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#the too many rembrandts job
thewanderingace · 1 year
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Leverage: Redemption 1x01 | Leverage: Redemption 2x02
Bonus:
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leverage-ot3 · 1 year
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you ever think about how harry was legitimately kidnapped by a strange group of thieves and then he just... stayed??? he was kidnapped by CRIMINALS and just sat there and decided, I think I find crime fun and I want a found family and just DECIDED TO ROLL WITH IT AND STAYED WITH THEM??? A GROUP OF STRANGERS THAT ROUTINELY BREAK THE LAW FOR FUN???
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clairenan · 1 year
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Mr. Wilson, just leave the freaking frames on the walls…
The Too Many Rembrandts Job - S1E1
The Walk in the Woods Job - S2E5
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kyrajanemontenegro · 10 months
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Hardison’s whole speech to Harry in the too many Rembrandt’s job sounds so much like Nate if you stop and think about it, but I didn’t even realize it until Sophie said “he’s his father’s son” while there’s a few spots where Nate would’ve worded it differently, I can totally see him making the same speech!
“So this, this isn’t the win, this is the start Harry.”
Definitely sounds like Hardison, very in character!
“No this, this isn’t the win [insert name here], this is just the beginning”
Change the wording a little bit and maybe it’s just me but it sounds just like Nate
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richardsphere · 19 days
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Leverage Redemption Log: The Too Many Rembrants Job
Ok so guy is running around, scenes are flashing everywhere. He's apparantly not too great a person ("whole life i have prided myself on never taking a side"... ) Im gonna say he looks like a little grey man type. Seems like he's feeling rather conflicted about whatever situation he's stuck in. Like this is not his lifestyle. --- Three days earlier, Sophie wakes up to an empty bed. (god... It hits me a little but i cant imagine how this must've hit people who watched it originally and sat through years before it un-cancelled)
The revival seems intend to do the "sherlock-graphics text conversation" thing that has become popular in the intervening years (i dont love that style, but i understand the economy of it. Only 1 shot can now show text and reaction rather then having to cut from a shot of a phone held in someone's hands to a shot of the face. I dont love it but i understand the utility of it.)
I Notice during the toast that Hardison's actor is credited as a "special guest star" (makes sense, i understand his career really took off between the original show and the revival so that makes sense) As far as excuses to write Hardison out of the story (outside of cameo's) are concerned, saying "Leverage International has over a dozen teams, all of whom need supervision and the research has always been his thing even in the OG run" is a pretty good and natural flowing explanation for it.
First heist of the new run: Distracting a grieving widow. Time to steal ourselves some therapy. --- I dont like the Big Text Transition Cut-in. BOSTON MUSEUM OF ART printed in such a big font you cant see the museum is a waste of an establishing shot.
I assume this "Harry" is the same guy that i have been told is the reboots mythical "lawyer" role. (a role that feels out of place in the line-up. Even if I remember the Cheerleading episode and the way that Nate's job was mostly knowing which crimes he could trick the bad guys into getting arrested for it still feels weird.)
Phoenix Wright points out that our prospective mark (opioid crisis billionaire) cant actually remove the painting halfway through but that they could cancel future donations.
But it seems Sophie has made her decision, she follows the lawyer till he admits which painting it is. Then all-but openly admits she's stolen it before. (guess we needed to tip our new castmember off somehow. Still feels clunky, but i'll respect it as a "Sophie's been out of the game for 8 years" thing)
In shock: Parker is getting therapy something i've been strongly opinionated on since the 12 step job. Sure its a child psychologist rather then an adult psychologist but its good. (different things work for different people, and the list of people to whom she could honestly admit to her life without risking arrest is slim. Take what you can get Sophie.) ---
"this is not what it looks like" "cause it looks like you're stealing a Rembrandt, and you've got a 2 minute window, tops... Hurry on" real "Uncle Iroh correcting his muggers knife-stance" energy here. Just the look on his face when he says "you want me to keep..." like i dont know what the Opiodbaron has on him to make him do this but he's so out of his depth. "is that my wallet?" "sure hope so, it has all your creditcards in it" this guy just knows his life is ruined now, the look on his face that all sensibility and reason has left the universe as these 3 people just casually chat with him mid-burglary.
