2013 info - Jordan Belfort is a Long Island penny stockbroker who served 22 months in prison for defrauding investors in a massive 1990s securities scam that involved widespread corruption on Wall Street and in the corporate banking world, including shoe designer Steve Madden Average Rating - 9,1 of 10 Stars audience Score - 1110982 votes directed by - Martin Scorsese

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The wolf of wall street summary

The wolf of wall street 2013. The wolf of wall street full movie in hindi dubbed hd. The wolf of wall street speech i'm not leaving. Top Rated Movies #145 | Nominated for 5 Oscars. Another 38 wins & 172 nominations. See more awards » Learn more More Like This Drama Western 1 2 3 4 6 7 8 9 10 8. 4 / 10 X With the help of a German bounty hunter, a freed slave sets out to rescue his wife from a brutal Mississippi plantation owner. Director: Quentin Tarantino Stars: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio Adventure War 8. 3 / 10 In Nazi-occupied France during World War II, a plan to assassinate Nazi leaders by a group of Jewish U. S. soldiers coincides with a theatre owner's vengeful plans for the same. Brad Pitt, Diane Kruger, Eli Roth Mystery Thriller 8. 1 / 10 In 1954, a U. Marshal investigates the disappearance of a murderer who escaped from a hospital for the criminally insane. 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Matthew McConaughey, Anne Hathaway, Jessica Chastain Edit Storyline Jordan Belfort is a Long Island penny stockbroker who served 22 months in prison for defrauding investors in a massive 1990s securities scam that involved widespread corruption on Wall Street and in the corporate banking world, including shoe designer Steve Madden. Written by anonymous Plot Summary Plot Synopsis Taglines: Earn. Spend. Party. See more » Motion Picture Rating ( MPAA) Rated R for sequences of strong sexual content, graphic nudity, drug use and language throughout, and for some violence See all certifications » Did You Know? Trivia In the conference room, the main characters sing "One of us", a reference to the 1932 movie "Freaks". Olga Baclanova was the lead actress in that film and also in the 1929 film "The Wolf of Wall Street". See more » Goofs The scene in Geneva shows a modern tram built after 2000. See more » Quotes Max Belfort: $430, 000 in one month, Jordy. huh? Jordan Belfort: They're business expenses. Jordy, look what you've got here. Look at this! $26, 000 for one fucking dinner! No, no, this can be explained. Dad, we had clients, Pfizer clients. champagne. Nicky Koskoff: The porterhouse from Argentina. Expensive champagne and the what, we had to buy champagne. [ to Donnie] And you brought in all the sides tell him about the sides. Donnie Azoff: I ordered the sides, so... Sides? Sides? $26, 000 worth of sides? What are these sides? They cure cancer? [... ] Crazy Credits The film opens with a Stratton Oakmont advertisement hosted by Jordan Belfort. The film title appears only at the ending. See more » Alternate Versions News reports in local media have said the version of Wolf of Wall Street (2013) showing in Abu Dhabi cinemas removes 45 minutes of content. Aside from nudity and sexual situations, most of the edits come from the film's 500+ curse words. Time Out Abu Dhabi reported offensive language was removed by "either by muting the audio temporarily or chopping chunks from scenes mid sentence, which produces a jarring effect for viewers. " See more » Soundtracks Moonlight in Vermont Written by John Blackburn and Karl Suessdorf Performed by Ahmad Jamal Trio Courtesy of The Verve Music Group Under license from Universal Music Enterprises See more » Frequently Asked Questions See more » Details Release Date: 25 December 2013 (USA) Also Known As: The Wolf of Wall Street Box Office Budget: $100, 000, 000 (estimated) Opening Weekend USA: $18, 361, 578, 29 December 2013 Cumulative Worldwide Gross: $392, 000, 694 See more on IMDbPro » Company Credits Technical Specs Runtime: 180 min 145 min (cut) 240 min (rough cut) See full technical specs ».

The wolf of wall street like movies. The wolf of wall street 4k. The wolf of wall street decider. The Wolf Of Wall Street Trailer In The Wolf Of Wall Street, DiCaprio plays Belfort, a stockbroker, has served 20 months in prison for defrauding investors in a securities program in 1990 which involved major corruption rampant in the Wall street and in the world of corporate banking, including Steve Madden. Genre: Biography, Comedy, Crime Actor: Leonardo DiCaprio, Jonah Hill, Margot Robbie Director: Martin Scorsese Country: United States Duration: 180 min Quality: HD Release: 2013 IMDb: 8.

