent western epic starring and directed by Kevin Costner, there is a scene where the commander of a far-flung 1860s Army post (Danny Huston) explains to a concerned subordinate (Sam Worthington) why, despite the rigors of overland travel by wagon train, and despite the repeated attacks by Indians who are understandably protective of their land, nothing will stop the seemingly endless waves of pioneers bent on settling the West. “These people,” the commander says, not entirely sympathetically, “think that if they’re tough enough, smart enough, and mean enough, all this will be theirs someday. There’s no army of this earth that will stop those wagons coming. Little as they be wanted.” But what will happen when those hearty pioneers see along the sides of the trail the countless graves of those who went before them, and didn’t survive the journey? The commander shrugs. The newcomers will think they’re luckier, and that they’ll survive and thrive. “And you know what?” he adds. “Some of them will.” Costner intends HORIZON as ultimately a series of four films — with the first two opening this summer, June 28 and August 16 — that, while focusing on a roughly 15-year period before and after the Civil War, will dramatize, even-handedly and excitingly, how the allure and promise of new lives in a new land fueled an unshakable belief in what has become known, for better or worse, as Manifest Destiny. Some of the characters journey westward to fulfill dreams. Others move along to escape lives that have become nightmares. And still others — specifically, the Native Americans who inhabit the lands that the settlers covet — must cope with the repeated appearances by these intruders. Some live. Some die. And, yes, some kill. Costner earns his top billing in HORIZON with his meticulously understated yet richly detailed performance as Hayes Ellison, the traditionally laconic western protagonist who never goes looking for trouble — goes out of his way to avoid it, actually — yet finds it follows him like a faithful dog. But he is just first among many in an exceptional ensemble cast that also includes (in Part 1) Sienna Miller, Sam Worthington, Giovanni Ribisi, Jena Malone, Abbey Lee, Michael Rooker, Danny Huston, Luke Wilson, Isabelle Fuhrman, Jeff Fahey, Will Patton, Tatanka Means, Owen Crow Shoe, Ella Hunt, and Jamie Campbell Bower. I caught up with Costner in March — by sheer coincidence, the 33rd anniversary of the night he won Oscar gold as Best Director of Best Picture winner DANCES WITH WOLVES (1990) — just as he was putting the finishing touches on HORIZON: AN AMERICAN SAGA, PART II. Since he’d recently been under so much pressure while making not just one but two epics while avoiding tabloid reports about his possible departure from the popular TV series Yellowstone and the breakup of his 20-year marriage, I figured it might be a great idea to break the ice with a different spin on a predictable question. Cowboys & Indians: So, it’s been quite a while since you directed this actor, Kevin Costner. Since the terrific 2003 western Open Range, *as a matter of fact. Has he learned anything since you last worked with him?* Kevin Costner: [Laughs] It’s really hard to know. I mean, I look at this movie, and the thing that stands out to me is not what I’ve learned, but maybe what I’ve brought to bear in getting it shot in 52 days. I shot DANCES in 106, WYATT EARP (1994) was about 115, and we did this in 52 — and it’s actually as big if not bigger than both of those. C&I: But your lead actor wasn’t one of your problems? Costner: I am a better actor now than I was. I’ve consciously tried to become better — but I typically don’t give myself as much time as the other actors. And it takes somebody else to say, “Why don’t you give yourself another take?” But nobody was indulged on this movie. I didn’t move until I thought I had it. But as I’ve been in that editorial process, I can’t tell you how many times when I’ve seen a scene as I’m editing it, and I think, “Okay, that’s really good. Let’s see the second take.” And I get this dumb look from my editors and they go, “That’s all there is, one take.” And so I’ve got coverage — as you can see, it blends together really well. But we were out there on the razor’s edge trying to get through those days when you’re not doing one scene a day, but doing three. C&I: I think it’s safe to say this has been a labor of love for you. I mean, you have mentioned HORIZON *to me as a dream project several times over the years. And at one point, you even said, “This might even be three movies.” Well, you’ve kind of upped the ante a little bit, haven’t you?* Costner: Well, as Mark Twain said, “He didn’t exaggerate, he just remembered big.” It went to four — what can I say? It’s a labor of love. And the reality is, I don’t fall out of love with something I think is good. I just continue to push it. I mean, the wisdom of having the first one, written in 1988, be essentially rejected — nobody saw any value in it — and me turning around and not putting it in the drawer, but instead come out firing and write four more is kind of ... I don’t know. That’s probably therapy stuff, right? Somebody might say, “Why would you do that?” I mean, conventional wisdom was not allowing this movie to be made. But that being said, my feeling about conventional wisdom is: What if everybody’s wrong? C&I: Do you think if Yellowstone had not come along and become as popular as it has, you might still be out there beating the bushes trying to find somebody to back HORIZON? Costner: No, not at all. Because I used my own money this time. Nobody beat the door down for the four. They rejected all four. I put my own money up. I was just going to do it because I realized I needed to work more. I lost a whole year when we didn’t work on Yellowstone. And I realized that couldn’t happen again. And so I just recommitted myself to HORIZON, essentially burned my ships, and I realized it was time to do this for, really, a lot of reasons. C&I: Such as? Costner: I just thought it was a really good offering. And that’s really what I’m in the business for, to offer up a level of entertainment that gets over my bar, that I think can entertain not only the person watching it opening weekend, but somebody watching it 30 years from now. C&I: How difficult has it been for you to focus on the task at hand, which is in effect making two movies and finishing them to be released in the same year? I don’t have to tell you, you’ve had your personal life in the tabloids. You’ve had your professional life in the tabloids. How do you decide not to talk about the divorce, or Yellowstone, *and simply focus on making this scene match that scene?