Parker the cartwheel was entirely unneccesary. This is not an acrobatics job this is a "walk there and put the thing on the camera" job. No need to show off.
"where did you learn to do that" "youtube" absolute Timmy Turner"I inherited the internet" level of answer right there.
"So right now they're busting down the firedoors and an enterprising employee is coming in through your escaperoute" (i mean it was pretty well thought out for a complete amateur... that sounds more insulting then i meant it but i meant it as a compliment) --- Further flashback to him first starting to work for MarkyMcMarkface. "im not an anybodies side, im a lawyer" Ah i can see im gonna get really sick of the "evil lawyers are scum of the earth" jokes really quickly with this sequel series arent I? "not my medication, im the one who convinced him to pay out, you just need to put down the shovel... so to speak". Those are definitly the words of a man balancing his desire to do good, with his ability to be in position to do anything at all. (i like when characters have that dynamic. Its much more interesting then "cackling villain or heroig paragon"). Im giving this line a full on 9.8/10 for establishing this guy.
"my name will live on in these museums forever" well that is a line that definitly cant get twisted into "this is the famous art-thief who stole all this art" after Leverage Inc-ternational is done with framing him he'll realise the downside of herostratic fame. --- "are we taking him as a client or wiping his ID and dumping him in Venezuela" "I'd like to vote no on that"
"wait, i think i've deduced you are thieves. And you were there not to steal the Rembrandt? And now that you know the owner is vermin you want to help me ruin him?" yeah that is the premise, good deductive skills, absolutely love how fish-out-of-water he is. (the hell is going on?) That is the voice of a man speedrunning his way through the 5 phases to acceptance that his world will never make sense again. --- I like how Sophie mentions a theft and parker just reviews the heist. Good way to show the runners still understand her character, she doesnt care about the painting she cares about the swagger of the theft itself.
"well, he's already an inside man" "and we can bonk him on the head later, if we have to", " thank you... that did not sound right". --- "a month is a long time when you're the one not doing the stabbing". Ok i think we're overplaying the stabbing. That happened one time in season 1 of the original series, i think this is a bit of flanderisation. (still a great line, if i knew anyone who did throwpillows i'd get it done on one) --- I like the acknowledgement that art forgery is intense. With the need to duplicate materials as well as colours. And i like that Elliot still is Mr. Know A Guy, --- Ok so they realise they cant sell it (cause they didnt think to fake a Rodin) and use it to double down his reputational insecurities "cant sell it to you, owner wont sell to someone who might lose it due to future lawsuits".
Mark is calling a security check on sophie and it cuts to break (as if anything he could find isnt hidden by Hardison)
--- Lovely story, irish mob, father operated in the place they stole the painting, looking to offset it. Passes inspection (especially when the inspector is on your side) definitly written for Nate not Elliot but it'll work. --- "do i even want to ask who this actually belongs to?.. Thought so." at least he's quick on the uptake.
So it is at this point in the episode that i felt a need to I google wether the actor is dead. (he isnt, he got accused of SA but was cleared by the court in the end. Still public opinion being fickle and him never having been a Pirates of the Caribean level famous actor. I understand that is definitely a career killer.)
