IsraelPalestineMiddle East – North Africa Condemning abuses Armed conflictsViolence to go further IsraelPalestineMiddle East – North Africa Condemning abuses Armed conflictsViolence May 16, 2021 RSF asks ICC prosecutor to say whether Israeli airstrikes on media in Gaza constitute war crimes Targeted Israeli airforce attacks have destroyed the premises of 23 Palestinian and international media outlets in the past week. The latest airstrikes destroyed the bureaux of the US news agency, the Associated Press, and the Qatari TV broadcaster Al Jazeera. According to the Israeli military, these attacks were justified because the “military intelligence” wing of Hamas, the Gaza Strip’s ruling Islamist movement, had equipment in these building.“Deliberately targeting media outlets constitutes a war crime,” RSF secretary-general Christophe Deloire said. “By intentionally destroying media outlets, the Israel Defence Forces are not only inflicting unacceptable material damage on news operations. They are also, more broadly, obstructing media coverage of a conflict that directly affects the civilian population. We call on the International Criminal Court’s prosecutor to determine whether these airstrikes constitute war crimes.”The first Israeli attack on media outlets occurred four days ago, after Hamas fired a series of rockets into Israel. In the early hours of 12 May, Israeli airstrikes destroyed the Al-Jawhara Tower, a 10-storey building in Gaza City that housed 14 media outlets including the Palestine Daily News newspaper and the pan-Arab TV channel Al-Araby.The next day, an Israeli airstrike destroyed Gaza City’s Al-Shorouk Tower, a 14-storey building that housed seven media outlets including the Al-Aqsa radio and TV broadcaster. The IDF said they were “striking Hamas weapons stores hidden inside civilian buildings in Gaza.”Israel is ranked 86th out of 180 countries in RSF’s 2021 World Press Freedom Index. RSF_en June 8, 2021 Find out more News Receive email alerts June 3, 2021 Find out more Help by sharing this information Iran: Press freedom violations recounted in real time January 2020 On May 15 in Gaza,the bureaux of the US news agency, the Associated Press, and the Qatari TV broadcaster Al Jazeera were destroyed by targeted Israeli airstrikes. MAHMUD HAMS / AFP Follow the news on Middle East – North Africa Reporters Without Borders (RSF) calls on International Criminal Court chief prosecutor Fatou Bensouda to include Israeli air strikes on more than 20 media outlets in the Gaza Strip in her investigation into the situation in the West Bank and Gaza Strip. June 9, 2021 Find out more News Organisation News News WhatsApp blocks accounts of at least seven Gaza Strip journalists RSF joins Middle East and North Africa coalition to combat digital surveillance
Location:Bavaria, GermanyN 48° 08.157′ E 011° 34.233′ Multi-CacheGC1FPN1by DerPate <> As the name suggests, München-Venedig / Munich-Venice / Monaco-Venezia takes you on a journey that starts at the Marienplatz in Munich and ends at St. Mark’s Square in the heart of Venice. It follows a route which is one of the most popular long-distance hiking routes in Europe, referred to as “Traumpfad München-Venedig”.At each stage, you must find a clue that gives you information about the final coordinates of the cache. Make sure to be thorough, as it would be a shame to walk this far and then not find the actual cache!The hike takes you from the Bavarian lowlands across the Alps, through Austria, and into Italy. Along the way, you will experience the beauty of the Alps in all its facets, from lush rolling hills to breathtaking mountain passes and traditional lodges. Stage 16 on the way to Boèhütte is when you reach the highest point of the hike (1804 mi / 2904 m). Stage 22 is the most challenging part of the trek which requires climbing experience to cross the Klettersteig (equipment can be rented on site). But for those who feel less adventurous, there is a bus that will take you to Rif. 7° Alpini, the start of the next stage.From here on out, your journey takes you into the countryside of northern Italy. The remaining stages of the Multi let you focus on enjoying the landscape, fed by the Mediterranean Sea. This is only a glimpse of the sights leading up to your arrival in picturesque Venice and your well earned reward of finding the cache. In the 10 years since publication, this regular-sized cache has amassed 105 finds, 96 Favorite points, and nearly 2,000 images! Would you make the journey? Difficulty:2Terrain:4 Continue to explore some of the most amazing geocaches around the world.Check out all of the Geocaches of the Week on the Geocaching blog. If you would like to nominate a Geocache of the Week, fill out this form.Share with your Friends:More Geocaching comes in many forms and shapes. Sometimes it is a quick park and grab, sometimes it is a nice hike through the forest, and sometimes it comes in the form of a 28 stage Multi-Cache that takes you on a trek across three countries. If the line “But I would walk 500 miles, and I would walk 500 more” appeals to you, this is the cache for you (though the actual distance is “only” 350 mi / 563 km). SharePrint RelatedDeath in Venice — Geocache of the WeekMarch 1, 2017In “Community”350 miles, all for a smiley. — Munich – Venice (GC1FPN1) — Geocache of the WeekJune 12, 2013In “Community”Line of Sight — In the Distance (GC4JZTK) — Geocache of the WeekMarch 19, 2015In “Geocache of the Week”