* Costner: Well, people are going to write what they want to write, and people are responsible for what they say in these things. And I look at what’s being said in many instances, and I know the truth, but I don’t feel the need to try to set the record straight every time there’s something going on. I mean, now I can talk about these things because we’re talking about them within the lines with my movie. I don’t try to live in the press outside of making movies. But when people are saying all these things, you don’t really see me say much. I know what’s true. And you can read between the lines. Like, you never thought I’m really a person who only wanted to work one week [on Yellowstone]? You don’t believe that was true? C&I: [Laughs] No, Kevin, I really don’t. Costner: So, I could tell you exactly how that came about, but that’s simply not the truth. And I’m always kind of disappointed that people can’t set the record straight. That’s just simply not true. I had given Yellowstone 25 days in November and December [of 2022], 25 days of my shooting, but the scripts never came. I gave them the month of March per a contract, and the scripts didn’t come. So, I really am going to make my movie, because I have 300 people waiting. So, I said, “Look, I will stop for a week before I start to shoot. And if you want to kill me, or you want to do something elegant for the show, because I love the show — I’ll give you a week.” So for them to take that gesture, and that’s all that was — and look, I don’t know any director that would take a week off before he started shooting, but I gave them the most valuable thing I had, which was time, three different times. And to turn around and use that as a statement against me is disappointing. And it was disappointing that nobody on that side would come out and say, “That’s just simply not true. He offered that as a gesture when we couldn’t figure out how to do things.” C&I: So basically what you’re saying is because of the Yellowstone *production delays ...* Costner: Let’s get the scripts, let’s go do it. But it’s hard to write that much. And there’s a tremendous load on [producer and series co-creator Taylor Sheridan], but I have to take care of myself. Make no mistake, I love Yellowstone. I love the people that love it. I wanted to keep making that and making this movie. I didn’t do HORIZON because I wasn’t doing Yellowstone anymore. I did HORIZON because I wanted to do HORIZON while I was doing Yellowstone. Yellowstone had a first position, and in each instance, it was negotiated for. I gave them a preferential spot every time. Every time. So I felt like I needed somebody on that side to speak up and say that version, and they never did. I don’t know why. I don’t know why that was so hard. It just confused the cast and it confused the people who love the show. C&I: While we’re talking, they still haven’t started filming the final Season 5 episodes of Yellowstone. *Is it reasonable to expect you’ll make some sort of appearance in at least one of them?* Costner: I don’t know that it’s reasonable. I know I’m open to it, but I don’t know that it’s reasonable to think that it can happen. I don’t have anything to do with how they are doing things. I like the character. I’d love to see it go on. I’d love for it to continue to be inventive. C&I: Let’s get back to HORIZON. Back when I interviewed you for our cover story on OPEN RANGE (2003), you mentioned that HOW THE WEST WAS WON (1962) was one of your all-time favorite westerns, not only because it had spectacle, but a love story as well. How much did HOW THE WEST WAS WON influence you while making HORIZON *?* Costner: Well, I saw HOW THE WEST WAS WON when I was seven. And I think if it could engage a 7-year-old boy to not look at his watch, and be able to watch the screen on his own, it just informed me that if things are interesting, if they’re compelling, if the screen picture is continuing to change and when it changes, it changes to something equally interesting, and then it starts to form a weave and suddenly these things that you were willing to watch on an individual basis began to somehow get closer and closer together, and then all of a sudden you see intersections — I love that kind of storytelling. And that’s what I have tried to do with HORIZON. C&I: So you finished the first two, is that correct? Or are you still editing the second film? Costner: Yeah, I’m looking to finish the montage for the end of [PART] 2. Just the way you saw a montage happen at the end of [PART] 1 — it advances things — this material has to be pulled from [PART] 3. So I was actually writing [PART] 3 when I walked over here to talk with you. I was starting to bend the scene to my will. C&I: When will you know for certain you can go ahead with [PARTS] 3 and 4? Costner: Well, you know for certain I’m going to make them. C&I: There you go, C&I readers! You’ve heard it straight from Kevin Costner himself! Costner: [Laughs] But it’s not an easy task to go out and find that kind of money. I’ve run out of property I can mortgage. I mean, I see where it says something like I have $20 million into the film, right? You’ve read that. C&I: Yes, but ... Costner: Well, it’s not — it’s $38 million, okay? Cash. It’s $38 million. And if it has to be, it will be more. You might ask yourself, “A person who writes [PART] 4 when no one liked [PART] 1? What is it going to take for you to get the message?” But to me, it’s like, I will look and see what I own and maybe keep a few things that I won’t forfeit, but I don’t want to hold onto things so tight that I can’t accomplish the things I want to accomplish. Maybe the reason I have some nice things that I could risk is because this is the life I chose, and so I can identify the amount of things I need, what my family needs. But some of these other things, for as much as I’ve worked for them, and hard, I’m also not going to be a slave and hold onto them and let something else that I’m trying to do suffer when they’re sitting right there. You could, biblically speaking, look at them and go, that’s why they were there. And I’m not going to lose it. I’m going to make it. I’m going to look at those graves where those people are on the side of the road, and I’m not going to be with them, Joe. I’m going to get there. This cover story appeared in our July 2024 issue. PHOTOGRAPHY: Richard Foreman, Courtesy Warner Bros. Pictures |
