"Inkies, Tweenies and Babies" are shorthand for some of the most common lights in all of movie lighting: the Mole Richardson line of fresnel tungsten lights. Fresnel means it has a fresnel lens, which kind of looks like a glass bullseye, that focuses the beam of light. There are also "open faced" lights, which are units that have no lens and instead use large reflectors built inside the unit to "throw" the light. Inkies are really small, 200 watt lights, easy to hide just off camera. Back in 2006 when this was shot, this was before very small and powerful LED lights were available. Nowadays, inkies would probably not be used for a number of reasons. "Tweenies" are 650 watt units and, along with the 1000w babies, are the workhorses of the Mole Richardson tungsten heads. Lights like these were extremely common in television, where dozens would be rigged above a set to light all the actors. Long-running shows like Big Bang Theory still use tungsten heads. MR Tungsten are still in use, especially the even larger units, but LED is taking over. If you look at behind the scenes photos of Phantom Thread, you can see PTA and his gaffer Michael Bauman use some of the most popular LED units today called "Litemats". Every DP in the west uses these and Bauman is the co-founder and owner of LiteGear, the company that created and sells Litemats.
Thanks for the info! It seems like the LEDs are taking over. I wonder what effect (if any) the LED lights had on the look of Phantom Thread that wouldn't have happened with the older lights.
LEDs provide these main benefits: small, lightweight, ease of use, color temperature control, generally soft quality. For Phantom Thread, Litegear LED units provided all of these conveniences. Actors have more space to perform, aren’t burdened by the extreme heat of big lighting rigs, and the grip and electric team can more easily make changes on the fly. The truth is that the same “look” can be achieved many different ways. The choice of what lights to use comes down to the production budget and cinematographer’s preference. Robert Richardson, for example, loves tungsten units called Par Cans, and those are used often to achieve his famous hot top light effect. Litemats were used on PT most likely because Bauman owns the company that makes them. I heard a rumor that when PTA worked with Mihai Malamaire on The Master, PTA ended up choosing the lighting package himself. That doesn’t necessarily mean he’s a genius at lighting, but he knows what he wants and how he wants to work. You can see in behind the scenes pics they were using early version of LED “tiles” to outfit the boat with overhead lighting rigs. Check out “luxlighting” on Instagram for cool BTS pics on Phantom Thread.
I'm seeing a lot of those old tungsten units going up for dirt cheap on eBay. I'm tempted to buy some for video production, but I fear they are all going the way of the dinosaur.
It all depends on your budget. LEDs are great but they are being constantly replaced by upgrades. They’re also more expensive to fix when they break. Tungsten heads are the old reliable tanks and work just fine today. Master lighting with mole Richardson (or any brand) tungsten heads and you will create a great base of knowledge to start using the newer tech. There are other factors for you to consider - will you rent out your equipment and how do you want to look to your clients. Also, if you get tungsten lights, make sure to get chimera softboxes - small video pro for tweenies and babies. Those are the OP “secret” of all lighting. Soft and controlled, all in one unit.
This film is a masterpiece, one of those rare movies where the artists that collectively produced it were holistically performing there disciplines near or at the pinnacles of their individual creative potential. Humanity is so ironically paradoxical, synchronistically capable of producing both the most shallow inane atrocities possible, and also works of art so technically proficient and philosophically deep that they transcend all barriers between sentient perspectives.
@@CinemaTyler how do you analyze these films soo good. I want to become a filmmaker and a video essayist such as youself. I have ideas and some films that I love. For instance I want to make a video about Francois Truffaut's Day for Night (1973). How do I go about it?
Such a great film. . . . great soundtrack. . . . great acting. . . . . amazing lighting and cinematography ~ ~ ~ 20 minutes of no dialog at the beginning of the film is difficult to pull off in any motion picture.
Another great video. Very thorough. Never boring. One of my favorite films. It was the first film I saw in the Cinerama Dome at the Arclight Theater in Hollywood. It was a fantastic experience. The photography is stellar. Cheers
Amazing couple of videos, so much technical detail you usually don't find in most film analyses on YT. Congrats! (echoing another comment, would indeed love to see something similar about The Master).
As great as Daniel Lewis is (and he IS great) I have to say that Paul Dano made a bigger impression on me in this film. Standing next to a great like Lewis brought him to a place where he just shines. And, as always, Chiran Hinds is always excellent. =)
Sir Willhelm II, would you kindly elaborate on what you liked about that movie? My mere eyes had hard time believing that it was shot by the same director which shot There Will Be Blood.
