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theyoganews · 4 years ago

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TheYogaNews.com:Beer Yoga with Chance the Rapper | Kevin Hart: What The Fit Episode 13 | Laugh Out Loud Network

New Post has been published on https://theyoganews.com/2021/08/06/theyoganews-combeer-yoga-with-chance-the-rapper-kevin-hart-what-the-fit-episode-13-laugh-out-loud-network/

TheYogaNews.com:Beer Yoga with Chance the Rapper | Kevin Hart: What The Fit Episode 13 | Laugh Out Loud Network

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Kevin Hart and Chance the Rapper drink beers, FaceTime celebrities and find their inner yogi at the bar.

Kevin Hart: What The Fit is a brand new unscripted comedy starring Kevin Hart and celebrity guests. In each episode, Kevin invites his friends to join him in taking on a different whacky workout from sumo wrestling with Conan O’Brien to goat yoga with Khloé Kardashian and cowboy rodeo-ing with Leslie Jones. New episode every Thursday and bonus footage every Monday!

FOLLOW THE FUNNY: Facebook▶ http://bit.ly/LOLNetwork-FB Twitter▶ http://bit.ly/LOLNetwork-TW Instagram▶ http://bit.ly/LOLNetwork-IG YouTube▶ http://bit.ly/LOLNetwork-YT Snapchat▶ LOLNetwork Official Website▶ http://www.laughoutloud.com

Kevin Hart’s Laugh Out Loud Network YouTube channel is a specially-curated global platform for the NOW generation of comedians and original comedic content. It’s the ultimate destination for fans of funny. Subscribe for exclusive behind the scenes, live commentary by Kevin Hart, pranks, skits, and everything fun. Laugh Out Loud Network is a joint venture brainchild of Kevin Hart and Lionsgate.

Executive Producers MATT KUNITZ PIP WELLS REBECCA SHUMSKY QUINN DAVID SHUMSKY MARK HARRIS JEFF CLANAGAN KEVIN HART

Co-Executive Producers MATT KAYE D. MAX PORIS

Hosted By KEVIN HART

Guest Starring CHANCE THE RAPPER

Directed By ALEX VAN WAGNER

Supervising Producer DOMINIC CICCODICOLA

Line Producer RACHEL KIELBORN

Producers NICK ALARCON KRISTINA GOROLEVICH AMBER MIKE MARIE MITCHELL CANDICE C. WILSON

Editors JOSH BELSON JOE CAULEY

Comedy Producer HARRY RATCHFORD

Associate Producers JADA BATES SCOTT MARTIN KEVIN WILSON

Associate Director JASON EDWARDS

Stage Manager WOLFGANG DELGADO

Director of Photography TIM MURPHY

Audio Supervisor CURTIS ROHM

Production Designer RYAN FAUGHT

Talent Casting By JB TALENT

Production Manager MCKENZIE HANSON

Post Production Supervisor LINDSAY HEMPEL

Camera Operators RUBEN AVENDANO IVAN DURAN RICHARD “RICKY” MARTINEZ MALCOLM SERRETTE MARQUES SMITH

Lead Camera Assistant JEREMIAH THORNE

Camera Assistants DEANDRE GREEN DAVE HAWES TERRANCE LOFTON JR.

Tech Supervisor ED DANIELIAN

Tech Department MIKE DELLAMONICA WALLACE DIXON DAN FERRIS

Still Photographer MIKE WEAVER

Media Manager ANDREW CURTIS

Audio Mixers ANGELO CAVUOTO ROBERT MATTHEWS FRANK MONTES NATE NADELL

Gaffer AJ TAYLOR

Best Boy DANNY VINCENT

Key Grip ROLAND MARTINEZ

Electricians DOMINICK ADAME ERIK GONZALES JIM KIMURA

Grip MARVIN MEJIA

Lead Man KEVIN MINCIN

Set Dressers RILEY CRAPPER MARSHALL KING

Production Manager STEVEN PONCE

Production Accountant SHARON PACK

Production Associate MICHAEL A. ROWE

Talent Producer ASHLEY RHORER

Talent Manager DOMINICK MERONE

Talent Associate MARLENA HALLER

Wardrobe ASHLEY NORTH DARI SETTEL

Makeup MICHELLE DEMILT

Location Manager CARLYN COUCH

Key Assistant Location Manager CLAY DODDER

Assistant Location Manager SHERRY ROLDAN

Drivers JONATHAN ANDERSON CHRIS CLARK

Set Medic JOHN AUSTIN

Craft Services ANTONIO MARCOS

Lead Assistant Editor CHRIS HICKS

Assistant Editor ALEX GILBERT

Music Supervisor RICK KRIMBEL

Colorist TAL, C.S.I.

Online Editor JOSIAH COHEN

Re-Recording Mixer TERRANCE DWYER, C.A.S.

Music By ANDREW APPLEPIE MUSIC BEAR & OWL KILLER TRACKS SIGNATURE TRACKS

Graphics By MIDNIGHT SHERPA

Production Assistants AARON BELL CAP CREDLE KEVYN DELGADO JEFF DODSON EKKO GAHA STEPHEN GARONE JOHNNY GOMEZ DAVE KERN EVAN NELSON STEPHANIE SINGER SCOTT WHITEMAN

Production Legal RAYMOND LEGAL, P.C.

