Talmage Puente

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Abstract - Spanning a long decade of inconclusive debates and logical arguments on the ever-present question of whether men and women can be just friends, the successful political consultant, Harry Burns, and the New York City journalist, Sally Albright, still haven't found the answer. Against the backdrop of a strictly platonic friendship peppered with intense love/hate moments, Harry and Sally stubbornly refuse to accept that they are the perfect match, even though they love to banter when they are not bickering. Now, after all this time, they still find themselves before this complex ongoing problem. Will the best friends stop denying the pure magnetism that prevailed ever since Harry met Sally?
Directors - Rob Reiner
Actors - Carrie Fisher
Creators - Nora Ephron
genre - Romance
7,8 / 10
1:17 Agent Cho. I'll have what she's having. The song towards the end of the trailer is called 'Little Too Much' by Natasha Bedingfield. I just wasted four minutes of my life watching this crap. Probably one of the best love speeches ever. Men and women can be friends, but only if the man is gay. Men can be friendly with women, but they will never be REAL CLOSE friends. If they are, then there is usually a motive.
I can't believe this list didn't include Paul Reubens. Sorry we can't transcend evolution like females. So this was common knowledge enough to put it in a movie nearly 30 years ago but women still to this day have doubts or even don't believe it. 0.30 isn't that the person that plays Snow White in once upon a time now.
And then in 1990 will Smith almost went bankrupt. I'm with sally, i like my sauces and dips and stuff on the side. The way she says, Won't you join me. I was like Oh yes, anytime! Audrey, you beauty! ??. Sally must be an extremely naive woman, or just plain stupid. It was so good. LMAO best part.