2024.05.20 02:11 wildcatblu On Borrowed Time Chapter 20 of 27: Aconite
Art by me :) submitted by wildcatblu to Dramione [link] [comments] Read Chapter 20 Read Chapter 1 After a devastating defeat in the Battle of Hogwarts, Hermione is one of only two members of the Order to survive. Taken prisoner and forced to await certain torture and death, she must explore the only remaining way to change the fate of the war: the past. Unfortunately, time is a very fickle thing.Time Travel ◦ Timeline Alteration ◦ Hidden Identity ◦ Wandless Magic ◦ Secrets ◦ Hurt/Comfort ◦ Enemies to Lovers ◦ Medium Burn ◦ Inspired by La Jeteé (1962) ◦ Angst with Eventual HEA ◦ Voldemort Wins Excerpt from this week's chapter: This stiff, proper Malfoy was a little unnerving, but she followed his lead anyway. The travel parlour opened into a grand entry hall with a staircase that swerved elegantly into the centre of the room. She could just imagine the pureblood rejoicing and Death Eater merrymaking that had taken (or would take?) place there at the Gala, but pushed the thought from her mind. Slightly monotone, Malfoy showcased each giant tapestry that hung in between ever more cathedral windows, whose embroidered animals jumped to and fro in excitement at having someone look at them. Waxwings, fieldfares, and starlings fluttered from branch to branch in a snowy triptych that put the outside world to shame in wintertime cheer. Fawns, does, and enormous eighteen-pointed bucks regarded Hermione coolly from their meadow scene, swaying their heads to watch her go by. Underwater, a sturgeon thrashed about, surrounded by abundant cod and haddock. Malfoy had stopped talking and stood, watching her. Hermione caught his eye and realised it might have been her turn to say something on the tour evidently scripted by Narcissa Malfoy. “They’re beautiful. How long have these been in your family?” That was apparently not why he’d stopped with the narration, as he replied, “It was only a shopkeeper. In Hogsmeade. You didn’t have to leave.” |
2024.05.20 02:07 SanderSo47 Directors at the Box Office: Clint Eastwood (Part 2)
https://preview.redd.it/va70nf0l3h1d1.png?width=1920&format=png&auto=webp&s=021d936ee0a724ca428d8559f5823592404d1822 submitted by SanderSo47 to boxoffice [link] [comments] As Reddit doesn't allow posts to exceed 40,000 characters, Eastwood's edition had to be split into two parts because his whole career cannot be ignored. The first part was posted yesterday.Million Dollar Baby (2004)¨"Beyond his silence, there is a past. Beyond her dreams, there is a feeling. Beyond hope, there is a memory. Beyond their journey, there is a love."His 25th film. Based on stories from the 2000 collection Rope Burns: Stories from the Corner by F.X. Toole, it stars Eastwood, Hilary Swank and Morgan Freeman. The film follows Margaret "Maggie" Fitzgerald, an underdog amateur boxer who is helped by an underappreciated boxing trainer to achieve her dream of becoming a professional. Paul Haggis wrote the script on spec, and it took four years to sell it. The film was stuck in development hell for years before it was shot. Several studios rejected the project even when Eastwood signed on as actor and director. Even Warner Bros., Eastwood's longtime home base, would not agree to a $30 million budget. Eastwood persuaded Lakeshore Entertainment's Tom Rosenberg to put up half the budget (as well as handle foreign distribution), with Warner Bros. contributing the rest. The film had an incredible run in limited release, breaking many records for Eastwood's career. It eventually earned a fantastic $216 million worldwide, becoming his highest grossing film ever. It received critical acclaim, and it was named as one of his greatest films. It won four Oscars: Best Picture, Best Director, Best Actress (for Swank), and Best Supporting Actor (for Freeman). Eastwood became one of the very few directors to make two films to win both Best Picture and Best Director.
Flags of Our Fathers (2006)"A single shot can end the war."His 26th film. Based on the book written by James Bradley and Ron Powers, it stars Ryan Phillippe, Jesse Bradford, Adam Beach, John Benjamin Hickey, John Slattery, Paul Walker, Jamie Bell, Barry Pepper, Robert Patrick and Neal McDonough. The film follows the 1945 Battle of Iwo Jima, the five Marines and one Navy corpsman who were involved in raising the flag on Iwo Jima, and the after effects of that event on their lives. The film received positive reviews, but it bombed at the box office with just $65 million against its huge $90 million budget.
Letters from Iwo Jima (2006)"The completion of the Iwo Jima saga."His 27th film. Based on Picture Letters from Commander in Chief by Tadamichi Kuribayashi, it stars Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryō Kase and Shidō Nakamura. It's a companion film to Flags of Our Fathers, and portrays the Battle of Iwo Jima from the perspective of the Japanese soldiers. In the process of reading about the Japanese perspective of the war for Flags of Our Fathers, in particular General Tadamichi Kuribayashi, Eastwood decided to film a companion piece with this film, which was shot entirely in Japanese. The film was shot back-to-back, starting filming just one month after Flags of Our Fathers wrapped filming. Despite being seen as the least accessible of both films, this film was much more successful at the box office than the previous film (including a colossal $42 million in Japan alone). It also received critical acclaim, particularly for how it handed the depiction of good and evil from both sides. It received 4 Oscar nominations, including Best Picture and Best Director.