Special Thanks BLUEPRINT POST PRODUCTION BRUCE’S CATERING C-MOUNT INDSUTRIES ILLUMINAR LYFT MIXERS POST SOUND SERVICES THE BOSCHETTI GROUP VER EQUIPMENT RENTALS

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Join Adriene on Day 13 of The 30 Days of Yoga journey! Endurance and Ease! Find the mustard for your (yoga) pretzel in this fun full-body sequence.

Lucky Day 13 invites you to fly like an eagle aiming for full breaths and eventual exquisite ease. Check-in with your Day 13 endurance by softening your jaw and the skin of your face. Unfurrow that brow, lighten your heart, and unwind your mind with this savory Humble Warrior sequence. Stretch, twist, and FLY. Listen to your body. Don’t push. Don’t worry, have fun!

Connect and support others down below! Cultivate positivity. Remember each day is different! The journey is the reward! See you tomorrow!

Namaste.

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Need the BASICS of Foundations of a pose? Check out the Foundations Of Yoga playlist: http://goo.gl/Bc2iUc

#yogawithadriene #freeyoga #30daysofyoga

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❤️SUBSCRIBE to the YWA channel for free yoga videos every week and to support high-quality free yoga for all! ❤️ https://www.youtube.com/user/yogawithadriene?sub_confirmation=1

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🧘🏽‍♂️🧘‍♀️Become a FWFG YOGA member! 🧘🏻‍♂️🧘🏿‍♀️ https://fwfg.com Join Find What Feels Good and access over 700 videos including yoga and meditation for all levels. Explore daily practices, workshops, in-depth learning, weekly or monthly accountability series, and an opportunity to connect with a one of a kind global community. This is your one-stop-shop for yoga, creativity, wellness, and all things FWFG. Try it FREE for 7 Days!

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More at www.yogawithadriene.com ▶︎ Instagram: @adrienelouise ▶︎ Twitter: @yogawithadriene ▶︎ Facebook: Yoga With Adriene ▶︎ Shop: https://shop.fwfg.com

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Music by Shakey Graves: https://www.shakeygraves.com

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Yoga With Adriene, LLC recommends that you consult your physician regarding the applicability of any recommendations and follow all safety instructions before beginning any exercise program. When participating in any exercise or exercise program, there is the possibility of physical injury. If you engage in this exercise or exercise program, you agree that you do so at your own risk, are voluntarily participating in these activities, assume all risk of injury to yourself. Video Rating: / 5

#Chance #Episode #Hart #Kevin #Laugh #Loud #Network #Rapper #TheYogaNews.comBeer #YOGA

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weekendwarriorblog · 5 years ago

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WHAT TO WATCH THIS WEEKEND October 11, 2019 - THE KING, GEMINI MAN, PARASITE and More!

Having barely recovered from this past weekend’s double whammy of New York Comic-Con and New York Film Festival, I’m starting to question whether I should continue doing this column… again. It’s a lot of work putting it together each week, and it’s really tough to balance this with my paying writing work.

It certainly doesn’t help matters that I never got around to finishing last week’s column, because I got too busy with other stuff, but this week, I haven’t seen any of the three wide releases for various reasons, so there might not be as much to write about. Since I’ve already reviews Bong Joon-ho’s Parasite for The Beat, I want to talk about another amazing film getting a limited theatrical release.

That movie is David Michôd’s THE KING, which Netflix is giving a limited theatrical release before its streaming debut on the service starting November 1.

Set in the 15th Century, the movie is loosely adapted on Shakespeare’s King Henry IV and Henry V but it’s handled in a lot less stodgy way than other Shakespeare films like Michael Fassbender’s recent turn as Hamlet. Henry IV is played by Michôd regular Ben Mendelson, but Henry V is played by Timothée Chalamet who has zero interest in being king even after his father dies. But the performance that really grabbed my attention was that of Joel Edgerton (who co-wrote the screenplay with Michôd) who I didn’t even recognize as the younger king’s trusty colleague Falstaff until about an hour into the movie. Robert Pattinson (who appeared in Michôd’s The Rover) plays a smaller but absolutely hilarious role that I won’t reveal, although it’s hard to forget it since it’s such a different character for Pattinson. Much of the film deals with how Henry handles becoming King of England, especially when he’s pushed to go to war with France. I don’t have a lot more to say about this movie is that it surpassed all my expectations, especially in the battle sequence in the last half of the movie which is on par with anything in Gladiator or Braveheart, but then there’s an equally terrific epilogue that really shows Chalamet to be at the top of his game. I also should mention the amazing turns by Sean Harris from Mission: Impossible - Fallout, Lily Rose-Depp and Thomasin McKenzie as Henry’s sister.

This is just a great film that I hope people will make an effort to go see in theaters, even though Netflix really isn’t giving it as big a theatrical or awards push as some of their other movies. I know it’s playing at the Landmark 57thStreet in New York, but that’s the only theater I could find.