NonsenseObserver The Master is my favorite film, and for me it’s the characters and atmosphere I enjoy the most, the latter being exceptionally supported by the score, cinematography, and editing. I find it all very enigmatic and it has stuck with me. That to say though, I didn’t like it the first time I saw it
Excellent video. You have obviously done a lot of research and it shows. Your explanation of color temperature was quite welcome. :-) A little extra info on t-stops for the curious: an f-stop represents the physical ratio of the lens opening (which controls the amount of light getting through to the film) and its focal length. When it comes to the amount of light actually reaching the film, however, the f-stop - being a mathematical abstraction - does not take into account the loss of light through the absorption in the lens elements, reflection, refraction, etc. The t-stop DOES. A t-stop is like an f-stop corrected for accuracy, in that sense. A t-stop of 3.5 is equivalent to an f-stop of 3.5 through a theoretically perfect lens that does not absorb any of the light on the way through. I'm paraphrasing a bit from Anton Wilson's wonderful Cinema Workshop book from 1983 (pages 109-110). The trade-off with t-stops is that, being photometric rather geometric in nature, they don't represent an accurate indication of the depth-of-field you can calculate from an f-stop. But that's less problematic in the current era of hi-def confidence monitors and the like. You can just see it, now. [Edited for dumb typos]
Thanks! I just wish I hadn't screwed up the color temperature info in the last video. Thanks for the fascinating info! If T-Stops are more accurate than F-Stops, why don't they just use T-Stops for every lens?
@@CinemaTyler [Edited to get rid of my own condescending bulls**t] Not sure why all lenses don't do t-stops, but I would hazard a guess that, at least for the prosumer market, it does not matter since the vast majority of photographers either use auto-exposure or manually set the stop and shutter speed by taking light readings through the lens. Since the light is coming through the lens already, the compensation for optics is built-in. In the motion picture business, using a hand-held incident light meter has been pretty standard, and auto-exposure is pretty much NEVER used. So t-stops are probably more valuable there. In digital filmmaking, it's becoming quite common to see DPs using false-color monitors - i.e. the color of the image indicates the exposure (looks kind of like weird modern art). You then dial the settings in to make things you want to expose normally the color that corresponds to the optimal level. Of course, PTA, Tarantino, Christopher Nolan, Spielberg and a handful of others are going to keep shooting on actual film for as long as possible, so old-school methods are still very much alive - for now.
Great video. I wished I loved this film more, but I tend to gravitate towards his other films. Like the master, Magnolia, phantom thread and inherent vice
Phantom Thread is delightful. I noticed PTA's shot of Plainview on the telephone in TWBB looks similar to his shot of Woodcock in Phantom Thread getting examined by Dr. Hardy. The lighting made DDL look the same.
BTW Thank you so much for an in depth look at the making of my second favourite film of all time. Your work is very professional and informative. More please! lol
Amazing video, just curious but at 17:24 you mention a small bulb you called two n twos. cant find anything on these, what do i have to look up to find these small bulbs.
8:01 - _"They also used real fire for the reaction shots to the Oil Derrick burning,_ *_but we’ll talk about that in another video."_* Can't wait for part (3/2)!
Did they do any colour grading on TWBB ? I grow wary of the insane levels of colour grading that’s prolific in Hollywood these days and it seems like this film uses mostly natural colour.
All the info I came across says that everything we see in a PTA movie is done in-camera (except for the occasional digital effects-- oil wells, frogs in Magnolia, etc.)
it was a very well-earned Oscar™ . . . but frankly? *any* movie winning for cinematography over _The Assassination for Jesse James_ is ludicrous. how embarrassing for the Oscars.™
In the audio interview of Elswit talking, he mentions that he initially felt bad for winning over Deakins (who was nominated twice that year!). I went to an anniversary screening of O Brother, Where Art Thou? with the Coen Brothers, the main cast, and Roger Deakins a while back. People were excited to see the Coens and George Clooney, but when Deakin's walked out on the stage, the crowd went nuts.
CinemaTyler Oh my gosh, what a stage! That must have been so cool. Elswit has nothing to feel bad about. The academy shouldnt let you be nominated twice in the same category. Otherwise I’m sure Deakins would have won for Assassination.