Changeling (2008)"To find her son, she did what no one else dared."His 28th film. It stars Angelina Jolie and John Malkovich, and is based on real-life events, specifically the 1928 Wineville Chicken Coop murders in Mira Loma, California. It follows a woman united with a boy who she realizes is not her missing son. When she tries to demonstrate that to the police and city authorities, she is vilified as delusional, labeled as an unfit mother and confined to a psychiatric ward. The film earned $113 million worldwide, barely breaking even at the box office. The film received mixed reviews, but Jolie received praise for her performance. She was nominated for the Oscar for Best Actress.
Gran Torino (2008)"Ever come across somebody you shouldn't have messed with?"His 29th film. It stars Eastwood, and follows Walt Kowalski, a recently widowed Korean War veteran alienated from his family and angry at the world, whose young neighbor, Thao Vang Lor, is pressured by his cousin into stealing Walt's prized Ford Torino for his initiation into a gang. Walt thwarts the theft and subsequently develops a relationship with the boy and his family. The film received great reviews, as well as praise from the Hmong community. It ended up becoming a sleeper hit, and it earned $270 million worldwide, becoming his highest grossing film.
Invictus (2009)"His people needed a leader. He gave them a champion."His 30th film. It stars Morgan Freeman and Matt Damon. Following the aftermath of the apartheid, President Nelson Mandela decides to unite his people by supporting a rugby team in their bid to win the 1995 Rugby World Cup. The film earned $122 million worldwide, barely breaking even. It received positive reviews, and Freeman and Damon received Oscar nominations for their performances.
Hereafter (2010)"Touched by death. Changed by life."His 31st film. It stars Matt Damon, Cécile de France, Bryce Dallas Howard, Lyndsey Marshal, Jay Mohr and Thierry Neuvic. An American with a special connection to the afterlife, a woman with a near-death experience and a young English boy, who lost his loved ones, cross paths in an effort to find closure in their lives. Despite mixed reviews, it managed to earn $107 million, turning a small profit.
J. Edgar (2011)"The most powerful man in the world."His 32nd film. The film stars Leonardo DiCaprio, Armie Hammer, Naomi Watts, Josh Lucas, and Judi Dench, and follows the career of FBI director J. Edgar Hoover, focusing on Hoover's life from the 1919 Palmer Raids onward. The film received mixed reviews; while DiCaprio received praise, the technical aspects of the film were criticized. It earned $84 million, making it a box office success, but far below what DiCaprio usually makes at the box office.
Jersey Boys (2014)"Everybody remembers it how they need to."His 33rd film. Base on the 2004 jukebox musical, it stars John Lloyd Young, Erich Bergen, Michael Lomenda, Vincent Piazza and Christopher Walken, and tells the story of the musical group The Four Seasons. It received mixed reviews, with praise for the musical numbers but criticism for the narrative and runtime, and failed at the box office.
American Sniper (2014)"The most lethal sniper in U.S. history."His 34th film. It is based on the memoir by Chris Kyle, Scott McEwen and Jim DeFelice, and stars Bradley Cooper and Sienna Miller. The film follows the life of Kyle, who became the deadliest marksman in U.S. military history with 255 kills from four tours in the Iraq War, 160 of which were officially confirmed by the Department of Defense. While Kyle was celebrated for his military successes, his tours of duty took a heavy toll on his personal and family life. In 2012, Cooper and Warner Bros. bought the rights to the memoir. Cooper wanted Chris Pratt to star as Kyle, but WB told him they would only greenlight the film if he stars in it. After Kyle's murder in 2013, Steven Spielberg signed to direct. Spielberg had read Kyle's book, though he desired to have a more psychological conflict present in the screenplay so an "enemy sniper" character could serve as the insurgent sharpshooter who was trying to track down and kill Kyle. Spielberg's ideas contributed to the development of a lengthy screenplay approaching 160 pages. Due to Warner Bros.' budget constraints, Spielberg felt he could not bring his vision of the story to the screen. So Eastwood was brought in to direct. The film attained a solid, but not extraordinary response from critics. It also attracted some controversy over its portrayal of both the Iraq War and Kyle himself. The box office though? To say that the film had a fantastic run would be selling it short. It opened on Christmas Day in 4 theaters, and it earned a huge $633,456 ($158,364 PTA). But the following weekend, it actually increased despite playing at the same amount of theaters, adding $676,909. That translated to a $169,227 PTA, becoming the highest second weekend PTA in history for a live-action film. And on its third weekend, it earned $579,518 ($144,879 PTA), becoming the first film to have three weekends above $100,000 PTA. In the 22 days it played in just 4 theaters, it earned $3,424,778. On its first wide weekend, the film shook the industry by opening with a colossal $89 million. That was almost as much as the other 2014 blockbusters, and given that the film didn't have 3D pricing, it's very likely it sold far more tickets than them. It broke the January opening weekend record by twice as much, and the second biggest for an R-rated title. With insane word of mouth ("A+" on CinemaScore), this film had the legs. In less than one week, it became Eastwood's highest grossing film domestically. On its second weekend, it dropped just 28% and made $64 million, which was the biggest second weekend for an R-rated film (a record it still maintains) and crossed $200 million domestically. And by March, the film overtook The Hunger Games: Mockingjay – Part 1 ($334 million) as the highest grossing 2014 film in North America. After an insane run in theaters, it closed with a gigantic $350 million domestically, which made it the second highest grossing R-rated film in North America. Overseas, it was also very strong, and it made a huge $547 million worldwide. It was easily Eastwood's highest grossing film, even adjusted for inflation. One of the greatest box office runs in recent memory. It received six Oscar nominations, including Best Picture, Best Adapted Screenplay, and Best Actor for Cooper, ultimately winning one for Best Sound Editing. The biggest surprise of the 2010s? Perhaps. Cause let's face it, when 2014, did any of you had this as the top film of the year? Or even in the Top 20? Please.