That aside, the big movie of the weekend is Ang Lee’s GEMINI MAN (Paramount), starring Will Smith and Will Smith. You may already know the general premise that it involves an older hitman played by Smith being hunted by a younger Smith, or maybe it’s vice versa. I don’t know since I had to miss the New York press screening due to illness, but I’ll probably try to see this when it opens this weekend. I might even give it a look in 3D at 128 FS, as maybe the third time’s the charm in that format.

U.A. Releasing is attempting their second animated release of the year with THE ADDAMS FAMILY, which I’ll be seeing on Wednesday night and reviewing over at The Beat. It has a pretty amazing voice cast, and I’ve been a fan of the comic strips and TV show, enough to hope that the filmmakers behind Sausage Party can do it justice and still be funny with a PG rating.

I’m a little bit dubious of CBS Films’ JEXI, starring Adam Devine, since the studio decided not to screen in advance for critics, and that’s VERY rare for a populist comedy like this one, which basically has Devine falling for his Siri-like smartphone assistant, or maybe it’s vice versa. If I can find the time, I might check this out, but I don’t expect it to do very well with so little advance promotion.

You can read more about these wide releases and how they might fare over at my weekly Box Office Preview at The Beat.

LIMITED RELEASES

I’ve already reviewed Bong Joon-ho’s new film PARASITE (NEON) over at The Beat, but it’s an intriguing enough film that I certainly could talk more about it. It’s an interesting look at the Korean class system through the interactions between a family living in poverty and the rich family they dupe into letting into their homes. The movie looks incredible and Bong’s cast is top-notch in creating a dark comedy dealing with rather serious issues, and honestly, you should go to see it without knowing too much about it, so that’s all I’ll say. Interestingly, the movie has already sold out about seven preview screenings on Thursday night and a few more Friday at the IFC Centerwhere Director Bong and a few of his stars will be doing QnAs after the shows.

I had been tracking Michael Goy’s MARY (RLJE Films) for some time, mainly because it has an impressive cast including Gary Oldman and Emily Mortimer, but also it mostly takes place on a haunted boat, and I’m generally a fan of boating. Mary is actually the boat’s name, one that’s spotted by Oldman’s working class captain David who wants to make a better life for his family, something he thinks the boat can help with. Once David and his family are out at seas, they begin to turn on one another and lose their sanity as the boat drifts off-course.

Opening in New York and L.A. on Wednesday is Eric Notarnicola’s Mister America (Magnolia), and if you’re in New York, you can try to get tickets for the Metrograph where Notarnicola will be appearing with stars Tim Heidecker and Gregg Turkington aka “Neil Hamburger” for three shows tonight! It’s a faux political documentary following Heidecker on his campaign to depose the incumbent San Berarndino D.A. who tried him for selling e-cigs at an EDM festival, killing many. If this is even remotely as weird as the last few films I’ve seen with Heidecker and Turkington, it’s probably best that I haven’t seen this, and probably won’t, although the premise sounds intriguing.

There are some interesting docs this weekend including Fantastic Fungi, directed by time-lapse photographer Louie Schwartzberg (Wings of Life and the 3D IMAX film Mysteries of the Unseen Worlds) and “written” by Mark Monroe, who has been involved with some great docs including this year’sThe Biggest Little Farm. As you can tell from the title, this one explores the ground beneath our feet and how the fungi kingdom offers ways to heal and save our planet. It’s opening at New York’s Village East Cinemason Friday and in other theatersdown the road. Oh yeah, it’s also narrated by Brie Larson.

Also opening at the QuadFriday is Robin McKenna’s documentary Gift (Matson Films), based on Lewis Hyde’s “The Gift: Creativity and the Artist in the Modern World,” exploring the relationship between art and the “gift economy.”

Opening at the Cinema Village Friday is Killing Zoe writer Roger Avary’s new movie Lucky Day (Lionsgate), starring Luke Bracey, Nina Dobrev, Crispin Glover and Clifton Collins Jr. It’s about a paranoid safe-cracker and his family who have to face a psychotic hitman out for revenge. I’m guessing that Glover is playing the psycho.

As far as sequels, there’s Along Came the Devil 2 (Gravitas Ventures), the sequel to Jason and Heather DeVan’s Along Came the Devil, which I’m honestly not sure I saw. Laura Slade Wiggins plays Jordan who receives an unsettling voice mail and returns home to her estranged father (Bruce Davison) only to learn that a demonic force has attached itself to the town.

Lastly, there’s Broadway star Michael Damian’s High Strung Free Dance (Atlas Distribution), the sequel to his 2016 movie High Strung, which I’ve never seen. It follows Thomas Doherty’s young choreographer Zander Raines as he gives a break to a talented contemporary dancer (Juliet Doherty) and a pianist (Harry Jarvis) by putting them in his Broadway show “Free Dance,” that becomes more complicated by a love triangle between the three. It also stars Jane Seymour, who was also in the previous film.

LOCAL FESTIVALS

The New York Film Festival is finishing up this Friday with Edward Norton’s new ‘50s detective film MOTHERLESS BROOKLYN, which I quite liked and have also reviewed for The Beat. Also playing is Mati Diop’s Cannes prize-winning Atlantics, which will be on Netflix in November.