Bunch of eulogies for Nathan, "at least he burned" 8.8/10 --- Elliot taking the role as an excuse to rough the guy up a little bit before "losing" the negotiations. (note: they've clearly learned some lessons. Elliot made sure to check what the mark plans to do with the painting. No "oh shit the fiddle-purchaser thinks he's the fiddle here." Thats what 5 christmass specials and an 8 year interlude's worth of experience gets you) --- Lucille is a foodtruck now, (well, its more "air force 1" rules. Any plane with a US president is airforce one, any foodtruck with a Hardison is Lucille) --- Looks like Mark has decided to just kill elliot and take the painting. Also looks like this scary woman (RIZ security) is gonna be a recurring antagonist. (she has too much "presence" to be a one-off)
Ah the old "let me explain the fight choreography, then work my way through the choreography and look like a WarProphet-eer" stint. (Guy Ritchie Holmes did it better, but it gets a passing grade) I do like the little compliment RIZ woman gave. Elliot Spencer: "The Rembrandt of Violence". --- "smart thing to do would be to run" Smart thing yeah, but you guys dont do the smart thing, you guys do the Cunning Genious Bastard thing. Parker is notably absent in this scene, or anything that has been happenign in this part of the plot. (she's off doing the plan this is a distraction/back up for)
Elliot coming in like a rhinocerous. Lawyerman Flashback. "If i cant give them anything, and I cant be forgiven, I need to take something from him."
Back-to-present Lawyerman walks into the museum (sirens blaring), puts gasoline/kerosine/alcohol/other chemical accelerant on the painting and burns it. (the alarm is already blaring, which means something already set it off. The paintins already been swapped for a fake, as have all the others probably. We're framing our Mark for an Insurance scam again cause we cant beat the classics, especially if we're doing a Revival Series Pilot) --- Lawyer walks up to Mark and gets gutpunched. Mark is on the phone talking his secire and secret Maltese bank details (Sophie or Hardison? Place your bets. I think its Sophie, usually this would be a Hardison thing but it would show her as being "back" as an actress) --- "I said one job... The job's not done". Good line (7.6/10), and i like the subversion of the expectation that just 1 heist would be enough to get her "back in the game". making it a two parter helps divy up the load a little on selling both the grieving process and Harry's joining with the crew.
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I almost feel bad for the guys they sent after Eliot.
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Have I mentioned how much I love that they bring Sophie to a museum to steal something and cheer her up, and at first she's not sure about it but then she sees Harry and is like "Him. We are going to steal that man."
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ghostlyarchaeologist · 8 months
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"Bruh, I gotta fake a masterpiece from 1633. Not only does the painting have to look identical, the materials I use have to be identical."
Leverage Redemption S01E01 The Too Many Rembrandts Job.
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evilscientist3 · 6 months
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nice job supporting ai stealing artwork dickweed 👍
First, let me start with a disclaimer:
I don't like AI art personally. Subjectively speaking, it just doesn't feel like proper art to me.
I just think that the rhetoric behind why, from an objective standpoint, AI art in particular is bad (i.e. immoral) deserves more thought.
Some questions which you might find worth answering:
Is there a means of explaining how AI art steals from artists that doesn't imply collage and/or inspiration are also forms of art theft?
For an artist, is anything intrinsically lost when their art is used as a sample in an AI's data model?
When it comes to AI generated photographs, is art theft still occurring?
Consider the post you're getting mad at me about. whompthatsucker1981's copy of the AI generated photo likely wouldn't have existed without an AI generated photo to copy. Is there no value to be found in the AI enabling the creation of the art?
Suppose I were to train a data set on, say, Rembrandt's paintings to try and generate my own "new artwork" of his - just to hang in my living room. He's famous and dead, so this action doesn't affect him at all - is anything wrong with me doing this?
Similarly, suppose a commercial entity or institution were to do the same, and sell or display it with the pretext that it was generated - would this novelty not at the least be somewhat intriguing?
How about if a team of experts assessed the product, and personally corrected and altered details to keep it consistent with his other works if necessary?
Many years ago, I met an artist called Doug Fishbone while he was doing an exhibition called "Made In China" at the Dulwich Picture Gallery. There was no clear piece on display as part of the exhibition; there was, however, an impostor. One of the paintings in the gallery had been replaced with a replica commissioned from the Meisheng Oil Painting Manufacture Co., who only ever saw the painting they copied as a high resolution photo - thousands of visitors were invited to guess which.