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The wolf of wall street company. Home > The Wolf of Wall Street > Quotes « Movie Details The Wolf of Wall Street Quotes Max Belfort: What kind of a hooker takes credit cards? Donnie Azoff: A rich one! Jordan Belfort: I'm not fucking leaving! The show goes on! On a daily basis I consume enough drugs to sedate Manhattan, Long Island, and Queens for a month. I take Quaaludes 10-15 times a day for my "back pain", Adderall to stay focused, Xanax to take the edge off, pot to mellow me out, cocaine to wake me back up again, and morphine... Well, because it's awesome. I am not gonna die sober! Let me tell you something. There's no nobility in poverty. I've been a rich man and I've been a poor man. And I choose rich every fucking time. My warriors, who won't take 'No' for an answer. Who won't hang up the phone till their client either buys. Or fucking dies! Still, give them to me young, hungry, and stupid. And in no time, I will make them rich. Agent Patrick Denham: Let me give you some legal advice: Shut the fuck up! I'll tell you what: I'm never eating at Benihana again. I don't care whose birthday it is. Mark Hanna: It's his first day on Wall Street give him some time. At least as a rich man when I have to face my problems I show up at the back of a limo wearing a $2, 000 suit and a $40, 000 gold fucking watch. If im not mistaking, you just tried to bribe a federal officer. Fucking smoke crack with me. I want you to deal with your problems by becoming rich! OK, first rule of Wall Street - Nobody - and I don't care if you're Warren Buffet or Jimmy Buffet - nobody knows if a stock's going up, down or f-ing sideways, least of all stockbrokers. But we have to pretend we know. You got my money taped to your tits, honey. Technically, you do work for me. My money is attached to your boobs. So technically, you work for me. Sweetheart, you have my money taped to your tits. Technically, you do work for me. Sell me this pen. How many times a week you jerk off? Naomi Lapaglia: And you know what else, Daddy? Mommy is just sick and tired of wearing panties. with this script I'll teach each and every one of you to be the best With this script, I'll teach each and every one of you to be the best. was all this legal? absolutely not, but we were making more money then we knew what to do with Was all this legal? Absolutely not but we were making more money then we knew what to do with. My name is Jordan Belfort. The year I turned 26, I made 49 million dollars, which really pissed me off because it was three shy of a million a week. There gonna have to send in the national guard if they wanna take me down There gonna have to send in the national guard if they wanna take me down. I ain't going anywhere!! I ain't going anywhere! Ther gonna have to call in the national guard to take me out, cause I aint going nowhere!!!!!!! They're gonna have to call in the national guard to take me out, cause I ain't going nowhere! Was all this legal? Absolutely not. I don't want to die sober!! I don't want to die sober! Find More Movie Quotes.

