What do Glen Powell, A$AP Rocky, LaKeith Stanfield & Callum Turner like to watch on the Internet? From Tim Burton's 'Nightmare Before Christmas' to 'Every Frame a Painting' videos, find out what the boys really like to watch when they're just hanging out.
Director: Claire Buss Director of Photography: Matt Kreuger Editor: Cory Stevens Talent: Glen Powell; A$AP Rocky; LaKeith Stanfield; Callum Turner Producer: Emebeit Beyene Line Producer: Natasha Soto-Albors Production Manager: Andressa Pelachi Associate Production Manager: Elizabeth Hymes Camera Operator: Shay Eberle-Gunst Gaffer: Jon Corum Audio Engineer: Justin Fox; Gray Thomas-Sowers Production Assistant: Lauren Boucher; Marquis Wooten Post Production Supervisor: Christian Olguin Post Production Coordinator: Stella Shortino Supervising Editor: Eduardo Araujo Additional Editor: Sam DiVito Assistant Editor: Justin Symonds
00:00I love that. You just gave away the sauce, though.
00:02Like, now everybody's about to, you got to gatekeep just a little bit.
00:05Totally, totally. My entire education is just this YouTube channel.
00:16Hey, I'm Glenn.
00:17Lakeith. I'm Callum.
00:19I'm Handsome, and we're going to go through some videos that we all love.
00:23I watch YouTube videos all day because usually, I guess, essentially, when I'm creating,
00:27I put a video on mute, and I kind of, like, use that as, like, you know,
00:31the visual component to whatever I'm making sonically.
00:34I'm around music all day, every day.
00:36I like it. So you don't have any sound, but that helps you sonically.
00:39That helps me. I don't know why.
00:40What kind of video?
00:41Man, public domain, Betty Boop, you know, drag racing, fashion shows.
00:47Really? Just like anything, it's, like, no sound, visually stimulating.
00:50Exactly.
00:51You know what drives me crazy is the ones where they haven't seen their mom or dad for two years,
00:55and then they show up.
00:56Like a soldier returning home from war video?
00:59T.J.L.K.
00:59Yeah.
01:00It takes me every time.
01:00Every time.
01:01Honestly, I'm going to be real, man. Guilty pleasure.
01:04I like watching Preds get caught.
01:06That's my thing.
01:07To catch a predator?
01:08Yes.
01:08Yeah.
01:09That's one of my favorite things to watch, predators get caught.
01:12Old school to catch a predator was always, like, such a, like, when Chris Haynes.
01:15Chris Haynes, Dateline, NBC.
01:17He'd walk out.
01:18They're just like, I had, you know, like, just, like, the human reaction of, like, my life
01:23is over.
01:24It was so funny, too, because you could tell he loved doing it.
01:27Oh, yeah.
01:27He just loved catching them.
01:28Can you imagine the amount of power coming from behind that curtain?
01:31That is.
01:32That was a big step, too, right?
01:34Like, the whole house was done off.
01:36Yeah.
01:36Cops waiting outside.
01:37You're like, you can leave right now.
01:39You run out.
01:39They tackle.
01:40Totally.
01:41Got nowhere to go.
01:42What do you mean when you said, I want to blank your blank?
01:45You're like, whoa.
01:47Shout out to Chris Hansen, man.
01:50Does anybody want to go first?
01:51Man, fuck it.
01:52I'll go first.
01:52I love Melody wants to go first.
01:54Yeah, I'll go first.
01:55I love Tim Burton, man.
01:56I've been inspired by him as a child.
01:58I think what he does with Claymation and how he transcended into just live-action movies
02:04and the parallels between them, and he seamlessly kind of included it from matte painting to German
02:10expressionism, I think he's a fucking genius.
02:13Nightmare Before Christmas.
02:14I knew you were going to say that.
02:14I'm a child.
02:15That was my movie when I was growing up, too.
02:17Come on, bro.
02:17That was a classic.
02:19Fun fact, his composer, his name's Danny Elfman, he just did my album with me that I'm
02:24putting on this shit.
02:25No way.
02:25Yeah, Danny Elfman.
02:26That's sick.
02:27He scored a bunch of the songs.
02:28I'm like, wow.
02:29So we had this shit on mute, and just, like, making music to all of the old films.
02:34Pee-wee's Playhouse and Simpsons, all that.
02:36It's with Danny Elfman.
02:36That is.
02:37Have you seen him in Live in Concert?
02:38Yeah, of course.
02:39You saw him at Coachella?
02:40That's so sick.
02:41Killed that shit.
02:41Insane.
02:46Like, this changed, like, Claymation, stop motion, you know?
02:50I had this on VHS.
02:51Me too.
02:54Have you ever seen people actually do this stuff, like, the actual Claymation?