This both questions the value of originality in art (is the copy really less valuable than the original if you can't tell the two apart? How about if it's utilised as part of a philosophical point or artistic message?) and reveals, via the copycat painting's minor discrepancies, that even in careful replication, the preferences of the artist often shine through (perhaps this is a motivation in the encouragement of copyists by many old masters).
I would certainly agree that it isn't particularly desirable to study the "eye" of an AI all too closely - its own quirks will simply be the mean of other artists' idiosyncracies. But suppose that the image is then copied, modified, or used as inspiration - is its place in allowing for another artist to develop a concept not valuable at all?
To be clear, these questions aren't rhetorical; I'd like to hear your views. If you reply, I hope you do so in good faith.
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ground-zoro · 1 year
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Eliot Spencer has been compared to both Picasso and Rembrandt
S5E10 The Rundown Job: "The rumours (that Eliot is no longer a killer for hire) are true dammit, ugh, it's like Picasso throwing away his paintbrush "
Redemption S1E1 The Too Many Rembrandts Job: "I work in the field of violence; not knowing Eliot Spencer in our line of business it's a bit like not knowing Rembrandt"
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Here's some leverage ot3 propaganda straight from the episode transcripts:
Parker: What did you do?
Eliot: Don't ask me that, Parker. (looks at her apologetically) Because if you ask me, I'm gonna tell you. So please don't ask me.
(Parker nods)
-The Big Bang Job
Eliot: It was a good thing it was us. The two of us, we do things they can't. Won't.
Parker: Does that make us bad?
Eliot: It makes us... us.
-The Long Way Down Job
Parker: You have to make it through this... Because... Because you're my friend, and I need you. Do you hear me, Alec? I need you! (Alec is Hardisons first name)
-The Grave Danger Job
(Eliot and Hardison embrace)
Eliot: Never do that again, man. Don't do that again.
Hardison: Cool. I won't.
-The Grave Danger Job
Hardison: I-I never would have made it through that without you. You know that, right, Parker?
Parker: Oh, that's not true. Anyone can learn to hold their breath.
(Hardison leans in and gives her a lingering kiss to the cheek)
Hardison: Thanks for not hanging up the phone.
-The Grave Danger Job
Eliot: Hey, listen to me. You’re smartest man I’ve ever known, Hardison.
Parker: We agreed we all change. Better or worse, we change together. -The Run Down Job
(Hardison cries out in pain. Eliot spits blood)
Hardison: Did Eliot make it?
Eliot (scrambles for his hand): Here I am. Age of the geek, brother.
(they both shake with pain and can barely speak. Parker cries and takes Eliot’s hand)
-The Long Goodbye Job
Sophie: Promise me, (looks at others) you'll keep them safe.
Eliot: Till my dying day.
Nate: You know, Eliot, I'd say call if you need anything, but you never... never need anything.
Eliot: Yeah, I did. (looks at Parker and Hardison) And thanks to you, I don't have to search anymore.
-The Long Goodbye Job
Hardison (about Eliot): You see that cowboy? Man, for the last 12 years I've seen him risk his life to save hundreds of innocent people who will never know his name, all that he still gets up, you know what he says? 'I still got more to do.'
-The Too Many Rembrandts Job
they mean everything to me <3
i dont have enough hours in the day to consume all the media everyone keeps convincing me to help
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rewordthis · 3 months
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The struggles of art, are not for everyone.
It’s really not, indeed.
You have to like the process first and foremost.
If when putting the tip of the pencil down onto paper your main thoughts are how you’re bad, how you won’t have any progress, or hope you’ll be as good as those famous artists you follow on here or Twitter, then you’re really doing it wrong.
I’ve been drawing for forever and I still don’t seem to make anything better than before but having an old drawing around always puts things into perspective. I draw because it gives me peace of mind. If it just gives you anxiety then sure, it’s not for you.