STREAMING AND CABLE

Before I get to the regular Netflix releases, I do want to draw special attention to Abe Forythe’s LITTLE MONSTERS, which just received a one-night nationwide screening on Tuesday but will debut on Hulu this Friday. It’s a very witty zombie comedy set in Australia starring Alexander England (Alien: Covenant) as Dave, a slacker musician who develops a crush on his nephew’s beguiling kindergarten teacher Miss Caroline (played indelibly by Oscar winner Lupita Nyong’o). When he finds out that the class is being taken on a field trip to a petting zoo, Dave volunteers as a chaperone, only for things to get complicated when they get there and a famed child entertainer called Teddy McGiggle (and played by Josh Gad) starts showing interest in Miss Caroline. Oh, yeah, and I also mentioned zombie, didn’t I? The class arrives at the park just as a zombie outbreak begins so Dave and Miss Caroline have to protect the kids.

I generally liked this movie, which I found quite witty and a much stronger zombie-comedy effort than something like last year’s Anna and the Apocalypse. I loved what Lupita does with her characterization in this and I even kind of liked Josh Gad, although he took his character a little too far at times. Either way, if you have Hulu-- as I now do -- this is a fun watch and you can do worse with your time.

Although Vince Gilligan’s EL CAMINO: A BREAKING BAD MOVIE with Aaron Paul reprising his role of Jesse Pinkman is streaming on Netflix starting Friday, it’s also getting a rather limited run in theaters for those who would prefer to see it that way. I personally haven’t seen it yet, but it’s supposed to be a direct continuation from that amazing final episode of Breaking Bad. A few places where you can see it live with other fans including the IFC Center and Alamo Drafthouse in Brooklyn. Also on Netflix Friday is the psychological thrillerFracturedfrom Brad Anderson, starring Sam Worthington – I wonder where he’d gotten – and Lily Rabe from American Horror Story. Worthington plays Ray, who is driving across country with his wife and daughter when they stop at a rest area where his daughter falls and breaks her arm. Once he gets her to the hospital, Ray passes out from exhaustion and when he wakes up, his wife and daughter are missing with absolutely no record of them having ever been there. I haven’t had a chance to see this but I’m always interested in what Brad Anderson is up to since I’m such a huge fan of his earlier movies like Session 9 and The Machinist.

REPERTORY

METROGRAPH (NYC):

Shirkers director Sandi Tan returns to the Metrograph to screen Leos Carax’s 1999 film Pola Xin 35mm on Saturday night, and the Metrograph continues its “NYC ’81” series this weekend with Andrew Bergman’s So Fine, a series of New York shorts from 1981, Peter Yates’ Eyewitness, Louis Malle’s My Dinner with Andreand more. This Saturday, Welcome To Metrograph: Reduxwill screen Martin Scorsese’s 1974 filmAlice Doesn’t Live Here Anymore, starring Ellen Burstyn and Kristopher Kristopherson, which I believe was the inspiration for the TV sitcom “Alice” but I could be wrong. Late Nites at Metrograph has the greatest movie in the series so far, John Carpenter’s Escape from New York, starring Kurt Russell, which is also a part of “NYC ’81.” Playtime: Family Matineeswill screen Miyazaki’s Oscar-nominated 2004 film Howl’s Moving Castle.

ALAMO DRAFTHOUSE BROOKLYN(NYC)

There’s still a few tickets for tonight’s “Weird Wednesday” movie, Lucio Fulci’s The Devil’s Honey. Thursday night the Alamo is showing Bong Joon-ho’s Snowpiercer from 2014 as his new movie Parasite opens (that one’s almost sold out as of this writing). Sunday afternoon, the Alamo is screening a 35mm print of the 1960’s Korean film The Housemaid, which inspired Parasite. Monday night (and already sold out) is a screening of The Cabinet of Dr. Caligariwith a live score (sorry!). Next week’s “Terror Tuesday” is Ti West’s House of the Devil, a fantastic chiller, and next week’s “Weird Wednesday” is the 1987 British film Born of Fire, presented by my good friend and filmmaker Ted Geoghegan.

THE NEW BEVERLY (L.A.):

The Dolemite series continues with a double feature of Dolemite is My Name with the Dolemite movie The Human Tornado (1976), then on Thursday night, the Eddie Murphy double features with Disco Godfather (1979). Wednesday’s horror movie is Robert Wise’s 1963 film The Haunting while Friday’s horror matinee is Hello Mary Lou: Pro Night I I(1987) Tarantino’s Death Proof is the Friday night midnight offering, while Dolemite Is My Namewill screen Saturday night at midnight. (Listen, the Eddie Murphy is not really repertory but it’s a great movie to see with an audience, so take advantage of this chance being given to you by the New Bev, and go see it!!!) This weekend’s “Kiddee Matinee” is Jules Bass’ Mad Monster Party? from 1967 and starring the one and only Boris Karloff. There’s also a Halloween Edition of “Cartoon Club” on Saturday AND Sunday, but they’re both sold out online. Monday afternoon, there’s a matinee of Wes Craven’s Scream (1996)