Sully (2016)"The untold story behind the miracle on the Hudson."His 35th film. Based on the autobiography Highest Duty by Chesley "Sully" Sullenberger and Jeffrey Skiles, it stars Tom Hanks, Aaron Eckhart, Laura Linney, Anna Gunn, Autumn Reeser, Holt McCallany, and Jamey Sheridan. The film follows Sullenberger's 2009 emergency landing of US Airways Flight 1549 on the Hudson River, in which all 155 passengers and crew survived and the subsequent publicity and investigation. The film received strong reviews, and earned over $240 million worldwide, becoming one of his highest grossing films.
The 15:17 to Paris (2018)"The real heroes."His 36th film. Based on the autobiography by Jeffrey E. Stern, Spencer Stone, Anthony Sadler, and Alek Skarlatos, it stars Stone, Sadler, and Skarlatos as themselves and follows the trio through life leading up to and including their stopping of the 2015 Thalys train attack. Despite choosing Kyle Gallner, Jeremie Harris and Alexander Ludwig as the leads, Eastwood decided to cast the heroes to play themselves, which was met with confusion as they lacked acting experience. And that was reflected on the final film; it received negative reviews for its acting, and it bombed at the box office.
The Mule (2018)"Nobody runs forever."His 37th film. Based on the 2014 The New York Times article The Sinaloa Cartel's 90-Year-Old Drug Mule by Sam Dolnick, it stars Eastwood, Bradley Cooper, Laurence Fishburne, Michael Peña, Dianne Wiest, and Andy García. Due to financial issues, horticulturist Earl Stone becomes a courier for a drug cartel. Slowly, he grows closer to his estranged family, but his illegal activities threaten much more than his life. It received good reviews (although some questioned its story and tone), and earned over $173 million worldwide.
Richard Jewell (2019)"The world will know his name and the truth."His 38th film. The film stars Paul Walter Hauser, Sam Rockwell, Kathy Bates, Jon Hamm, and Olivia Wilde. The film depicts the July 27 Centennial Olympic Park bombing and its aftermath, as security guard Richard Jewell finds a bomb during the 1996 Summer Olympics in Atlanta, Georgia, and alerts authorities to evacuate, only to later be wrongly accused of having placed the device himself. The film received positive reviews, but several journalists criticized the critical portrayal of the reporter that first accused Jewell: Kathy Scruggs (specifically for trading sex for stories). The film marked another commercial failure for Eastwood.
Cry Macho (2021)"A story of being lost and found."His 39th film. Based on the novel by N. Richard Nash, it stars Eastwood and Dwight Yoakam. Set in 1979, it follows a former rodeo star hired to reunite a young boy in Mexico with his father in the United States. Nash tried to get this film made all the way since 1970s, but no studio was willing to pick it up. He restructured his films as a novel, was successful and studios were now interested. There were a few candidates for the leading role; Robert Mitchum, Roy Scheider, Arnold Schwarzenegger and Eastwood himself. Arnie was willing to star in the film back in 2003, but put it on hold when he was elected Governor. He was set to star after leaving office, but the project was scrapped after his affair scandal was made known. In 2020, Eastwood signed to return. The film received mixed reviews, particularly for its writing and acting. It was also a huge flop at the box office, and marked Eastwood's least attended film as leading man. David Zaslav criticized the studio's decision to finance the film. Warner executives allegedly said that although they knew the film was unlikely to turn a profit, they felt indebted to Eastwood for his decades-long relationship with the studio and his consistent ability to deliver films under budget and on time.
The FutureHe recently wrapped post-production on his 40th film, Juror No. 2. It stars Nicholas Hoult, Toni Collette, Zoey Deutch, Leslie Bibb, Chris Messina, J. K. Simmons and Kiefer Sutherland, and follows a juror serving on a murder trial who realizes he may be at fault for the victim's death.MOVIES (FROM HIGHEST GROSSING TO LEAST GROSSING)
The VerdictInsanely profitable.Even the bombs do not taint this kind of reputation. Eastwood has made all these films under budget and never past its deadline. That's something that has to be treasured for studios, no wonder he's been staying with Warner Bros. since 1976. His ability to get films ready in short notice is impressive; Richard Jewell started filming in June and it was on theaters in December. One of the most impressive actors who transitioned into directors. You can tell that Sergio Leone and Don Siegel taught him well. Now of course, his method of directing can also have its setbacks: he's often known for not asking for multiple takes and he skips rehearsals. So that means the performances of his actors aren't always the best they could've done. Which is why, despite making some masterpieces or fantastic films, he's also made a few films with weak technical aspects: poor lighting (J. Edgar), questionable logic (Cry Macho), obvious props (the fake baby in American Sniper), and some bad acting (Gran Torino and The 15:17 to Paris). At the same time, it's clear he can also get extraordinary performances through these methods; Gene Hackman, Sean Penn, Tim Robbins, Hilary Swank and Morgan Freeman won Oscars for starring in his films. He also proved old age doesn't prevent you from continuing to work. He's turning 94 in a few weeks, and he's still directing films. Manoel de Oliveira directed films until he was 104, so perhaps we still have a few more years with Eastwood behind the camera. P.S. Ever since I started this series, there's been suggestions that I should do "Actors at the Box Office" multiple times. While the idea is intriguing, that doesn't seem feasible for me. I'd have to categorize whether the actor is leading, supporting, original IP, adaptation, remakes, etc. Besides, with the continuing decline of star power, it's tough to decide what actor is truly moving the needle at the box office. That's why I'm making solely "Directors at the Box Office", because the director is responsible for the production. If the film succeeds, the director will get credit. And if the film flops, the director will be blamed. So this is the closest you'll get to "Actors at the Box Office". Hope you liked this edition. You can find this and more in the wiki for this section. The next director will be Robert Zemeckis. One of the biggest falls from grace. I asked you to choose who else should be in the run and the comment with the most upvotes would be chosen. It had to be a controversial filmmaker. Well, we'll later talk about... Zack Snyder. Oh, BoxOffice chose fuego 🔥 This is the schedule for the following four:
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2024.05.20 01:17 MerkadoBarkada PSE suspends PNX, C, and INFRA; Zobels sell remaining MWC holdings; TC24: Introducing MB's Trading Cup 2024 team!; The Trading Cup competition; Meet Matthew, Jenny, and Sef; Good luck team!; Alternergy's first public Q&A (Monday, May 20)
MB is written and distributed every trading day. The newsletter is 100% free and I never upsell you to some "iNnEr cIrClE" of paid-membership perks. Everyone gets the same! Join the barkada by signing up for the newsletter, or follow me on Twitter. You can also read my daily Morning Halo-halo content on Philstar.com in the Stock Commentary section.
