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I don’t think of us have an iota of how we would really respond to most situations. That’s maybe one of the differences between being in a film and watching a film, which I love. Whereas when you’re doing a film, once you start asking, “What would I do? You’re in pretty good shape, if you begin to dream, not in character, but certain conventions of the story. FARRELL: It’s funny because I remember two very, very separate experiences of doing the film, and one was that we shot it in Philadelphia. It was just the film crew, and we had the trailers. She was so brilliant and so present and so imaginative, and she just really cares about it, a lot. This film makes you wonder though, “What would I do? ,” you’re getting the distance greater between yourself and the character, or you’re bringing the character to you, which I think is self-serving, in the wrong way. Noomi [Rapace] started having earlier dreams than I did, the bitch. We shot a lot of it on a navy yard, so there was this big warehouse and a car park in front of it and it was right on the water. My trailer was parked opposite Noomi’s and there was about 20 yards between both trailers. You know that you’re going to be working with people that are going to raise your game or be there fully with you or challenge you, and that’s cool. You know that it keeps her up at night, and I think that translates. Our hotel rooms were beside each other, so there was a really nice, watered down reflection of the dynamic in the film. I was like, “Aw, you’re having character dreams, you bitch! In the middle, we had a fire pit and there would be music playing. It’s just an integral understanding of the character she’s playing, whatever that may be. Did the chemistry come naturally, or did it take time to build a connection? We shared a balcony, so I’d text Noomi or she’d text me at 10 pm saying, “Do you want to have a cup of coffee on the balcony and chat about tomorrow’s work? Her son was visiting and my kids were visiting, and it was like summer holidays. But then, once the camera was ready and you walked to the warehouse and you opened the big metal door, and you walked from the two in the afternoon sunlight into the darkness of the warehouse, the story didn’t lend itself to having a good time. Did you feel a sense of security, knowing that you were working with such great actors? I’ve worked with great actors and the films haven’t worked. ” It was the same balcony, but there was just a pole between us, so she’d sit on her side and I’d sit on my side. And then later that night, you were lying looking up at the ceiling, and the water in your head, was not dissimilar from the landscape, and you think to yourself, ‘Why is it that the landscape is moving, but the boat is still? She begins a tangled love affair with three uniquely different men: one of whom she knows will be her murderer.

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Wat later zien Piper en Mark op het nieuws een reportage over zijn dood, maar het slachtoffer wordt daarin geïdentificeerd als Tony Wong.Nu dat de identiteit van de dader bekend is krijgt Phoebe een visioen met de locatie van Tony Wong.Piper en Mark gaan Wong opzoeken, en Piper fotografeert Tony Wong met het krantenartikel over zijn dood, en bezorgt de foto aan Andy Trudeau.In Chinatown, on the day of his birthday, Mark Chao (John Chao) is killed by the chief of a gang, Tony Wong (Joe Hoe), without any apparent motive.His body is burned in an alley, and the police wrongly identify the corpse as being the mobster Tony.Welcome to Johnny-Depp.org, an admirers' site dedicated to Johnny Depp and his work and certain to be the biggest archive regarding Johnny Depp with detailed info about Johnny himself and his movies, news and article archives, over Look out the window. I wouldn’t trust no words written down on no piece of paper, especially from no Dickinson out in the town of Machine. Captain Jack's only hope of survival lies in seeking out the legendary Trident of Poseidon, a powerful artifact that bestows upon its possessor total control over the seas.