come on! come on, come on, what are you staring for? come on! robinson apparently tired, punched with a fairly well and rocked jake lamotta right to his heels. come on, ray. a director and actor find a story at the right time and the right place. and out comes this amazing combination of cinematic virility and absolute fear. it s like watching an animal. i think raging bull is a great title and the film fulfills the promise. the reality of the boxing and the great slow motion, all the black and white gore. the violence of the flashbulbs going off. when he designed the movie, marty purposefully, he didn t put a clutch on the film. there s no clutch. hey, ray, never went down, man. you never got me down, ray. raging bull is a boxing movie for people who don t like boxing because it s really not about that. it s about this man, jake lamotta, who was based on a real person, who s really at war with himself. come on. harder. harder. i didn t really unde
newman did what he was asked to do, and he was often asked to be the matinee idol and the leading man and be charming and witty and funny. and when he does the verdict, you know, it makes you cry. i mean, here, newman shows you what he s really made of as an actor. i think you guys are making a big mistake. i think you ought to reconsider. i think you ought to get the principles back together again. to see that scene where he s calling the insurance company to rekindle the deal that he turned down. okay. no, no. i understand. it s really one of the greatest pieces of acting i ve ever seen in my life, that phone call. no cuts. i mean, lumet just goes, okay. here we go. so, how s your life? oh, great. how s yours? not so great. oh, we re telling the truth? the big chill s about these kids who were at college together in the late 60s and are now no longer anti-establishment, but actually are part of the establishment and trying to reconcile that history with the
movies aren t being made for adults. that s all the big chill is really. it s an adult film, and it tries to be as complex as life is. i had wanted to make a movie about something i was observing among my friends. this imagined power we came out of college thinking we had was nonexistent. i know you wanna leave me. but i refuse. when it first came out, i thought, well, this will be for this generation. the children of the 60s, this will be very relevant, and then i would meet kids who were in high school 10 years after the movie came out, said, i love that movie. please don t leave me, girl, don t you go it s about friendship. it s also about growing up. there s something in its essence that is timeless and universal. i m marrying flap horton tomorrow. i thank god for flap for getting me out of here, and i think if this is your attitude, you shouldn t bother showing up at my wedding.