And in the end, what I love the most about it is the sensation of my pencil-tip scratching that blank void that a sheet of paper is. Not the prospect of earning likes, a following, or money from it. I have tons of art that’ll never see the light of day for many reasons, that I’m so hang up on the fact that I made it. I was in my best condition when I made those pieces, in the right headspace, I was whole. The muses guided my hands these times, God smiled down on me.
What can I say? I’m a girl of simple things.
But the whole debate about whether AI is a medium for creation or easy theft, has soured my mood.
I do NOT consider AI art when its main ‘reference’ is straight up stealing and plagiarising someone’s sweat and tears. Before feeding it your favourite artist’s (or writer’s) work to mince and chew it up like it’s nothing in order to vomit a halfassed attempt at creation on your part remember this, the artists and writers the works of you used, are real people. They breathe, they eat, they cry. They pour TIME into their works. Time that you do NOT respect. They put feelings into their works. Feelings that you do NOT respect. For some of them, it’s also their main income. Income that you DEVALUE by stealing what is considered a unique trait of their trade!
You will NEVER learn anything nor get better at anything other than stealing that way. Because you haven’t known the value of hard work. The value of putting a chip of your soul into what you make. The value of living inside every work you’ve ever CREATED. You never lost sleep, food, or a piece of your sanity trying to make something from scratch. Trying to make it work. Trying to give birth to something unique.
What pitiful existences really, are those who can’t value someone else’s soul enough to respect it…
Anyway… this is getting heavy for me so I’m not going to rant over this anymore. I just want to say that I’m going to release some basic everyday steps for those who really want to learn drawing to follow on their own. Art takes time. Great writing takes time. It also takes for someone to be happy each time for what they were capable of creating.
That said, let me be clear that these mini exercises aren’t gonna clinch you a job at mappa, nor are they going to teach you proportions or whatever else those tutorials promise you, they’re specific to making you understand how 3D and observation works in order for you to be able to pick the elements you need every time you make a new piece. That’s all!
Progress isn’t jumping from 3yo art to fucking Rembrandt. It’ll suck ass before it even looks remotely decent!
Make sure to have that☝️printed and posted on your wall. That’s an order! *flexes whip*
Ok, I’m kidding, but seriously that’s your only motto from now on if you want to get better.
And now let’s prepare the ground for your exercises.
What you’ll need first is either a normal pencil or a 2mm one. No 0,5’s or whatever… in general NO mechanical pencils. Personally I’d recommend starting with a wooden pencil, though.
A good eraser that doesn’t smudge. It doesn’t matter what colour or brand as long as it erases the graphite well and without too much mess. Remember, NO SMUGES! *Forgot to say, a charcoal eraser will be a good friend, if it’s affordable. (Sorry for forgetting that.)
Now, hardness:
Find your typical hand writing pressure in the table below.
Generally the harder you press, the more difficult to erase. So bigger pressure (aka black marks, scratches etc) is 5.
5 4 3 2 1
2H H HB B 2B
How it works:
If you’re 3 you’ll need:
H: tracing
HB: outline
2B: shading
If you’re a 5 you’ll need:
2H: tracing
H or HB: outline
B: shading
If you’re 1 you’ll need:
HB: tracing
HB or B: outline
2B: shading
If you are 2 or 4 you’ll have to go through trial and error. Sorry. Just keep in mind that depending on where you lean; extremes or average (3), you follow the guidelines above.
For example, I am a hard 5 (if not 5,5 lol) so at some point I resorted working with just 2H and HB. I only ever use B when I need something to be black— which admittedly happens rarely. It’s only a few times you’ll need to depict actual black.
> You generally need a tracing pencil that won’t leave too dark visible marks behind when erased. People 5 and 4 will have to be a little careful though and not scratch the paper but that will come with practice.