Film stock is balanced to either tungsten or daylight. Tungsten balanced film stock reads tungsten light (3200 Kelvin) as white. Daylight balanced film stock reads daylight (5600 Kelvin) as white. Tungsten lights (3200 Kelvin) are warm (or orange) on daylight balanced film stock, and HMI's (5600 Kelvin) are cool (or blue on tungsten balanced film stock.
Love your content and the amount of work and research you put into each video. But I'm begging you, PLEASE adjust the volume on your background music, or take it out completely. It _distracts_ from you content, this, quite simple, is counter-productive. I have literally stopped watching some other channels that do this incessantly. I (we) come for the commentary...the background music is not only *optional* but it is secondary to your dialogue. Perhaps you have a different sound system than some of us when you edit, but for those of us that use large speakers on a desktop, or headphones, having to strain and pick out your words over the beats pulls us out of the video, it becomes too much work. Please reconsider this avenue.
Thanks for the suggestion. I mix the music to around -24db and the narration is mixed to around -6db. I use the music to help cover up where I stitch audio together and to make it more entertaining and less of a lecture. Is it possible that your speakers have too much bass? It sounds fine to me on decent-quality headphones. I may try nudging down the music track a bit next time.
@@CinemaTyler ~ I appreciate you response, it's quite refreshing to be able to directly engage with content creators, not all channels can or are willing tot do this. Regarding the bass, no the woofer I have is on the floor and behind a couch, barely turned up, I find it drowns out much music into a soupy sound, so I keep it nearly at 0. Whatever the reason, this issue with background music overpowering dialogue only occurs on certain videos or channels, on others it sounds fine, so I don't think it would be on my end or it would just be a constant or regular occurrence. I run into the same thing with occasional films, the music is just *too much.* It seems to be a 'thing' these days. At any rate, thanks for your detailed response, and have a great weekend.
I meant that I have info left over for a video on TWBB that talks about them trying to shoot in the same small town at the same time. But, no love for No Country? Granted, TWBB deserved to win Best Picture, but No Country has some really great moments.
Does anyone have the coordinates of the church in Marfa, Texas? Also the train station? I want to see them on Google Earth. I know for a fact the church is still standing because I saw a video where two guys go to it and I also read an article about it. Anyone know?? Thanks.
![Creating Daniel Plainview [1/2]: Research, Voice, Costume, and Development | There Will Be Blood](http://i.ytimg.com/vi/fAjXDXiHues/mqdefault.jpg)
![Creating Daniel Plainview [1/2]: Research, Voice, Costume, and Development | There Will Be Blood](/img/tr.png)
![Creating Daniel Plainview [2/2]: Method Acting, Direction, and False Starts | There Will Be Blood](/img/n.gif)
"Inkies, Tweenies and Babies" are shorthand for some of the most common lights in all of movie lighting: the Mole Richardson line of fresnel tungsten lights. Fresnel means it has a fresnel lens, which kind of looks like a glass bullseye, that focuses the beam of light. There are also "open faced" lights, which are units that have no lens and instead use large reflectors built inside the unit to "throw" the light. Inkies are really small, 200 watt lights, easy to hide just off camera. Back in 2006 when this was shot, this was before very small and powerful LED lights were available. Nowadays, inkies would probably not be used for a number of reasons. "Tweenies" are 650 watt units and, along with the 1000w babies, are the workhorses of the Mole Richardson tungsten heads. Lights like these were extremely common in television, where dozens would be rigged above a set to light all the actors. Long-running shows like Big Bang Theory still use tungsten heads. MR Tungsten are still in use, especially the even larger units, but LED is taking over. If you look at behind the scenes photos of Phantom Thread, you can see PTA and his gaffer Michael Bauman use some of the most popular LED units today called "Litemats". Every DP in the west uses these and Bauman is the co-founder and owner of LiteGear, the company that created and sells Litemats.
Thanks for the info! It seems like the LEDs are taking over. I wonder what effect (if any) the LED lights had on the look of Phantom Thread that wouldn't have happened with the older lights.
LEDs provide these main benefits: small, lightweight, ease of use, color temperature control, generally soft quality.
For Phantom Thread, Litegear LED units provided all of these conveniences. Actors have more space to perform, aren’t burdened by the extreme heat of big lighting rigs, and the grip and electric team can more easily make changes on the fly.
The truth is that the same “look” can be achieved many different ways. The choice of what lights to use comes down to the production budget and cinematographer’s preference. Robert Richardson, for example, loves tungsten units called Par Cans, and those are used often to achieve his famous hot top light effect.