FILM FORUM (NYC):

I’m pretty excited about the Film Forum’s upcoming “Shitamachi” series starting next week, but in the meantime, the Forum will be screening a 50thanniversary 4k restoration of Yôji Yamada’s Tora-San, Our Loveable Tramp (It’s Tough Being a Man), which is part of a long-running series that I personally have never had a chance to see even though I’ve loved Yamada’s Edo-period samurai films from a few years back. This weekend’s “Film Forum Jr.” is A Boy Named Charlie Brown, and the Film Forum is also screening a 4k restoration of Bob Fosse’s Sweet Charity, both of them also from 1969 and celebrating their 50thanniversaaries. Bill Forsyth’s Gregory’s Girl will end Thursday while the Yves St. Laurent doc Celebration will continue through next Tuesday. The “Shirley Clarke 100” will continue through the rest of the month but only her 1962 doc Robert Frost: A Lover’s Quarrel with the World screens this weekend on Saturday.

AERO (LA):

Looks like a planned James Ivory double features for Thursday and Friday have been cancelled, but they’ll be showing the excellent doc Love, Antosha about the late Anton Yelchin in a double feature with Drake Doremus’ Like Crazy. Saturday begins a “Béla Tarr Revisited” series showing films by the popular Hungarian auteur with The Turin Horse (2011) on Saturday night and the new 4k restoration of Sátántángo on Sunday. Just FYI, the latter is 450 minutes or about 7 and a half hours long. There will be an intermission and an extended break but hopefully, you REALLY love Tarr’s work. (I don’t.) Tuesday’s free “Tuesdays with Lorre” screening is The Beast with Five Fingers from 1946.

MUSEUM OF THE MOVING IMAGE (NYC):

“See It Big! Ghost Stories” continues this weekend with Tim Burton’s Beetlejuice on Saturday and Ti West’s The Inkeepers on Sunday, both worthwhile movies to see on the big screen. MOMI is also starting a new series called “No Joke: Absurd Comedy as Political Reality” kicking off with a Weds. night screening of Mister America (see above) and then Paul Verhoeven’s Starship Troopers on Saturday and “An Evening with the Yes Men” (political documentarians) on Sunday. On Sunday afternoon is the “Sesame Street Short Film Festival” screening a bunch of live action and animated shorts commissioned by the popular PBS show.

QUAD CINEMA (NYC):

Francis Ford Coppola’s restored and remastered Cotton Club Encore, which just premiered at the New York Film Festival a couple weeks back will get a theatrical run at the Quad, as will Serge Gainsbourg’s Je T’Aime Moi Non Plus(1976), starring Jane Birkin as a truck stop waitress who begins a friendship with Joe Dallesandro’s garbage truck driver, making his boyfriend (Hugues Quester) jealous.

IFC CENTER (NYC)

Not sure what’s going on with the IFC Center’s ongoing weekend rep series but George Miller’s Mad Max: Fury Road(2015) will screen just before midnight on Friday and Saturday, and then the Coens’ 1998 comedy The Big Lebowski will screen as part of Late Night Favorites: Summer 2019as will Satoshi Kon’s 2006 film Paprika.

EGYPTIAN THEATRE (LA):

The Egyptian is pretty busy this weekend with “German Currents 2019” i.e. not repertory, but on Saturday, they’ll show a “Retroformat” screening of the 1928 film The Spielerwith live accompaniment.

BAM CINEMATEK(NYC):

This Sunday’s “Beyond the Canon” is a double feature of Claudia Well’s Girlfriends (1978) with John Cassavetes’ Husbands (1970).

ROXY CINEMA (NYC)

Oddly, the Roxy is screening the 2015 horror movie Unfriended on Wednesday and then David Lynch’s Twin Peaks: Fire Walk With Me(1992) on Thursday, but really you should go there to see Lulu Wang’s excellent The Farewell – my #1 movie of 2019 so far – if you haven’t seen it yet.

LANDMARK THEATRES NUART (LA):

This Friday’s midnight movie is John Carpenter’s 1978 horror classic Halloween.

And great news... MOMA should be back next week!

Next week, Angelina Jolie returns as Maleficent, Mistress of Evil, but the movie I’m really looking forward to is Zombieland Double Tap.

#WhatToWatchThisWeekend Movies Parasite GeminiMan TheKing AddamsFamily Reviews Jexi

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kaloogamagazine · 6 years ago