Metropolitan Opera Live in HD (also known as The Met: Live in HD and Great Performances at the Met) is a series of live opera performances transmitted in high-definition video via satellite from the Metropolitan Opera in New York City to select venues, primarily movie theaters, in the United States and other parts of the world. The first transmission was of a condensed English-language version of Mozart's The Magic Flute on December 30, 2006. Most of the video recordings are later made available for streaming at Met Opera on Demand. History [ edit] To transmit the series via satellite simulcast in the US and Canada, the Met has partnered with Fathom Events. The series is broadcast to AMC Theatres, Cinemark, Cineplex Entertainment, Regal Entertainment Group (Regal Cinemas, United Artists and Edwards), Goodrich, Kerasotes, Marcus and National Amusements movie theaters as well as a series of independent venues such as arts centers and college campuses. Its aims include building a larger audience for the Met and garnering excitement for arts at a local level. The original idea for presenting operas in this way came from the new incoming general manager of the Met, Peter Gelb in late 2006. Exhibiting the Met's performances in digital movie theaters is in line with other audience-expanding efforts by the Met such as radio broadcasts on Sirius Radio, iPod downloads, live streaming video on the Met website, and free opening night screenings in Times Square and at Lincoln Center. The Met is also sponsoring free HD broadcasts into selected New York City public schools. [1] The simulcasts allow more people to experience the excitement of the Met's high-quality performance offerings. This audience includes current opera fans unable to get to New York City to see the shows in person and potential opera fans looking for an easy, affordable method of checking out a new art form. Tom Galley, chief operations and technology officer of National CineMedia, describes the experience by saying: This Metropolitan Opera series is a unique opportunity for people to experience world-class opera in their local community, plus the movie theatre environment and affordable ticket price make these events something that the entire family can enjoy. If you’ve never had the pleasure of attending a live opera performance before, this is the perfect opportunity to see why this magical art form has captured audiences’ imaginations for generations. [2] In the US, the series has also been broadcast in both high definition and regular TV as part of the Public Broadcasting Service 's Great Performances series under the title Great Performances at the Met. In addition, selected performances can now be viewed online. [3] International expansion [ edit] The first season included seven theatres in Britain, two in Japan and one in Norway. After its successful launch, several other countries joined for the second season and 100 screens were added, selling an additional 20, 000 tickets. [ citation needed] These included cinemas in Belgium, France, Germany, Italy, and Spain. 2008 saw the network expand even further to include more screens in the countries named above plus other countries such as Australia, Austria, the Czech Republic, Hungary, Latvia, Lithuania, Luxembourg, the Netherlands, New Zealand, Argentina (Buenos Aires and Mar del Plata), [4] and Poland, as well as the territory of Puerto Rico. [5] Reaction in the British press has been positive:.. is, in fact, managing to find new audiences, all over the world. Down at the Ritzy, my local cinema in Brixton, London, I've been able, since December, to see live broadcasts from the Metropolitan Opera in New York... [6] The author Peter Conrad praised Gelb's showmanship: The relays are the brainchild of the Met's new general manager, Peter Gelb, or one of his innumerable brainchildren, part of a campaign both to rejuvenate the Met's audience in New York and to welcome what he calls 'the global opera community' into the fold. When I met Gelb in New York last week, I told him I'd decided that seeing The Barber in Clapham (just south of central London) was actually better than being at the Met. 'Oh no, that's bad, ' he groaned. 'We must be doing too good a job. [7] Production [ edit] As of 2011 six Metropolitan Opera employees work full-time on Live in HD. About 40 people work on the technical aspects of each broadcast, with one comparing the scale of the logistics to the preshow coverage of the Emmy or Academy Awards. Host Renée Fleming volunteers her services. No same-day substitution of a major cast member for a Live in HD performance was necessary until January 2010, perhaps because of the appeal of performing for a worldwide audience and the opportunity to appear on the subsequent DVD of the broadcast. [8] Audience [ edit] Movie and radio broadcast revenue increased for the Met from about $5 million in 2006, Live in HD's first year, to $22 million in 2008, with Live in HD contributing the bulk of the growth. [8] For the 2009/10 season, the Met spent about $12 million in production and received about half of the $47 million box-office gross. After paying royalties to its cast and crew, the Met earned a $8 million profit. [9] The Met's Live in HD revenue for the 2012/13 season was $34. 5 million. [10] According to a 2008 study commissioned by Opera America, most Live in HD attendees were "moderate and frequent opera goers". About one in five, however, did not attend a live opera performance in the previous two years, with some being completely new to opera and attending because of curiosity about it. The majority claimed to equally enjoy broadcast and live opera, and more than half stated they would "very likely" attend an opera performance at the Met if visiting New York. [11] A 2011 University of British Columbia thesis found that " Live in HD does not at present cannibalize the local live opera audience... [but] There is no evidence that [it] generates more live opera attendance or brings new audiences into local opera houses". [12] A report outlines the economics of the Met's 2013?2014 season: Last season, 10 operas were transmitted via satellite into at least 2, 000 theaters in 66 countries, including more than 800 U. S. theaters. Box office hit $60 million worldwide (average ticket prices were $23 last season), with theater owners splitting sales 50?50 with the Met (insiders say the split is more advantageous to the Met in North America) and Fathom taking a small percentage as well. [13] Vladica and Davis have utilised Q methodology to analyse audience reactions and judgments of entertainment value with respect to this series, and related cultural events transmitted to cinemas. [14] Seasons [ edit] 2006?2007 [ edit] Beginning on December 30, 2006, as part of the company's effort to build revenues and attract new audiences, the Met broadcast a series of six performances live via satellite into movie theaters. [15] The series was carried in over 100 movie theaters across North America plus others in Britain, Japan and one in Norway. [16] It included: Julie Taymor 's production of Mozart's The Magic Flute, [17] [18] on December 30, 2006, in an abridged English version conducted by James Levine and starring Ying Huang as Pamina, Matthew Polenzani as Tamino, and Nathan Gunn as Papageno. Bellini's I puritani, on January 6, 2007, starring Anna Netrebko, Eric Cutler and Franco Vassallo in the roles of Elvira, Arturo and Riccardo, in the 1976 Sandro Sequi production conducted by Patrick Summers. The world premiere of Tan Dun 's The First Emperor, on January 13, 2007, with Plácido Domingo in the title role of Emperor Qin in a production by Zhan Yimou and conducted by Dun himself. Tchaikovsky's Eugene Onegin, on February 24, 2007, starring Dmitri Hvorostovsky, Renée Fleming and Ramón Vargas in the roles of Onegin, Tatiana and Lensky in Robert Carsen 's simple but beautiful production conducted by Valery Gergiev. Rossini's The Barber of Seville, on March 24, 2007, in the new hit production by Bartlett Sher, with Peter Mattei, Joyce DiDonato and Juan Diego Flórez as Figaro, Rosina and Almaviva, and conducted by Maurizio Benini. Puccini's Il trittico, on April 28, 2007, in another new hit production, this time by Jack O'Brien and conducted by James Levine. Maria Guleghina, Salvatore Licitra and Juan Pons, in the roles of Giorgetta, Luigi and Michele, sang in Il tabarro, Barbara Frittoli starred in the title role of Suor Angelica, and Gianni Schicchi was played by Alessandro Corbelli with Olga Mykytenko and Massimo Giordano in the roles of Lauretta and Rinuccio. Stephanie Blythe starred in all three operas, singing the roles of Frugola, the Princess and Zita. In addition, limited repeat showings of the operas were offered in most of the presenting cities. Within the US, digital sound for the performances was provided by Sirius Satellite Radio. These movie transmissions were successful at the box office as well as having received wide and generally favorable press coverage. [19] The Met reports that 91% of available seats were sold for the HD performances. [20] According to General Manager Peter Gelb, there were 60, 000 people in cinemas around the world watching the March 24 transmission of The Barber of Seville. [21] The New York Times reported that 324, 000 tickets were sold worldwide for the 2006?07 season, while each simulcast cost $850, 000 to $1 million to produce. [22] 2007?2008 [ edit] Due to the success of the first season, the Metropolitan Opera decided to increase the number of HD broadcasts to movie theaters from six to eight during the 2007?2008 season. Further, the number of available theaters expanded to 330 across the US and additional countries throughout the world. The first showing on December 15, 2007, Gounod 's Roméo et Juliette, was seen on 477 screens and sold an estimated 97, 000 tickets. The series continued by featuring seven more of the Met's productions
This is one of my favorite movies! ??. Are you saying homosexuals don't fraternize outside of their own gender. Pride and prejudice is number one for me. It is such a beautifull movie. I feel so awkward. XD. I love this scene. Best line in a movie oh but baby fish mouth is sweeping the nation. oh wait wait and Billy Crystals the wagon wheel garage sale coffee table rant is f'in hilarious too.
I had to keep pausing this because it was so awkward. So much second hand embarrassment... I sympathize with Meg Ryan. Ihate chicken the animal, but I love chicken the meat. Why would I want to eat something that I love. Is it a well written film? Funny? With a tickle me enchanted ending? Yes, yes, and awww, yes.