Litemats were used on PT most likely because Bauman owns the company that makes them. I heard a rumor that when PTA worked with Mihai Malamaire on The Master, PTA ended up choosing the lighting package himself. That doesn’t necessarily mean he’s a genius at lighting, but he knows what he wants and how he wants to work. You can see in behind the scenes pics they were using early version of LED “tiles” to outfit the boat with overhead lighting rigs.
Check out “luxlighting” on Instagram for cool BTS pics on Phantom Thread.
I'm seeing a lot of those old tungsten units going up for dirt cheap on eBay. I'm tempted to buy some for video production, but I fear they are all going the way of the dinosaur.
It all depends on your budget. LEDs are great but they are being constantly replaced by upgrades. They’re also more expensive to fix when they break. Tungsten heads are the old reliable tanks and work just fine today. Master lighting with mole Richardson (or any brand) tungsten heads and you will create a great base of knowledge to start using the newer tech. There are other factors for you to consider - will you rent out your equipment and how do you want to look to your clients. Also, if you get tungsten lights, make sure to get chimera softboxes - small video pro for tweenies and babies. Those are the OP “secret” of all lighting. Soft and controlled, all in one unit.
@skin09588 Utilise the awesome power of the World Wide Web by entering 'Bruce Engel IMDB'.
I love how you don't pull any punches with the technical detail in these videos. You clearly know your audience
This film is a masterpiece, one of those rare movies where the artists that collectively produced it were holistically performing there disciplines near or at the pinnacles of their individual creative potential. Humanity is so ironically paradoxical, synchronistically capable of producing both the most shallow inane atrocities possible, and also works of art so technically proficient and philosophically deep that they transcend all barriers between sentient perspectives.
Their*
the music of his films are so unique
the level of your analiisis is way over mind boggling. i hope someone actually hires you to make a very good movie.
Thanks!
@@CinemaTyler how do you analyze these films soo good. I want to become a filmmaker and a video essayist such as youself. I have ideas and some films that I love. For instance I want to make a video about Francois Truffaut's Day for Night (1973). How do I go about it?
@@gabrielidusogie9189 find what you love and then talk about it. See where that leads you
Your videos about There Will Be Blood are good for the soul
Such a great film. . . . great soundtrack. . . . great acting. . . . . amazing lighting and cinematography ~ ~ ~ 20 minutes of no dialog at the beginning of the film is difficult to pull off in any motion picture.
Another great video. Very thorough. Never boring. One of my favorite films. It was the first film I saw in the Cinerama Dome at the Arclight Theater in Hollywood. It was a fantastic experience. The photography is stellar. Cheers
This was fan-f*cking-tastic. Thank you so much for this vid!
I love you Tyler, your videos are technically complete and resourceful, you rock, congrats on the 100k! and many more subs to come!
Amazing couple of videos, so much technical detail you usually don't find in most film analyses on YT. Congrats! (echoing another comment, would indeed love to see something similar about The Master).
As great as Daniel Lewis is (and he IS great) I have to say that Paul Dano made a bigger impression on me in this film. Standing next to a great like Lewis brought him to a place where he just shines. And, as always, Chiran Hinds is always excellent. =)
You should do PTA’s The Master. Perfect film.
He's racking up a lot of those 😄
Sir Willhelm II, would you kindly elaborate on what you liked about that movie? My mere eyes had hard time believing that it was shot by the same director which shot There Will Be Blood.
NonsenseObserver The Master is my favorite film, and for me it’s the characters and atmosphere I enjoy the most, the latter being exceptionally supported by the score, cinematography, and editing. I find it all very enigmatic and it has stuck with me. That to say though, I didn’t like it the first time I saw it
Got a little something in the works... 😉
@@nonsenseobserver9797 let's put it this way. If There Will Be Blood is a solid black monolith, The Master is a refracting prism.
I found your channel today and was stoked that you just released this video!! Great work man, keep it up!
Thanks!
D D Lewis actually broke a rib falling down that mine shaft, talk about commitment. Brilliant masterpiece of a film.
Awesome video! Gorgeous intense movie :)
watched this movie so many times, great work on these videos!
This is wild, cause this video came out just while I was PAing on a commercial with Robert Elswit. Which is right now.
Dang, that's exciting! Congrats!