> Your outline has to be enough to ‘stain’ the paper so you won’t lose your main sketch. It’s also correction time. Yey!
> Your shading shouldn’t smudge because you’re going to use layers. Yes. Even in traditional art you darken in layers, typically in as light moves as possible and in varying angles until you get the shade you want but that’s for later.
I personally don’t have any specific papers to propose to you (bitch you’re using basic photo-printing A4 papers wth lol). You’ll just need a hard surface, especially my 5 and 4 palls.
Ok, that’s it for today, folks.
Let me also slap a disclaimer here: I am NOT a professional art tutor. I just love art. 🤗
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leverage-ot3 · 1 year
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DISCLAIMER: do NOT come at me saying that the rundown job is not on here!!! it would skew the results we all know it is thee ot3 episode
DISCLAIMER 2: there are only up to ten options on polls and there is no way I could pick all the ot3 episodes I was just going off memory pls be gentle with me and have fun!!!
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clairenan · 2 years
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chikoriita · 2 years
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Leverage: Redemption 1x01 “The Too Many Rembrandts Job”
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byneddiedingo · 10 months
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Faust (F.W. Murnau, 1926)
Cast: Gösta Ekman, Emil Jannings, Camilla Horn, Frida Richard, William Dieterle, Yvette Guilbert, Eric Barclay, Hanna Ralph, Werner Fuetterer. Screenplay and titles: Gerhart Hauptmann, Hans Kyser, based on a play by Johann Wolfgang von Goethe. Cinematography: Carl Hoffmann. Art direction: Robert Herlth, Walter Röhrig. Film editing: Effi Bötrich. 
Power corrupts, as we knew long before Lord Acton so nicely formulated it for us. It's the truth underlying so many myths, from the Garden of Eden to the Nibelungenlied to the Faust legend. Goethe's Faust is a philosophical poem, a closet drama not designed for stage or film, but that hasn't prevented playwrights, opera librettists, or screenwriters from making the attempt. F.W. Murnau's version is probably the most distinguished cinematic attempt, but not because of its fidelity to the source. Murnau's version works because it concentrates on the power struggle, initially between Good, as represented by the archangel (Werner Fuetterer), and Evil, as represented by Mephisto (Emil Jannings), and later by the attempt of Faust (Gösta Ekman) to obtain mastery over Time. It begins with a wager, borrowed from the book of Job, between the archangel and Mephisto, over whom Faust's soul will belong to. Then it eventually devolves into what is the core of most dramatic treatments of Goethe's story, the seduction of Gretchen (Camilla Horn), with the aid of Mephisto. In the end, both Gretchen and Faust are redeemed by his willingness to sacrifice himself, an abnegation of power. But that too-familiar story is distinguished by Murnau's staging of it, with the significant help of Carl Hoffmann's cinematography and the art direction of Robert Herlth and Walter Röhrig. This is one of the most beautiful of silent films because of the interplay between light and dark, a superb evocation of the paintings of Rembrandt in the composition and lighting of scenes. The tone of the film is set near the beginning by the spectacular image of a gigantic Mephisto looming over a German town, which clearly influenced the similar scene in the "Night on Bald Mountain" sequence of Walt Disney's Fantasia (1940). Jannings manages to be both sinister and gross as Mephisto -- the latter mode most in evidence in his scenes with Gretchen's lustful Aunt Marthe (Yvette Guilbert). (If Guilbert looks familiar it's because, as a Parisian cabaret singer during the Belle Époque, she was the subject of numerous portraits by Toulouse-Lautrec.) This was the last of Murnau's films in Germany: The following year he moved to Hollywood, where he made probably his greatest film, Sunrise. He was soon followed to America by the actor who played Gretchen's brother, Valentin, William Dieterle, who became a prominent Hollywood director.
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Top: Yvette Guilbert and Emil Jannings in Faust. Bottom: Yvette Guilbert by Henri de Toulouse-Lautrec.
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