What does it take to break into the big leagues? Are there advantages to working freelance versus taking a job at a big color house? Gain real-world insight from professional colorist Rob Bessette.Rob Bessette is a senior colorist working at the Boston post house Finish Post. Bessette has worked with a range of commercial clients, including Coca-Cola, Toyota, Chili’s, and recently, a promo for Epix’s “Road to the NHL.”Watch Bessette’s color montage:Talk about how you became a colorist.Out of college I landed an internship and learned how to handle film, patch decks, and use Smoke and Flame. I eventually got hired as a nighttime assistant where I did all the tape dubbing, archiving and prep for the next day. I did that for about a year. One day they needed an assistant in the color suite. Everything used to be linear, so assistants would need to change all of the film reels, make sure all the selects were colored and then lay everything off to tape at the end.I did double-duty with both jobs. I sat with the colorist with 20 years experience under his belt and apprenticed with him, learned what he was doing and how he worked with clients. I started prepping his projects and working with 35mm footage, which sometimes for coloring just getting good footage to work with is half the battle. It’s hard to make bad footage look good, especially when you’re talking about footage acquired with DSLRs and mini DV and stuff like that.After a year of doing both jobs, I was getting burned out and told my bosses I wanted to graduate to color and came on to assist color full-time. Eventually I got some requests from clients and after a few years the colorist I apprenticed with went somewhere else and I got a shot at getting some work with paying clients. That was about 10 years ago now.What’s your color grading software of choice? Any specific reason for that platform?I’ve been on DaVinci before it became Resolve. I learned on the Davinci 2k Plus back in 2004 or 2005. Those were the days of 16 and 35mm transfers and digibeta tape. Since I learned on Davinci, Resolve was an easy transition. Back in the day I also tinkered with Apple Color, Quantel and Avid Symphony. I’ve never toyed with Baselight or Nucoda which are next on my list.What Resolve features have been game-changers for you? Any secret tricks that’ve changed your workflow?As I’ve gotten more experience, getting into those mid-high relationships and mid-low relationships in the Log tab are really big for me. I’ve also really enjoyed working with the Hue vs. Saturation curves. The tracking is obviously huge. When I saw Resolve for the first time and saw the tracker, I knew we had to get it. That was a no-brainer.Yeah, I mean it pretty much goes real time, or even faster.Faster than real time! The ease of the node-based workflow or even feeling your way around the panel just feels really natural and smooth. There’s no clunkiness. It does whatever I want it to do. The great thing with Blackmagic is that they listen to the feedback. I emailed them a while back and asked if there was a feature of turning a circular power window into a custom bezier window. One release later, that was in there. Clearly I wasn’t the only one who requested it. They have all these big movies being made on the software. I have trouble wrapping my head around the fact that they give it away for free.When Blackmagic Design released its Davinci Resolve software for free, there was an explosion of new colorists on the scene. The big color houses felt the pinch of the 2008 recession and started taking every job possible. Do you find it difficult to find work in this climate with these factors?Budgets definitely run the gamut. We see a lot of high-end broadcast work, but there’s a lot of web content too. People are pushing a lot of social media work now. Instagram is blowing up with video content and advertising. Whereas Instagram used to contain more user-sourced content, there’s a lot more commercial content on there now.Right – Instagram users can now upload up to 60 seconds of video, up from 15 seconds, which enables advertising companies to tell more engaging stories.Yeah. That said, budgets are shrinking across the board. Some ad agencies keep work in house to save money on smaller jobs, but they’ll work with us when they need more professional work. We definitely feel a little bit of the budget pinch, but a lot of people are still putting out great work.Is there ever a point where you don’t take the job on? Color jobs tend to run for a couple of hours to a day, so I wondered if any job is too small or if you always try to accommodate.There’s definitely jobs that I’ve personally turned down, but if I do, I offer them to a junior guy. But in general, we try to work with the ad agencies. We have an hourly rate and a day rate that they know going in, but sometimes they have a budget cap in mind, and as long as it’s within a decent range, we tend to play ball. It gets hairy when someone has a 90-minute feature. We end up extending the timeline to a month or five weeks to work on it during our downtime so we can still prioritize full-rate work. As long as the filmmaker understands that, we’ll work with them to make it happen.It’s