02:56Like, have you ever gone to a Claymation studio?
02:58Yeah.
02:59That's good, yeah.
02:59It's so impressive.
03:00It's crazy.
03:01They build worlds with the miniatures and shit.
03:03It's crazy, man.
03:04It's insane.
03:05This is Halloween.
03:06Everybody make a scene.
03:08In this town of Halloween.
03:11My favorite holiday is Halloween.
03:14I got this on VHS cassette.
03:18Both of us did.
03:19I was probably, like, around five or six years old when I got it, and I've been addicted to it since.
03:23I like cartoons because they allow you to imagine it, you know?
03:26And that's something I held onto even in my adulthood.
03:30Like, I prefer to do things that, like, would consider me as a man child, you know?
03:34I still got gadgets, toys, Rubik's Cubes, and just, you know, fun things.
03:39Can you do a Rubik's Cube?
03:40I suck, bro.
03:42It's all aesthetic purposes.
03:43You come in my spot.
03:44800 in your house.
03:46I think you up next.
03:47No pressure at all, though.
03:48This video is Mean Streets.
03:50It's a Scorsese film that it's one of his first movies, and this scene in particular was one of the reasons that I wanted to get into acting, because I loved it so much.
03:58Johnny Boy is, like, a proper, unbelievable character, and he's larger than life, but he's got this soul that you really connect to, and Harvey Keitel's kind of his cousin and tries to keep him on the straight and narrow.
04:08And then what happened today, you ain't gonna believe, because it's just incredible.
04:11I can't believe it myself.
04:13I was in a game.
04:14I had, like, $600, $700, right?
04:16You gotta be kidding.
04:16Yeah, and that's the street.
04:17You know Joey Clams?
04:18Yeah.
04:19Joey Scala, yeah.
04:20I know him too, yeah.
04:20Yeah, no, Joey Scala's Joey Clams.
04:22Right.
04:23Right.
04:24They're the same person.
04:25Yeah.
04:26Hey.
04:26Hey.
04:27Now, I don't even want to cut the story short, because I know you don't want to hear all this.
04:30I know, I know, I know.
04:30I'm gonna pay him.
04:31Yeah.
04:32We gotta talk like that for the rest of the thing now.
04:34You know what I mean?
04:35It's about a bing, bada bing.
04:37That was brilliant.
04:37That's a great scene.
04:39No, I haven't seen it.
04:40It's one of my favorites.
04:41It's fantastic.
04:42Scorsese's, like, never missed.
04:44Yeah.
04:44I could tell you was just letting him riff, too.
04:46It was, like, real.
04:47I think most of that is improvised.
04:48Wow.
04:49And then he went and did Godfather, too, after that, and then Taxi Driver, and the difference
04:52between the performances is so clear.
04:54When I was, like, auditioning, like, when I was younger, like, I watched, you know, it's,
04:58like, freaking De Niro and Pacino, like, they're, like, the great actors, and so, like,
05:01I thought, like, good acting was, like, using an Italian accent.
05:04So, like, a guy from Texas that had, like, a slight Italian accent and, like, did not
05:08work at all.
05:09Did he hear any?
05:11Yeah.
05:12It's gone.
05:13It's dead.
05:13It's dead.
05:14That part of my life is over in my Italian days.
05:16If you could have done any gangsta movie in the past, what would it have been?
05:20Goodfellas.
05:20Good.
05:20I knew you was going to say that, man.
05:22That's a perfect movie.
05:23I love a Bronx tale.
05:25It's a Bronx tale.
05:25De Niro.
05:26Yeah.
05:26He directed that shit.
05:28Yeah.
05:28He killed it.
05:28How about you?
05:29You could have been in it.
05:30I think Mean Streets or Goodfellas.
05:32Maybe even Casino.
05:34Casino, that's a beautiful movie.
05:35And the clothes in that.
05:37I think that was all Armani.
05:38That's a lot.
05:39How about you?
05:41Minutes to Society.
05:43Damn.
05:44Wow.
05:45Yeah, I like that.
05:46It's a specific, like, West Coast inner city.
05:48Like, we don't really talk about that a lot.
05:50We don't see it a lot.
05:51And I think it's, like, a beautiful world and there's so much to say in it.
05:54You can have an interpretation of these characters that are just vastly different.
05:58Because you meet geniuses that are parts of gangs.
06:01You know what I mean?
06:01Like, people who are really, like, intelligent.
06:03Absolutely.
06:04They have all these layers of thought you wouldn't even think.
06:06And you meet the most kind people who also will get off, you know, of something, you know.
06:11And so I just think it's so interesting.
06:13There's all these layers and complications within these groups we just don't see.
06:16So I would be a part of something.
06:17That's sick.
06:18What about you?