The wolf of wall street deutsch. The wolf of wall street end song. The wolf of wall street trailer song. The Wolf of wall street. The wolf of wall street fx. The wolf of wall street wikipedia. The wolf of wall street funny scenes. The wolf of wall street stream. Anything that’s any good seems to be about pretty much everything. “Inside Llewyn Davis” isn’t a documentary about the folk-music scene; it’s about the existential tricks of time—the terrible, subtle blow that knocks a person from the vanguard to the sidelines, from the promise of youth to the nostalgia of age in a single moment. I found myself thinking about my colleague Adam Gopnik’s recent piece in the magazine about Duke Ellington—about how it must have felt for Ellington and the other luminaries of swing, around 1941, when they found out about the young modernists up at Minton’s, whose music, soon known as bebop, made the big-band sound an instant relic. “The Wolf of Wall Street” is even more capacious. Let’s start with that last shot, which I cited but remained coy about when writing about the movie before it opened. By now, there has been enough discussion for everyone to know that it shows an audience—attendees at a sales-technique seminar held by Jordan Belfort, in New Zealand, after his release from prison. Belfort challenges those in the front row, one by one, to sell him a pen. None of them has a clue, and Scorsese’s camera rises over their heads to scan the yearning, vacant faces of the aspirants in the rows behind them. It’s a moment with a terrifying, Olympian blend of compassion, disdain, and anguish; it shows a fatal lack of imagination combined with a desperate range of unfulfilled desires. The shot shows not just an audience, but the audience: Scorsese puts the film’s viewers face to face with themselves, charges us with compensating for our lack of imagination and fatal ambition through contact with the wiles of a master manipulator. Just as the fictionalized Belfort (Leonardo DiCaprio) is presented at the seminar by a host (who, in a diabolical cameo, is played by the real-life Belfort), so we, the movie audience, have been introduced to Belfort by another enthusiastic impresario, namely Martin Scorsese, who knows perfectly well that he is giving us something that we want, something that we need, and something that taps into dreams and ambitions that are both central to life and completely suspect. As with the ending of Carl Theodor Dreyer’s “Gertrud” and John Ford’s “7 Women, ” the end of “The Wolf of Wall Street” renounces a world of horrors even as it embraces its destructive passions. The difference is that Scorsese’s vision is utterly unromantic: the ideal that he has in mind isn’t within the grasp of human endeavor. Scorsese’s movie is hardly about Wall Street, even less about the specific mechanisms of Belfort’s financial fraud. (Though they’re pretty fascinating—despite Belfort’s comic demurrals: the fraudster seems to have had as good a time concocting his schemes as he did profitting from them. ) Rather, the movie is about the drives and urges, the pleasures and the self-indulgences, the power plays and manipulations, the ingratiations and deceptions, the allegiances and the compromises and the calculations on which human society runs—about life in this fallen world. Too much has been made of the movie’s lack of attention to Belfort’s victims. The complaint is shortsighted: the victims are everywhere. Early on, some are heard on the phone, looking to make money through investments that they don’t earn (take seriously, after all, the lurid concept of “unearned income” and let he who has no 401(k) throw the first stone). Later, others are shown studying Belfort’s sales techniques in order to move from the ranks of the taken to those of the takers. To see Belfort’s victims, look in the mirror—and look there to see Belfort’s collaborators, too. There are no innocents in Scorsese’s vision; the movie is a unified field of dubious desire, of temptation, evil, and sin. Scorsese, in depicting with great exuberance a sinner who, for his part, also describes his sins exuberantly, brings to light the mighty unconscious of humanity. The difference between Belfort and his victims—and between the fictionalized Belfort and his viewers—is that he does what we would but don’t dare, he says what we think and feel but suppress. “The Wolf of Wall Street” is the first modern movie about the world of finance because it situates money in the so-called libidinal economy. Scorsese’s vision of power also involves humiliation; his understanding of wealth isn’t just luxurious and carnal, it’s also excremental, sanguinary, emetic, carnivalesque, and violent. Scorsese has created a movie for the moment—for the age of utter transparency. The secrets are out of the bag. The time is over when a president could use the White House as his private pleasure dome, and Jay Gatsby’s alias and persona wouldn’t last five minutes in the age of the Internet. (Fitzgerald’s novel pierces the veneer of high society to reveal the carnal motives and behind-the-scenes depredations on which its gentility is built. ) It’s worth comparing the movie to Roula Khalaf’s 1991 report, in Forbes, which made Belfort infamous (the reporting and its results are dramatized in the film). It details some of Belfort and his firm’s dubious dealings—but has nothing to say about Belfort’s lifestyle. Khalaf may not have seen decadent doings like those in the movie; those to whom she talked about Belfort may not have known, or may not have said anything. For whatever reason, she sticks to the finances. “The Wolf of Wall Street” is an X-ray of the ubiquitous and the inadmissible. It lends new meaning to the tell-all: there’s no fleeting desire or base thought that can flicker through Belfort’s mind that Scorsese can’t or won’t show—and nothing he shows flickering onto the screen that can’t give outrageous delight. That’s the reason for the critical outcry. It’s tempting to ascribe the complaints to an op-ed mentality—to critics who fall back on politics to justify their involvement with anything so suspect as the entertainment industry or so frivolous as aesthetic pleasures, and the more extreme the aesthetic (as in the case of Scorsese’s movie), the more righteous the response in the name of principle. But there’s something else at stake in their reproaches that gets even closer to the specific greatness of Scorsese’s achievement. Critics railing at the movie aren’t just railing at Belfort, or even at the world; those who are decrying its extremes are maintaining their own innocence, protesting all too much their immunity to its temptations. In a recent interview in Le Nouvel Observateur, Scorsese speaks about sin and redemption, citing his adolescent viewing of “The Threepenny Opera, ” and Mack the Knife’s final monologue: “exactly like Chaplin in ‘Monsieur Verdoux, ’ he flings back at his accusers their own turpitudes. ” He says of his characters in “The Wolf of Wall Street, ” “I’m really afraid that there’s no redemption possible for the wolves, ” and adds: I’m a lapsed Catholic, for sure. Which is what allows me to make films, to work in the entertainment business. Otherwise, I wouldn’t make any concessions. I’d be praying constantly. Making films means grappling with the outer world, confronting it.