the old good/fast/cheap paradigm — pick two. You’re obviously good, so if it’s cheap it can’t be fast. In editorial, low-budget music videos are a several-week commitment. Coloring that same music video might only take half a day, so it’s easier to fit in, and it can be great for exposure and creativity. A feature can really suck up the time and resources.If we’re working on a commercial, there’s typically a bigger budget, because it’s actually selling something. There’s money to be had at the back end. A music video or a movie, maybe it’ll make money, maybe it won’t. Indie movies are a toss-up. Our bread and butter is generally commercials, but we don’t tend to turn down work.Are you finding there’s a lot of competition in Boston?The Boston color world is very small. Most of our competition on the East Coast is in New York City. The big color houses also have remote connections where agencies can sit in Boston and remotely supervise the session in New York.Being based in New York, I’ve seen the upsurge of freelance colorists emerging, even though there are only a handful of big companies. It’s been interesting to see those freelancers taking work from the bigger houses.Finish Post is in a middle ground. It still has a boutique vibe. Freelancers make their money on being cheaper than a facility. I take only a fraction of my rate, but what I gain is infrastructure. I have an assistant and a producer, client services and the latest and greatest equipment. I know some freelancers that go from facility to facility and bounce around with whatever’s thrown at them. What colorists do is the same no matter what program we’re on.What’s the most difficult part of dealing with clients? It’s difficult for many clients to articulate their color feedback.I’ve gotten all sorts of adjectives to describe color from clients: dirty, funky, murky, sweet, romantic. I get all these weird words that I’m supposed to interpret as meaning warmer or cooler or more green or whatever. I have to associate those words with doing something with the highlights or shadows, or maybe I need less contrast or saturation to get that look. Being able to think about what those adjectives mean is really the driving force. I always ask for references, whether it’s a menu for a cheeseburger or if it’s a source of inspiration. Those go a long way to hone down a look you’re going for. Managing client expectations is a whole other aspect of the job that’s really one of the untold arts – being able to get them what they want without them exactly knowing what they want.Do you run into clients saying that images look different on other monitors still? Nowadays I’ve played cuts back full screen on the computer monitor to make sure clients are happy with it there. It makes them feel better about approvals. I’m not a stickler about the single calibrated monitor any more.The days of saying ‘I’m right and you’re wrong’ in the color suite are gone. You can offer up your opinion and you can listen to theirs and explore, but no client wants to hear ‘you’re not right.’ If there’s a reason to have a collaboration, you talk it out and see what various things look like, to try what people said. If you tried something that doesn’t work, the client sees they weren’t right anyway. Sometimes something they suggested does work! You didn’t expect it but you got a better product in the long run.As far as monitoring goes, that’s the bane of my existence. ‘I looked at the cut on the phone on the train while it was rainy out, and it looked weird.’ It’s going to happen pretty much no matter what you do. In an electronics store with 50 TVs in front of you, every single one looks different. How do you compensate for that? You can’t. I’ve walked the slippery slope of making various versions, and it just gets you into trouble, because everyone sees things a little differently. It’s probably the most common conversation that I have in the suite, and it’s one that I don’t necessarily enjoy having.There’s an app called Shady on the Mac that can artificially darken the computer screen. I sometimes use this while in session with clients who get hung up on different displays. No one thinks a darker monitor looks better, so instinctively they look at the brighter one.Regarding “right” or “wrong” in a color context, it would be even worse to point to the scopes and say that you’ve scientifically matched the shots, that it’s correct because the equipment says so. When you cut from a wide to a close-up, the client might perceive a person as being more saturated just because they’re closer to the camera. At a certain point, you have to be willing to abandon the scopes in favor of the client’s eyes.You can’t tell someone they’re wrong because the equipment says so. From their perspective, they’re saying they’re right because their eyes are telling them so. That’s what it looks like to them. They don’t care what the machine says. I see it all the time with wides and close-ups with 4k footage. For projects delivering in HD you can blow up the footage quite a bit, but even with the same exact dailies cut together, shots feel different when you zoom.It’s pretty crazy how the eyes work like that. Let’s say you’re coloring a :30 with a :15 cutdown. Shots are perceived differently because of the shots that come before or after it.It all depends on