Once Billy Crystal's twinkling eyes and Meg Ryan's hopeful smile fade from the screen, my elated happily-ever-after feelings felt a bit: wrong. Something was off with the what? After thinking about it, I realized that Billy Crystal's character, Harry, never actually changed. In the beginning of the film Harry tries to cheat on his girlfriend with Sally. He asks Sally to sleep with him and she is disgusted at his bold lack of commitment. At the end of the film, after 12 years of friendship with him: Sally sleeps with Harry. Surprise, surprise, Harry doesn't want to commit to her. He nearly bolts out of the apartment after intimacy. He is emotionally distant. He is terrified of even having to physically be there, much less be there for her in any other sense. Afterward, he apologizes. He wants to keep the friendship he enjoyed, and decides, after a lonely New Years Eve, he is ready to marry her. So what? So what? He is still the same person after 12 years. He doesn't want to lose the relationship he enjoyed BUT, that doesn't necessarily mean he will be the committed, faithful, responsible man he has never been. I'd like to see their happily ever after. Maybe he would be true to form and cheat on her with her friend like he tried in the beginning. Maybe he would feel "suffocated" like he did immediately after sex and decide to divorce or "go to get milk" without return. Perhaps they would stay married all their lives and he would consistently display his lack of responsibility and intimacy. He wouldn't show up to Jimmie's ball games, he'd spend most of his time out with friends at bars or at the office. He'd be the first to grab travel assignments for a chance to get away from "the ball and chain." I don't put a lot of stock in a character that for 12 years consistently shows himself to abhor responsibility and then makes a snap decision to get married to a goody two shoes woman who sees rainbows in sewage puddles. This movie reads as deceptively bad advice to women. And gives a bad role model for men. After the happy ending, I think Harry and Sally are both due to be very miserable.

For some reason I always thought the way they talk in this scene inspired Seinfeld. And the whole diner aesthetic adds to it. Why tf this video have no comments. 2:30 am i reading to much into it. Hepburn's the one you've always wanted to do it with.

Correspondent: Lowell Skywalker
Biography: Eagle Scout, Black Belt, Superhero, Jedi Knight, Comedian, Activist, and aspiring Actor/Writer/Director/Producer. Nazis are NOT “very fine people”. He/His/Him