- [UPDATE] PNX, C, and INFRA suspended for failure to submit Annual Reports... The PSE issued suspensions to three companies [link] prior to the open of trade on Friday morning for failure to submit FY23 Annual Reports. The three companies suspended are Phoenix Petroleum [PNX 4.17 ▼0.2%; 0% avgVol], Chelsea Logistics [C 1.30 ▲4.0%; 0% avgVol], and Philippine Infradev [INFRA 0.53 ▲1.9%; 0% avgVol]. AgriNurture [ANI 0.62 ▲8.8%; 305% avgVol] narrowly avoided suspension by submitting its Annual Report 38 minutes before the PSE’s suspension deadline. The ANI FY23 Annual Report disclosure erroneously reports a net income improvement of 1560% to ₱146 million, instead of a ₱146 million net loss, perhaps this oversight comes from a behind-the-scenes race to submit before the deadline.
- MB: I’m married to an accountant who did the auditing grind for years, so I know that it’s not easy to put these reports together; they’re complex and knock-ons from problems in any of the subsidiaries can cause problems that ripple up the chain and back down. That being said, producing these annual reports is something of a bare-minimum condition of public corporate life. Every management group rides its accounting department and its auditing team into the dirt to get its quarterly and annual reports out on time. I don’t have any inside knowledge into why PNX, C, and INFRA are in this position, but I listen to the silence from these management groups. Good teams communicate with their minority shareholders in times of uncertainty, and a trading suspension is a time of great uncertainty for retail investors.
- [NEWS] **Ayala Corp sells remains of its MWC holdings to Enrique Razon for ₱14.5-B... Ayala Corp [AC 620.00 ▲1.3%; 131% avgVol] [link] disclosed that its subsidiaries, Michigan Holdings and Philwater Holdings, would sell their combined holdings in Manila Water Company [MWC 26.60 ▼1.5%; 123% avgVol] to Trident Water Company Holdings (TWC), which is owned by MWC’s current owner, Enrique Razon. The combined value of the two sales to TWC is ₱14.5 billion. The block of shares coming to TWC through Michigan Holdings was already processed and paid-for (~₱12.9 billion), and the remaining ₱1.6 billion worth of shares from Philwater Holdings will be purchased in installments over the next five years. AC confirmed that it will have no post-transaction common share interest in MWC, and that its voting stake will be “nil”.
- MB: In a weird way, the transfer of ownership and control of MWC from the Zobel Family to the Razon Family is one of the only lasting “achievements” of the Duterte administration. I put “achievements” in quotation marks because it’s not clear how the President’s overreach into the public markets benefitted anyone other than the obvious (MWC’s current owner). As longtime readers of MB will know I have a deep respect for Mr. Razon’s business acumen and operational quality, but I don’t know that MWC customers have necessarily felt any change as a result of this transfer, and I don’t know that minority shareholders have felt any change either. So maybe it was just Mr. Razon in the right place at the right time while Duterte rode the media waves of threatening the Zobels with death and dismemberment? Yeah, it was a weird time.
- [TC24] Introducing MB’s Trading Cup 2024 team!...Merkado Barkada** is sponsoring a team of three traders to compete in Trading Cup 2024 hosted by Investa, where hundreds of traders will be competing for up to ₱640k in total prizes based on their trading performance with ₱300k in virtual currency across the PSE, US markets, and crypto markets. This is a long competition (it runs from April 22 through July 26), so we will follow the members of Team MB throughout the contest to check in on what’s working, what’s not working, and what it’s like on the front-lines of the country’s largest trading tournament. Let’s meet the team!