context. One of our biggest jobs is to make sure that everything’s consistent. It’s not the most glamorous part of the job by any means, but if your work is consistent and the common person doesn’t notice your work, you’ve done a good job.It’s one of those invisible art forms, like editing. Most of the work is done in making the job consistent. When it’s time to impose a look on the job, that’s really where the client comes in. Is that similar to your process?That’s kind of how I work as well. When I start, I take an initial look at the footage so I know what to expect, what might work and what might not. Then I offer up some ideas and explain why. I’m not throwing looks at them just to throw looks at them. When we arrive at a style, they kind of let me do my thing. When I get about 80% of the way there, then we sit down for the fine-tuning. So my client involvement is very involved in the beginning in coming up with a look and the direction, then I do most of the work in the middle, and at the end everyone comes together to put the final polish on it.What’s the dynamic in working with DPs? Cinematographers often speak in very technical terms as opposed to more emotional terms of what the shots are doing for them. Does this ever get in the way?I’ve had that happen a couple of times. The first few times I was a little annoyed by it, but I’ve learned to roll with it now. They’re not trying to do the work for me, that’s just how they talk. If we can get on the same page, ultimately that leads to a better image and everyone’s happy, and that’s what it’s all about. I could see how it could get taken the wrong way, but with clients you just have to be able to roll with the punches. You can’t let anyone push you around, and you have to stand up for your vision, but you have to also be willing to hear other ideas as well. The worst thing you can do is run forward stubborn and bullheaded with an ‘I’m right, you’re wrong’ attitude. No one wants to work with that guy.Any advice for people just starting out in color correction?Get as much real-world experience as you can. One thing that everybody has now that they didn’t have before was accessibility to the software. When I started out it was this kind of black art nobody knew about. The only people who had access to it were people who worked at big post houses or film processing labs. Now, I have it on my laptop that I can carry around.What differentiates you now is how you handle yourself and your creative looks and styles, being able to come up with ideas on the spot and using the software really as an extension of your mind. You shouldn’t be looking around the software for where each button is. You should be able to instantly think with instinctual reactions, and that really comes with practice and muscle memory and learning how footage reacts to certain environments. The only way to do that is with practice, and as much as you might begin by practicing on footage downloaded from tutorial sites, there’s nothing like a real job where pressure is on you to learn it right.Stay tuned for our continuing conversation series with colorists or read past interviews with Patrick Inhofer and Alexis van Hurkman.
IOA has received an e-mail from the Olympic Council of AsiaIn an embarrassment to India, the country has been warned of heavy penalty by Olympic Council of Asia if it withdraws from sending teams in a few disciplines in the upcoming Asian Games, a development which led to the IOA slamming some government officials for “ruining sport”.The Indian Olympic Association received an e-mail from the OCA on August 29, which warned IOA of penalty if it withdraws from some sporting disciplines, including football and table tennis, for the September 19-October 4 Asian Games in Incheon, South Korea.”We have received news that the Sports Authority of India may be forcing the India NOC to withdraw from Football, Basketball, Handball, Table Tennis, and Sepak takraw in the 17th Asian Games,” the letter from the OCA said.”The team draw has already been completed. As per the constitution, if the IOA withdraws now, a penalty will definitely be levied and the whole draw will need to be done again,” OCA Director of International and NOC Relations Vinod Kumar Tiwari wrote in a mail, sent to top IOA officials.Calling the development as an embarrassment to the country, IOA Secretary General Rajeev Mehta said that a few officials in the Sports Ministry and Sports Authority of India were ruining sport in the country.”I don’t blame the whole sports ministry and I don’t blame the sports minister. Two-three officials in the ministry and the SAI are ruining Indian sport by trying to interfere in the working of IOA and national federations,” Mehta said.advertisement”The ministry and the SAI have formulated criteria for sending teams and athletes in Asian Games. That was a case of interfering in the work of selection committee of NSFs and the IOA. Moreover, there were reports that the ministry would not allow NSFs to send teams at their own cost if they want to.”This is a case of interference and violation of autonomy of the NSFs and the IOA under the Olympic Charter. The IOA has just come out of a 14-month suspension and they (government officials) should know that India can again be in trouble if there was interference from the government,” he added.
