he showed me some painting of rembrandt and said, "uc that? could you do the in modern, in today? and i said i will try. yes, but it is part of the job. so i tried. i worked with a dutch artistic director, and i get to work with him. he was very specific and fabulous man. also, they were very specific about the color. in reality, they asked me because the color is a little like in the spirit. it is something in common. i was flattered to do that, but it is beautiful to see how much they are -- our work, our demand is to make a beautiful movie. i should not be able to do anything. i never thought about it, but when people ask me

he showed me some painting of rembrandt and said, "uc that? could you do the in modern, in today? and i said i will try. yes, but it is part of the job. so i tried. i worked with a dutch artistic director, and i get to work with him. he was very specific and fabulous man. also, they were very specific about the color. in reality, they asked me because the color is a little like in the spirit. it is something in common. it is something in common. i was flattered to do that, but

he showed me some painting of rembrandt and said, "uc that? could you do the in modern, in today? and i said i will try. yes, but it is part of the job. so i tried. i worked with a dutch artistic director, and i get to work with him. he was very specific and fabulous man. also, they were very specific about the color. in reality, they asked me because the color is a little like in the spirit. it is something in common. i was flattered to do that, but it is beautiful to see how much they are -- our work, our demand is to make a beautiful movie. i should not be able to do anything. i never thought about it, but when people ask me, you have to be so clever. >> tom ford made a movie, so why not you? >> because my brain is not that sure. you have to think about so many things. truly, it is a big work. you have to be strong. you have to take care also of the physiology of the actor which is, like, oh, my god. you can be depressed. also, you see the depression of everybody. i do not want it. i have enough of my own. >> i hope you will be sharp enough to answer the questions the audience

the city is lucky, our community is lucky to have an asset like this, which is a rembrandt on the ground, that people can enjoy for very, very modest fees. this is a treasure and part of the work that you should fund with this action is to move forward one more step so we can see the day when that golf course and the surrounding habitat is fully and properly restored in a responsible manner. and i think what you've got here is a very responsible plan. i know there are people who don't agree with it. there are people who want to shut the golf course down. we've been fighting them for years. now is the time to approve this and move forward. thank you for giving me the opportunity and thank you and the staff again for all the hard work on this most important matter. >> thank you. >> i'll read a few more names. mike walak. amy [speaker not understood]. [speaker not understood]. lisa [speaker not understood]. paul [speaker not understood]. and anastasia. if i've called your name, please come forward. >>> hi, my name is mike walak. i am aes ~ resident of san francisco, bad golfer, and patron o

works beautifully, and i think that the sculptor here had seen european sculpture by people like rembrandtti. it's modernist, and it's probably about 1920, '15 to '20. do you know what it is? well, i wondered if it was for incense where you put a stick in there and burnt your incense. that's all i could think of. what do you do with the hole in the mouth? well, maybe he's a smoking hare. ( all laugh ) what you do, you get a bucket of water and you put him in it like that and he fills up, bubble, bubble, bubble, and he's now full of water, right? yes. put your thumb over the hole at the top. here's your ink. you grind it on a stone, and you want a bit of water. lift your thumb up, and out comes a little stream of water. so it's for making ink. it's a water dropper. that's wonderful. he's signed, too. i can't make sense of this, but that says hedeno, which is fairly definitely the artist's signature. the other two, i'm not sure about. so...do we like them? i think we do. i think the hare would make £600 to 900, and i think that would make 2,000 to 3,000. oh, my mum will be pleased. thank you

bet you folks didn't know you've got a young rembrandt visiting. oh. are you an artist? i guess.ss. it's going to be fun. i made this... so that you don't forget you're americans. i just wanted to give you some sort of welcome. well, your smi is welcome enough. i've seen nothing but frowns all day. sun's still shinning. don't understand. he messing with you, mary anne? no, larry. it's okay. don't know why they let you people in this country. i was born here. uh-huh. bet you got cousins in the old country fighting for the eeror. scholz. that german? your cousins fighting for hitler? you watch it, mister. pick it up. i said pick it up, jap. (vera lynn's "white cliffs of dover" continues) the funny thing about wars, kid... they always find a way to end. hope we meet outside this fence one day. count on that. yeah. and this guard had it out for your husband? he trolled the camp, gun at the ready, looking for trouble. he and ray ever have another run-in? not that i know of. vera: i found our guard. larry scholz. shipped out of manzanar in '43. stationed in italy till the end of the wa

including original works from rembrandt, michelangelo, matias, andy warhol, it's a giant list of very important art. the marble court of the museum features a whole collection of frescos by diego rivera. the detroit institutes of arts is amazing, it is a prize, and it is public. it is not just open to the public, it's owned by the public. it belongs to detroit. it belongs to the people of detroit. it is part of the city. and over the next few months, all of the art owned by the museum, and therefore owned by the people of detroit, is about to be appraised by experts with an eye towards selling it off, auctioning it off to the highest bidder, piece by piece, scattering it to the winds. the riveras, the van goghs, the william randolph hearst armor. it's all getting inspected and appraised by christie's auction house of new york city, which was hired last week by detroit's emergency manager. there's no vote on a decision like this, the emergency manager gets to do whatever he wants on his own say-so with anything that bloelongs to detroit. the emergency manager says this doesn't mean he'