06:18It'll probably have to be Juice or New Jack City.
06:24Yeah, I love that film.
06:26What's New Jack City?
06:27I don't know.
06:27It's about this guy from Harlem.
06:29It's played by Wesley Snipes named Nino Brown.
06:32And basically, it just takes place during the crack epidemic in 1980s in New York City.
06:37And how this guy turned into basically a street kingpin overnight.
06:41And, you know, the trials and tribulations of that.
06:44Dude.
06:45Intro scene to Belly.
06:46Belly, are you ready?
06:47Are you ready?
06:50What's going on?
06:51What's going on?
06:531998.
06:54Yeah.
06:54We're going to get some dope voiceover.
06:55I have a feeling.
06:56Yeah.
06:57That's the first time.
06:58Here you go.
07:01Craziest intro.
07:02That song come in.
07:04Soul to soul.
07:05Shout out Jazzy B, man.
07:10The plexi shot with the blunt was crazy.
07:18His contrast in his films are always dark.
07:20Tite Williams, this guy's next level.
07:22Scene is iconic.
07:23The perfect marriage of, like, cinematic excellence at a time where these kinds of
07:27things weren't seen and through a perspective you don't usually see it through.
07:30But the fact that it was somebody that's, their main preoccupation is music means that
07:35there's rhythm in every single cut and in the edit.
07:37Which people often forget, like, the movie's made in the edit.
07:40And if you have rhythm and you know where to cut it, it just is like, it's like music.
07:45And that's what this is.
07:45And also the contrasting colors, the beautiful black light against the dark skin is the light
07:50is like, it's just like a beautiful piece of cinema that's, like, not appreciated enough.
07:54Your belly is, it's classic.
07:55The whole thing from start to finish is just fire.
07:58So many were like that in the 90s, too.
08:02Hi, my name is Tony, and this is Every Frame a Painting.
08:05Some filmmakers can do action.
08:07Others can do comedy.
08:08But for 40 years, the master of combining them has been Jackie Chan.
08:11One of my favorite YouTube channels.
08:13It's called Every Frame a Painting.
08:15So if you want to, like, break down any filmmaker's style.
08:18Like, this thing will basically break down, like, just play this one real quick.
08:22This breaks down why Jackie Chan's action is better than other people's action.
08:28So basically, you can see, like, Jackie Chan will, like, use the environment.
08:32He'll basically do it practically, which a lot of other people rely on, like, doubles and CGI.
08:36But you'll see how Jackie will also use the environment.
08:40So it kind of gamifies all the action.
08:42So it kind of, like, incorporates comedy and all that stuff.
08:44But this will break down, like, Spielberg, Kurosawa, Scorsese, all the stuff to, like, all of their filmmaking styles.
08:50So if you guys are about to work with somebody, it's called Every Frame a Painting.
08:53So, how does Jackie create action that is also funny?
08:56First off, he gives himself a disadvantage.
08:59Please!
09:00I said I don't want to travel!
09:01Oh, yeah!
09:02Yeah, so sick.
09:03That was Rush Hour, right?
09:04Yeah.
09:04I love Rush Hour.
09:05Me too.
09:06You start to go, like, I love this movie.
09:07It holds up.
09:08And you're like, why?
09:09And it breaks it all down.
09:10Yeah.
09:10It's really cool.
09:11I just worked with Edgar Wright, and this is how I discovered Edgar.
09:13I watched this.
09:14I mean, I saw, like, Shaun of the Dead as a kid, but how I became to appreciate him, I was like,
09:17why do I like this guy's filmmaking style so much?
09:19It was this, like, this video series where he breaks everything down musically.
09:23So, there's, like, there's a musicality to it.
09:25So, I had, like, on Running Man, I had an earwig in my ear on certain scenes, and there
09:29was a metronome going, and sometimes even the song.
09:32So, my blocking and stuff would be to music.
09:34Wow.
09:34And so, you realize there was, like, intention to everything.
09:36So, I like...
09:37That's smart.
09:37It's really sick.
09:38Were other actors also wearing the metronome?
09:40In certain scenes.
09:41Like, there's, like, this opening montage where I'm walking, and so as people are passing
09:45me, and I'm doing certain things, it's all to music.
09:47That's cool.
09:47He did it in Baby Driver, but he's one of those guys that's, like, musically inspired.
09:50But it's really cool to watch.
09:53Like, all of a sudden, I was like, why is this guy so great?
09:55But it breaks it all down here.
09:56I love that.
09:57You just gave away the sauce, though.
09:59Like, now everybody's about to...
10:01You got to gatekeep just a little bit.
10:03Totally, totally.
10:04I got my entire education of this YouTube channel.
10:07Thank you, guys.
10:08You know, we was just chilling, you know, talking with each other, going over our favorite
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