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Somehow I found myself writing a lot last summer - random thoughts, observations, sometimes resulting in a poem, sometimes not going anywhere. I wrote a poem called "Imagining Los Angeles". Here's a excerpt: Imagining Los Angeles Like in the photo Double Standard by Dennis Hopper Like in the novel Bright Shiny Morning by James Frey Like in the movie Somewhere by Sofia Coppola Like on the tv show Beverly Hills 90210 by Darren Star, Aaron Spelling and E. Duke Vincent Like in the song Under the Bridge by the Red Hot Chili Peppers Like in the group exhibition New Painting of Common Objects by Walter Hopps Like in the offset lithograph Every Building on Sunset Strip by Ed Ruscha Like in the newscasts from May 1992 by Peter Jennings, Dan Rather and Tom Brokaw Like in the drama/documentary film The Exiles by Kent McKenzie Like on the postcards showing the Capitol Records building by Lou Naidorf Like in the LA Weekly columns by Henry Rollins Like in the As It Lays interviews by Alex Israel Like in the unfinished novel The Love of the Last Tycoon by F. Scott Fitzgerald Like in the painting A Bigger Splash by David Hockney Like in the movie Beginners by Mike Mills Like in the album artwork of the Eagles’ record Hotel California Like a promising singer songwriter at her home in Laurel Canyon photographed by Henry Diltz Like in Dr. Dre’s Ain’t Nuthin’ But a ‘G' Thang music video Like on the front page of the New York Times on January 18, 1994 Like in the Saint Laurent collections by Hedi Slimane Like on an MTV Cribs celebrity house tour Like in a screenplay that your friend wrote Like in a movie within a movie by David Lynch Like they said it would be back in New York Like in Pierre Koenig’s photo of Case Study House No. 22 by Julius Shulman Like in Lana Del Rey music video for Video Games Like in the Blade Runner sequel by Denis Villeneuve Like in the original Blade Runner by Ridley Scott Like Faye Dunaway did at the Beverly Hills Hotel, the morning after she won the Best Actress Oscar for Network Like a coyote in the Canyons Like a strongman show in Santa Monica in the mid-1950s. Like in a home movie from May 9, 1965 at Jane Fonda’s Malibu beach house [...] (at Los Angeles, California) https://www.instagram.com/p/BsjELCtnGVs/?utm_source=ig_tumblr_share&igshid=j0cz10wx7pqr

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artwalktv · 7 years ago

Video

vimeo

Directed, produced and photographed by Macgregor http://bit.ly/2KTBZqq Shot on a modified Sony F35 to achieve optimum lightness and speed through the Saharan landscapes, without sacrificing on image quality. The Mauritania Railway: Backbone of the Sahara is a documentary film directed by MacGregor. Concepted and produced in partnership with Antonio Aguilar, Tim Hyten, and Aaron Mckenzie, the film also features a score by award-winning composer Rhian Sheehan. Built to transport Mauritania’s vast iron ore reserves, the Mauritania Railway is a 704-kilometer line that cuts through the Sahara Desert on its way from the mining center of Zouerat to the port city of Nouadhibou on Africa’s Atlantic coast. At 3-kilometers in length, trains on this line are among the longest and heaviest in the world. Passenger cars are sometimes attached to the train, but more often men opt to stow away atop the hopper cars, where daytime temperatures exceed 40°C. Death from falls is common. The Mauritania Railway: Backbone of the Sahara follows the journey of Malick, a 27 year-old merchant who relies on the train for his livelihood, even as he risks death each time he climbs aboard. Despite the danger, the train is a lifeline for Malick and the families that live along the railway’s path. Over a two year period, the crew behind The Mauritania Railway: Backbone of the Sahara embedded themselves in the community of men and women who depend on the train for their livelihood. The result is a cinematic yet immersive glimpse into a way of life that exists nowhere else in the world. Macgregor and his team shot this film entirely on a Sony F35 camera, which they modified with a Nikon mount in the pursuit of lightness and a wider array of available lenses. A 25-pound camera setup is far from ideal when shooting atop a moving train, but the resulting filmic quality gives audiences a view of Western Saharan landscapes that they’ve never seen before. In addition to his career as a commercial director and cinematographer, Macgregor has also garnered praise for his narrative films. Coming on the heels of his award-winning films Similo (2014) and Los Angeles 1991 (2015), The Mauritania Railway: Backbone of the Sahara expands upon MacGregor’s ability to make a landscape, as much as any human, a character in the unfolding drama. The Mauritania Railway: Backbone of the Sahara represents the proposed first installment of “Colliding Worlds,” a new series which explores some of the world’s most remote, harsh, and breathtaking environments, where traditional lifestyles collide with the modern world. These regions, too easily dismissed by travelers, are in fact backdrops for beautiful human pageants that play out every day. In the back of our minds, we know these places exist but we never stop to think that human life goes on there everyday – and it goes on in fascinating ways. The Mauritania Railway: Backbone of the Sahara is earning early praise, including the top prize for cinematography at the XVI International Film Festival of Almeria, and the jury prize for stylistic achievement and best cinematography at the Social Impact Media Awards 2018. The film is currently being shown in festivals around the world, including the Full Frame Documentary Film Festival, the Moscow International Documentary Film Festival DOKer, the 41th Grenzland-Filmtage in Germany, and Cortoespaña, among others.

#Videos & Films

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inofaith · 5 years ago

Video

vimeo

The Mauritania Railway: Backbone of the Sahara from Macgregor on Vimeo.

Directed, produced and photographed by Macgregor

macgregor.works

BTS article by American Cinematographer magazine: ascmag.com/articles/photographing-the-mauritania-railway-backbone-of-the-sahara

The Mauritania Railway: Backbone of the Sahara is a documentary film directed by MacGregor. Concepted and produced in partnership with Antonio Aguilar, Tim Hyten, and Aaron Mckenzie, the film also features a score by award-winning composer Rhian Sheehan.