Another excellent video, CinemaTyler. There Will Be Blood is the only PTA film I enjoy, so more videos on it are appreciated!
Excellent video. You have obviously done a lot of research and it shows. Your explanation of color temperature was quite welcome. :-) A little extra info on t-stops for the curious: an f-stop represents the physical ratio of the lens opening (which controls the amount of light getting through to the film) and its focal length. When it comes to the amount of light actually reaching the film, however, the f-stop - being a mathematical abstraction - does not take into account the loss of light through the absorption in the lens elements, reflection, refraction, etc. The t-stop DOES. A t-stop is like an f-stop corrected for accuracy, in that sense. A t-stop of 3.5 is equivalent to an f-stop of 3.5 through a theoretically perfect lens that does not absorb any of the light on the way through. I'm paraphrasing a bit from Anton Wilson's wonderful Cinema Workshop book from 1983 (pages 109-110). The trade-off with t-stops is that, being photometric rather geometric in nature, they don't represent an accurate indication of the depth-of-field you can calculate from an f-stop. But that's less problematic in the current era of hi-def confidence monitors and the like. You can just see it, now.
[Edited for dumb typos]
Thanks! I just wish I hadn't screwed up the color temperature info in the last video. Thanks for the fascinating info! If T-Stops are more accurate than F-Stops, why don't they just use T-Stops for every lens?
@@CinemaTyler [Edited to get rid of my own condescending bulls**t] Not sure why all lenses don't do t-stops, but I would hazard a guess that, at least for the prosumer market, it does not matter since the vast majority of photographers either use auto-exposure or manually set the stop and shutter speed by taking light readings through the lens. Since the light is coming through the lens already, the compensation for optics is built-in. In the motion picture business, using a hand-held incident light meter has been pretty standard, and auto-exposure is pretty much NEVER used. So t-stops are probably more valuable there. In digital filmmaking, it's becoming quite common to see DPs using false-color monitors - i.e. the color of the image indicates the exposure (looks kind of like weird modern art). You then dial the settings in to make things you want to expose normally the color that corresponds to the optimal level. Of course, PTA, Tarantino, Christopher Nolan, Spielberg and a handful of others are going to keep shooting on actual film for as long as possible, so old-school methods are still very much alive - for now.
So happy that you have made videos on There Will Be Blood now, great movie, great channel - Keep it up!
Another brilliant video.
A true gem
Great video. I wished I loved this film more, but I tend to gravitate towards his other films. Like the master, Magnolia, phantom thread and inherent vice
Phantom Thread is delightful. I noticed PTA's shot of Plainview on the telephone in TWBB looks similar to his shot of Woodcock in Phantom Thread getting examined by Dr. Hardy. The lighting made DDL look the same.
@@gloriajeanstewart886 I could honestly watch phantom thread on a loop
“Brother From Another Mother” - A P.T. Anderson Picture.
I am astonished by the quality of your videos...
New subscriber here. Great work. I'm a huge David Lynch fan and never knew Jack Fisk worked on There Will Be Blood. Awesome!
Thanks for your insights and research - you know cinematography!
Do the Master and EYES WIDE SHUT ... please, btw great one and thanks
FINALLY. Been waiting on this video since the 10th time I watched the first
Congrats on 100K!
Excellent work, my friend.
Outstanding, excellent detail.
I haven’t even seen it and I already know it’s going to be good!
WHAT??!
The maroon/red color has a twisted foreboding element to it, much like the bathroom color red in the Shining with Grady.
BTW Thank you so much for an in depth look at the making of my second favourite film of all time. Your work is very professional and informative. More please! lol
great work! thanks !
top quality video my good chum carry on sir!
This is so good.
goodness you're so close to 100k
Amazing video, just curious but at 17:24 you mention a small bulb you called two n twos. cant find anything on these, what do i have to look up to find these small bulbs.
8:01 - _"They also used real fire for the reaction shots to the Oil Derrick burning,_ *_but we’ll talk about that in another video."_*
Can't wait for part (3/2)!
I talk about that in a scene breakdown. Thanks for reminding me to add a card! Oil Fire vid: ua-cam.com/video/uhJo5mdBtCI/v-deo.html
No ones found the picture of the lawyers in the bowling alley?
I love these videos. Wish you talked a bit slower.
Another home run.
Tyler, what apps do you use for your editing?
what’s the song playing in the introduction?
Marfa was also the location for one of the King of the Hill episodes.
Will you ever do anything on David Lynch?