- “Hi I’m Matthew. I’m a project manager in network engineering in the telecommjnications industry and an agency leader in one of the top global brands in insurance. I have been trading since 2016. Though I like momentum trading, I found more success in position trading because it is less volatile since I can only check my open positions during my free time.” Matthew is 37 and lives in Paranaque. Trading experience: PSE (8 years), US (1 year), CRYPTO (1 year).*
- “Hi I'm Jennelyn. I'm a Civil Engineer by profession in a government organization. I started trading back in 2020 for a year. I was reckless back then, but I've learned a lot, I'd say. I stopped trading in 2021 to focus on my career and I shifted my trading journey to learning first. Now with the Trading Cup I've found another motivation to push through. I tried day trading, and it was really frustrating and draining, so this time I'm doing swing trading through price action and volume.
- “My name is Sef. I'm currently in college studying Management. I've been mostly self-taught but over the years I took a lot of learnings from other people. I've tried a lot of strategies but most of the time I'm a swing trader. So, I try to look for strong catalysts and take positions within times of consolidations. My implementation of it during the competition hasn't been perfect, partly due to finals week. But I trust in the process. I've been trading in the PSE for 5 years now. I only started trading the US markets and Crypto, recently. I think my current performance in the competition is reflective of my experience within the three markets. [PSE: +17.4%, CRYPTO: +4.2%, US: -11.5%]. We still have a few months to go and it's still anyone's game. A lot of the top leaderboard right now is primarily driven by 1 or 2 positions that no one saw coming, I think you can guess which stocks I'm referring to.
- MB: Welcome to the team, Matthew, Jenny, and Sef! My goal in founding Team MB is to give readers a little insight into the thought processes behind the winning and losing trades of each team member. We have a diverse group across age, background, experience, and trading style, so I think we’ll get some interesting perspectives on the markets as the weeks go by before the July 26 finale. The team members will get to keep 100% of any prizes that they win, along with a monthly stipend from Merkado Barkada for all the coffee/snacks needed to keep focus on all three markets simultaneously. Good luck, team!
- [NEWS] Alternergy conducts first public Q&A since IPO... Alternergy [ALTER 0.70 ▲1.4%; 159% avgVol] presented its Q1 results on Wednesday as part of the PSE’s STAR Investor Day event, and MB was there to document its first public Q&A with institutional and retail investors since its IPO over a year ago. For me, the most interesting component of any STAR presentation is the Q&A, because it’s where we get the chance to hear the management team talk outside of the the cold forensics of the financial statements to address the hope, fear, optimism, and pessisim of the average investor.
- On enhancing shareholder value: The ALTER team said that it’s focus is on controlling what it can control, and that as a developer, it does everything that it can to complete projects “within the timeline and committed budget”, increase its pipeline, and build good relationships with stakeholders.
- On its growth strategy: ALTER said that its “DNA is a developer”, and therefore its “preference is brownfield development” as opposed to acquisitions. (MB note: “Brownfield” means development on land that has been previously used for some other purpose. “Greenfield” would be development on untouched land.) The management team said that it is open to being “opportunistic” with acquisitions, but that its overall focus is on “looking for projects from the ground and building them toward completion.”
- On outlook of renewables market: “The power industry is really at the point where there is a sustained pressure towards a price increase.” The ALTER team said that there’s a shortage of power supply, and what existing supply there is will come under pressure as power plants age or weather phenomena disrupt operations. ALTER said that it’s strategy is to simply grow its portfolio into this market gap, especially over the next two years.
- On wind vs solar: The ALTER team was asked whether it was intentional to be “more exposed to wind rather than solar”, and ALTER responded by saying that while both wind and solar are scalable, they “like wind” because it generates more electricity per installed capacity. As the ALTER team put it: “For instance, if we build a 50 MW solar, you’ll only need a 25 MW wind project to match the amount of energy that we will be generating.” ALTER said that wind is also less intensive in terms of land use to generate the same amount of energy, and that its analysis shows that wind projects generate more cash flow than solar projects.
- On starting to distribute dividends: *One question asked when ALTER would start paying dividends, and the ALTER team responded (after a laugh) that it’s “all about resource allocation”. ALTER said that at this stage, it’s a growth company, and that it would like to use its resources to build a “sizeable portfolio over the medium term” with the goal of “increasing shareholder value.” ALTER said that once it has achieved that goal, “dividend payments would not be far behind.
- MB:Kudos to any management team that takes questions from the public. It’s not easy to be this communicative and transparent, but as a long-term investor, this kind of insight into the management team’s thinking and analysis of their own data and the market as a whole is important. If your trading style is technical, ALTER’s analysis of wind versus solar isn’t going to matter to you at all, but if your thesis is based on bets in the power generation sector, that response might trigger some research that could be helpful. Overall I’d say that the ALTER team did very well. It was clear that they were nervous, but over time I’m sure the team will become more comfortable with answering the questions and interacting with the investing community in such a person-to-person way. Well done, ALTER!