Built to transport Mauritania’s vast iron ore reserves, the Mauritania Railway is a 704-kilometer line that cuts through the Sahara Desert on its way from the mining center of Zouerat to the port city of Nouadhibou on Africa’s Atlantic coast.

At 3-kilometers in length, trains on this line are among the longest and heaviest in the world. Passenger cars are sometimes attached to the train, but more often men opt to stow away atop the hopper cars, where daytime temperatures exceed 40°C. Death from falls is common.

The Mauritania Railway: Backbone of the Sahara follows the journey of Malick, a 27 year-old merchant who relies on the train for his livelihood, even as he risks death each time he climbs aboard. Despite the danger, the train is a lifeline for Malick and the families that live along the railway’s path. Over a two year period, the crew behind The Mauritania Railway: Backbone of the Sahara embedded themselves in the community of men and women who depend on the train for their livelihood. The result is a cinematic yet immersive glimpse into a way of life that exists nowhere else in the world.

Macgregor and his team shot this film entirely on a Sony F35 camera, which they modified with a Nikon mount in the pursuit of lightness and a wider array of available lenses. A 25-pound camera setup is far from ideal when shooting atop a moving train, but the resulting filmic quality gives audiences a view of Western Saharan landscapes that they’ve never seen before.

In addition to his career as a commercial director and cinematographer, Macgregor has also garnered praise for his narrative films. Coming on the heels of his award-winning films Similo (2014) and Los Angeles 1991 (2015), The Mauritania Railway: Backbone of the Sahara expands upon MacGregor’s ability to make a landscape, as much as any human, a character in the unfolding drama.

The Mauritania Railway: Backbone of the Sahara represents the proposed first installment of “Colliding Worlds,” a new series which explores some of the world’s most remote, harsh, and breathtaking environments, where traditional lifestyles collide with the modern world. These regions, too easily dismissed by travelers, are in fact backdrops for beautiful human pageants that play out every day. In the back of our minds, we know these places exist but we never stop to think that human life goes on there everyday – and it goes on in fascinating ways. The Mauritania Railway: Backbone of the Sahara is earning early praise, including the top prize for cinematography at the XVI International Film Festival of Almeria, and the jury prize for stylistic achievement and best cinematography at the Social Impact Media Awards 2018. The film is currently being shown in festivals around the world, including the Full Frame Documentary Film Festival, the Moscow International Documentary Film Festival DOKer, the 41th Grenzland-Filmtage in Germany, and Cortoespaña, among others.

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anthonymmartinez · 6 years ago

Video

vimeo

The Mauritania Railway: Backbone of the Sahara from Macgregor on Vimeo.

Directed, produced and photographed by Macgregor

macgregor.works

BTS article by American Cinematographer magazine: ascmag.com/articles/photographing-the-mauritania-railway-backbone-of-the-sahara

0 notes

nicholasjreid · 6 years ago

Video

vimeo

The Mauritania Railway: Backbone of the Sahara from Macgregor on Vimeo.

Directed, produced and photographed by Macgregor

macgregor.works

BTS article by American Cinematographer magazine: ascmag.com/articles/photographing-the-mauritania-railway-backbone-of-the-sahara

0 notes

mt113 · 7 years ago

Video

vimeo

The Mauritania Railway: Backbone of the Sahara from Macgregor on Vimeo.

Directed, produced and photographed by Macgregor

macgregor.works

Shot on a modified Sony F35 to achieve optimum lightness and speed through the Saharan landscapes, without sacrificing on image quality.

0 notes

lesterplatt · 1 year ago

Video

DENAGO EV - The Outdoors from STLL STUDIOS on Vimeo.

Client: Denago EV Executive Producer: Lester Platt Executive Producer: Nate Strayer Producer: Chloe Singer Casting Director: Yuliia Alexander Director: Olexiy Kryvych AD: Caroline McKenzie Cinematographer: Spencer Greene 1st AC: Joe Marks 2nd AC: Matthew Abravaya Gaffer: Joe Fallia Gaffer: Ivan Salazar Key Grip: Jack Starks Key Grip: Stephen Laughrun Grip: Tanner Toland Set Designer: Dina Kiseleva Art Assist: Brandon Torres Art Coordinator: Chase Lee Unit Operator: Jake Jecmenek Robot Arm Operator: Ari Morales Drone OP: Hunter Mitchel PA: Citlali Mendoza Virtual Studio: Stray Vista VP Supervisor: Ace Patel Studio Manager: Aaron Mouer MUAH: Erika Martinez Lead Photographer: Alex Burton BTS: Eric Romero, Vlad Alexander

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naturesrealm · 7 years ago

Video

vimeo

The Mauritania Railway: Backbone of the Sahara from Macgregor on Vimeo.

Directed, produced and photographed by Macgregor

macgregor.works

Shot on a modified Sony F35 to achieve optimum lightness and speed through the Saharan landscapes, without sacrificing on image quality.

0 notes

xtasis501 · 7 years ago

Video

vimeo

The Mauritania Railway: Backbone of the Sahara from Macgregor on Vimeo.