Okay, but where was the beach scene filmed?
Did they do any colour grading on TWBB ? I grow wary of the insane levels of colour grading that’s prolific in Hollywood these days and it seems like this film uses mostly natural colour.
All the info I came across says that everything we see in a PTA movie is done in-camera (except for the occasional digital effects-- oil wells, frogs in Magnolia, etc.)
Such interesting content! But it all goes by so fast. Do think about slowing the pace of your delivery.
it was a very well-earned Oscar™ . . . but frankly? *any* movie winning for cinematography over _The Assassination for Jesse James_ is ludicrous.
how embarrassing for the Oscars.™
The music of this video reminds me of the Pornhub intro. Great video and channel btw. Fucking awesome
This is what happens when you listen to Third Eye Blind while editing. Suddenly TWBB feels like a high school movie 😉
Nah man, Deakins is the ONLY cinematographer.... that I’ve heard of.
In the audio interview of Elswit talking, he mentions that he initially felt bad for winning over Deakins (who was nominated twice that year!).
I went to an anniversary screening of O Brother, Where Art Thou? with the Coen Brothers, the main cast, and Roger Deakins a while back. People were excited to see the Coens and George Clooney, but when Deakin's walked out on the stage, the crowd went nuts.
CinemaTyler Oh my gosh, what a stage! That must have been so cool. Elswit has nothing to feel bad about. The academy shouldnt let you be nominated twice in the same category. Otherwise I’m sure Deakins would have won for Assassination.
Please lose the background music.
could you make one of these on the perks of being a wallflower? underrated film with a very beautiful filmy look
I haven't gotten a chance to see that one yet, but I'll make sure to add it to my watchlist!
do a video on the Shawshank Redemption
Someday!
That bright red/orange filling in the black top/bottom bars is irritating to the eyes. Other than that, good job
I agree. It's distracting.
Film stock is balanced to either tungsten or daylight. Tungsten balanced film stock reads tungsten light (3200 Kelvin) as white. Daylight balanced film stock reads daylight (5600 Kelvin) as white. Tungsten lights (3200 Kelvin) are warm (or orange) on daylight balanced film stock, and HMI's (5600 Kelvin) are cool (or blue on tungsten balanced film stock.
Love your content and the amount of work and research you put into each video. But I'm begging you, PLEASE adjust the volume on your background music, or take it out completely. It _distracts_ from you content, this, quite simple, is counter-productive. I have literally stopped watching some other channels that do this incessantly. I (we) come for the commentary...the background music is not only *optional* but it is secondary to your dialogue.
Perhaps you have a different sound system than some of us when you edit, but for those of us that use large speakers on a desktop, or headphones, having to strain and pick out your words over the beats pulls us out of the video, it becomes too much work. Please reconsider this avenue.
Thanks for the suggestion. I mix the music to around -24db and the narration is mixed to around -6db. I use the music to help cover up where I stitch audio together and to make it more entertaining and less of a lecture. Is it possible that your speakers have too much bass? It sounds fine to me on decent-quality headphones. I may try nudging down the music track a bit next time.
@@CinemaTyler ~ I appreciate you response, it's quite refreshing to be able to directly engage with content creators, not all channels can or are willing tot do this.
Regarding the bass, no the woofer I have is on the floor and behind a couch, barely turned up, I find it drowns out much music into a soupy sound, so I keep it nearly at 0.
Whatever the reason, this issue with background music overpowering dialogue only occurs on certain videos or channels, on others it sounds fine, so I don't think it would be on my end or it would just be a constant or regular occurrence.
I run into the same thing with occasional films, the music is just *too much.* It seems to be a 'thing' these days. At any rate, thanks for your detailed response, and have a great weekend.
I love you, Ty - but ditch the goofy music.
The commentary is as clear as mud.
nàb vhj n 🤣😎😀
Please don't throw threats about making a video about No Country around.
Worst movie ever made.
I meant that I have info left over for a video on TWBB that talks about them trying to shoot in the same small town at the same time. But, no love for No Country? Granted, TWBB deserved to win Best Picture, but No Country has some really great moments.
Where did you get this information about the movie from?? From a book or what? Very well explained, thank you.
Does anyone have the coordinates of the church in Marfa, Texas? Also the train station? I want to see them on Google Earth. I know for a fact the church is still standing because I saw a video where two guys go to it and I also read an article about it. Anyone know?? Thanks.