2024.05.20 00:41 Ok-Salamander6253 [LFP][Pathfinder 1e][Paid][12$/session] Curse of the Crimson Throne [Sunday, 3 pm EST (GMT 7 pm), Weekly]
2024.05.20 00:41 Ok-Salamander6253 [LFP][Online][Roll20][Pathfinder 1e][Paid][12$/session] Curse of the Crimson Throne [Sunday, 3 pm EST (GMT 7 pm), Weekly]
2024.05.19 23:40 Toplinkar How do you guys feel about the story in HSR so far? I am disappointed. Spoilers ahead
2024.05.19 22:57 HashTagFinallyWoke Haitian Immigrant Wisner Desmaret Killed Ofc Adam Jobbers-Miller w/ His Own Gun, Calls Attorney Transgender
2024.05.19 22:50 EurekaStockade 1020/---Iran's President Missing in Helicopter Crash-- HELICOPTER= 666
In this post I explain what they're signalling by staging a high profile Helicopter Crash -- submitted by EurekaStockade to conspiracy [link] [comments] https://preview.redd.it/5q4q0ngu1g1d1.png?width=331&format=png&auto=webp&s=f8793490ce725fcdea4c852cc97c00cd864ff1c7 19 May-- Iran's President is Missing after his helicopter crashed in predictably a remote area why they chose this date-- 19 May= 223 days after the 322nd anniv of Yale / Skull & Bones 8 years 8 months 8 days after Bin Laden Crane Collapse Disaster at Mecca on 11 Sep 2015 22 Weeks 3 days after Iran President's birthday on 14 Dec . My prediction for this date was-- NINETEEN MAY TWENTY TWENTY FOUR SAUDI KING SALMAN DIED= 666 Right on schedule--News just breaking-- 19 May-- Headline Saudi King has Lung inflammation LUNG INFLAMMATION= 181 RED SEA EXPLOSION= 181 WORLD WAR THREE= 181 GLOBAL RESET= 181 . 19 May 2024= exactly 225 Weeks after Kobe Bryant's Helicopter Crash death on 26 Jan 2020 MIDDLE EAST WARS= 225 NUCLEAR MELTDOWN= 225 ECONOMIC CRASH= 225 CURRENCY CRASHES= 225 . Time of the crash-- 13:30 NUCLEAR ACCIDENT= 133 . The Helicopter Crash supposedly occurred in Varzaqan--- VARZAQAN= 116 11 Weeks 6 days after Rothschild's death on 26 Feb ROTHSCHILD= 116 WORLD ECONOMIC CRASH= 116 GLOBAL RESET= 116 11 Months 6 days later-- 25 April 2025--my prediction for Global Financial Crash 119 Months after Dow Jones 119th birthday TWENTY FIVE APRIL TWENTY TWENTY FIVE PENSION FUNDS CRASH= 666 . 8TH IRANIAN PRESIDENT= 119 He'd just made it past his 1019th Day in office Spooks are still writing the script--they havent decided whether they will kill them off or not . IRAN= PERSIA PERSIAN GULF DISATER= 223 Iran's President is Ebrahim Raisi Ebrahim means Abraham USS ABRAHAM LINCOLN BOMBED= 223 . 1 June= 8 years 8 months 8 days after the deadly 2015 Mecca Stampede on 24 Sep 2015 666 days after the Mecca Clock was struck by lightning on 5 Aug 2022 Day 828 days of Putin's Invasion (Pearl Harbour attack occurred 828 days after Hitler invaded Poland) 22 weeks 3 days before the US Presidential Election AIRCRAFT CARRIER WILL BE BOMBED IN THE RED SEA= 666 . ONE JUNE TWENTY TWENTY FOUR USS ABRAHAM LINCOLN CATASTROPHE= 666 . 28 June 2024-- Saudi King Salman will be 32, 322 days old 22 Months 23 days after the Mecca Clock was struck by lightning on 5 Aug 2022 223 days after the 33rd anniv of the Persian Gulf Oil Spill Disaster 19 Jan 1991 TWENTY EIGHTH JUNE TWENTY TWENTY FOUR PERSIAN GULF DISASTER= 666 or TWENTY EIGHT JUNE TWENTY TWENTY FOUR SAUDI CROWN PRINCE MOHAMMED BIN SALMAN WILL BE ASSASSINATED= 1191 . also keep an eye on--- 19 Jan-- 33rd anniv of 1991 Persian Gulf Oil Spill PERSIAN GULF= 128 128 days later-- 26 May= 128th birthday of Dow Jones . other dates to watch-- 7 July 2024= 12,223 days after the 1991 Persian Gulf Oil Spill on 19 Jan 1991 12 Aug= 12/8-----PERSIAN GULF= 128 30 Aug 2024= 11,911 days after the 1991 Persian Gulf Oil Spill |
2024.05.19 22:13 wheresmylife-gone222 Star Wars Episode 1:The Beginning- A TPM rewrite heavily based on the 1994 draft (through not a carbon copy)
2024.05.19 21:35 rangernumberx Respect Deadpool (Deadpool (2013))
2024.05.19 20:51 Choice-Researcher125 I'm working on a deck with about a quarter custom cards based on my favorite eldritch nightmare.
submitted by Choice-Researcher125 to custommagic [link] [comments]
2024.05.19 20:19 roxofoxo0000000 Canada is the most overrated country in the world
2024.05.19 20:07 pgqueenofpop [FOR SALE] Taylor Swift, Mac Miller, Pierce the Veil, Dolly Parton, The Weeknd, Santigold, Mitski & more.
2024.05.19 19:10 pervertedzombie Wack the Rift with this build (F̶͎̜̬̆̇ó̶̜̫̪͈̥͛͑ȑ̷̭̗̍͐͊b̴̗̈́͜i̵͎̰͉͛͜͠ḓ̴͈̮̓̍͘d̵͎̯̗̒̈̽̌͝ȇ̸͓n̵̘̂͗̒̚ ̸̡̻̻̩͛)
2024.05.19 18:09 CaramelApple11 Any Apex Console Scrims?
2024.05.19 17:55 Klutzy_Newspaper_879 Cyberpunk Orion Writers deep dive
2024.05.19 17:19 Shagrrotten FG Decades Tournament, the 2010’s: Round 1
2024.05.19 17:11 mittenthemagnificent Found dog