Directed, produced and photographed by Macgregor

macgregor.works

Shot on a modified Sony F35 to achieve optimum lightness and speed through the Saharan landscapes, without sacrificing on image quality.

0 notes

janstice · 7 years ago

Video

vimeo

The Mauritania Railway: Backbone of the Sahara from Macgregor on Vimeo.

Directed, produced and photographed by Macgregor

macgregor.works

Shot on a modified Sony F35 to achieve optimum lightness and speed through the Saharan landscapes, without sacrificing on image quality.

0 notes

laeirbag · 7 years ago

Video

vimeo

＊ Directed, produced and photographed by Macgregor http://bit.ly/2s4FfrO Shot on a modified Sony F35 to achieve optimum lightness and speed through the Saharan landscapes, without sacrificing on image quality. The Mauritania Railway: Backbone of the Sahara is a documentary film directed by MacGregor. Concepted and produced in partnership with Antonio Aguilar, Tim Hyten, and Aaron Mckenzie, the film also features a score by award-winning composer Rhian Sheehan. Built to transport Mauritania’s vast iron ore reserves, the Mauritania Railway is a 704-kilometer line that cuts through the Sahara Desert on its way from the mining center of Zouerat to the port city of Nouadhibou on Africa’s Atlantic coast. At 3-kilometers in length, trains on this line are among the longest and heaviest in the world. Passenger cars are sometimes attached to the train, but more often men opt to stow away atop the hopper cars, where daytime temperatures exceed 40°C. Death from falls is common. The Mauritania Railway: Backbone of the Sahara follows the journey of Malick, a 27 year-old merchant who relies on the train for his livelihood, even as he risks death each time he climbs aboard. Despite the danger, the train is a lifeline for Malick and the families that live along the railway’s path. Over a two year period, the crew behind The Mauritania Railway: Backbone of the Sahara embedded themselves in the community of men and women who depend on the train for their livelihood. The result is a cinematic yet immersive glimpse into a way of life that exists nowhere else in the world. Macgregor and his team shot this film entirely on a Sony F35 camera, which they modified with a Nikon mount in the pursuit of lightness and a wider array of available lenses. A 25-pound camera setup is far from ideal when shooting atop a moving train, but the resulting filmic quality gives audiences a view of Western Saharan landscapes that they’ve never seen before. In addition to his career as a commercial director and cinematographer, Macgregor has also garnered praise for his narrative films. Coming on the heels of his award-winning films Similo (2014) and Los Angeles 1991 (2015), The Mauritania Railway: Backbone of the Sahara expands upon MacGregor’s ability to make a landscape, as much as any human, a character in the unfolding drama. The Mauritania Railway: Backbone of the Sahara represents the proposed first installment of “Colliding Worlds,” a new series which explores some of the world’s most remote, harsh, and breathtaking environments, where traditional lifestyles collide with the modern world. These regions, too easily dismissed by travelers, are in fact backdrops for beautiful human pageants that play out every day. In the back of our minds, we know these places exist but we never stop to think that human life goes on there everyday – and it goes on in fascinating ways. The Mauritania Railway: Backbone of the Sahara is earning early praise, including the top prize for cinematography at the XVI International Film Festival of Almeria, and the jury prize for stylistic achievement and best cinematography at the Social Impact Media Awards 2018. The film is currently being shown in festivals around the world, including the Full Frame Documentary Film Festival, the Moscow International Documentary Film Festival DOKer, the 41th Grenzland-Filmtage in Germany, and Cortoespaña, among others. ＊Ｓｔａｒｒｅｄ　ｖｉｄｅｏ　ａｕｔｏ　ａｄｄｅｄ．　Ｔｏ　ｍａｙｂｅ　ｗａｔｃｈ　ｓｏｍｅｄａｙ．

#vp #vsp

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slowlycrispykryptonite · 7 years ago

Video

vimeo

The Mauritania Railway: Backbone of the Sahara from Macgregor on Vimeo.

Directed, produced and photographed by Macgregor

macgregor.works

Shot on a modified Sony F35 to achieve optimum lightness and speed through the Saharan landscapes, without sacrificing on image quality.

The Mauritania Railway: Backbone of the Sahara represents the proposed first installment of “Colliding Worlds,” a new series which explores some of the world’s most remote, harsh, and breathtaking environments, where traditional lifestyles collide with the modern world. These regions, too easily dismissed by travelers, are in fact backdrops for beautiful human pageants that play out every day. In the back of our minds, we know these places exist but we never stop to think that human life goes on there everyday – and it goes on in fascinating ways. This series will leave the guidebook behind and bring these stories to the screen. The Mauritania Railway: Backbone of the Sahara is earning early praise, including the top prize for cinematography at the XVI International Film Festival of Almeria, and the jury prize for stylistic achievement and best cinematography at the Social Impact Media Awards 2018. The film is currently being shown in festivals around the world, including the Full Frame Documentary Film Festival, the Moscow International Documentary Film Festival DOKer, the 41th Grenzland-Filmtage in Germany, and Cortoespaña, among others.

0 notes