Share on Pinterest Spain began life without Luis Enrique by clinging on for a tense 2-1 victory over Romania to maintain their perfect record in Euro 2020 qualifying.Sergio Ramos’s penalty and a goal from Paco Alcácer put the three-times European champions on course for a comfortable success in their first match since Robert Moreno permanently replaced Enrique as manager. Read more Northern Ireland Finland Italy Euro 2020 The Fiver: sign up and get our daily football email. Michael O’Neill praised Northern Ireland’s youngsters after an experimental side emerged with a 1-0 friendly win over Luxembourg.An own goal from Kevin Malget handed the Irish victory at Windsor Park before their Euro 2020 qualifier against Germany on Monday.“It was a very worthwhile exercise,” O’Neill said. “It was a challenging three days in terms of preparation because we wanted to put as strong a team on the pitch as possible but obviously we had more than one eye on the game on Monday. It was good to get young boys on the pitch and I was pleased with a lot of performances.” Gareth Bale says he is very happy to be called ‘the golfer’ at Real Madrid Share on LinkedIn Topics Finland stay second in the group, three points behind Italy, thanks to the Norwich striker Teemu Pukki’s penalty early in the second half in a tight 1-0 home victory over Greece.Bosnia and Herzegovina sealed their second win in Group J, beating Liechtenstein 5-0 at home, with four of their goals coming in the last 10 minutes. Amer Gojak gave the hosts an early lead and after Haris Duljevic struck their second in the 80th minute, Edin Dzeko and Edin Visca both scored before Gojak added his second at the end. David McGoldrick earns Ireland vital point with header against Switzerland Reuse this content Read more But they were forced to survive an anxious finish in Bucharest after the substitute Florin Andone halved the deficit with an hour played and the defender Diego Llorente was dismissed 11 minutes from time. Spain were indebted to Kepa Arrizabalaga after he pulled off two superb late stops to help move his side on to 15 points from five games at the top of Group F.Sweden stay second after Alexander Isak’s first-half double and further goals before the break from Victor Lindelöf and Robin Quaison secured them a 4-0 win in the Faroe Islands. Norway claimed a 2-0 win against Malta at the Ullevaal Stadium thanks to Sander Berge’s header and a Joshua King penalty.Italy maintained their 100% record to stay top of Group J but had to come back from a goal down before winning 3-1 away against 10-man Armenia. Alexander Karapetyan gave Armenia a surprise early lead but was sent off on the stroke of half-time for his second booking after Andrea Belotti had equalised with the first of his two goals. Lorenzo Pellegrini headed Italy in front with 13 minutes remaining and Belotti made sure of a fifth-straight win three minutes later. Share on Facebook Share on Twitter Euro 2020 qualifying Spain Share via Email Share on WhatsApp Share on Messenger news
Allegri’s defensive tactics worked yet again in Juventus’ 0-0 draw in Rome. Radja Nainggolan’s red card destroyed Roma’s chances of grabbing what would’ve been a deserved victory.Roma’s last match was a 1-0 away victory at Cagliari. It was a game that followed Roma’s CL semi-final exit, so Di Francesco fielded a mixed team. Against Juve, though, he didn’t have that luxury. Today’s lineup was: Alisson Becker on goal, Florenzi, Fazio, Jesus and Kolarov in the defense, Pellegrini, De Rossi and Radja Nainggolan in midfield, Under, Dzeko and El Shaarawy in attack. Juventus had to deal with AC Milan in the Italian cup final, something it did in impressive fashion, recording a convincing 4-0 win. Six players were missing in Allegri’s lineup from that encounter: Buffon, Asamoah, Benatia, Cuadrado, Khedira and Douglas Costa. They were replaced by Szczesny, Alex Sandro, Rugani, De Sciglio, Bernardeschi and Higuain. Barzagli, Matuidi, Pjanic, Dybala and Mandzukic rounded up the starting eleven.Roma missed a good opportunity in the 8th minute. Pellegrini cut out a pass in Juve’s half, opening up a 2-on-1 situation with Edin Dzeko. His pass to the Bosnian was a bit behind, forcing him to have to adjust and shoot with his weaker left foot. The shot went wide. In a similar situation a few moments later, Nainggolan stole the ball from Pjanic and headed towards Juve’s box. He chose to shoot instead of passing it to Dzeko and his attempt went high over the bar. 25 minutes in, Roma was clearly the better team. Juventus’ players were happy to sit back and wait for the hosts to break their defensive formation down. Definitely not something you would expect from a champion.Tagliavento awarded the first yellow card of the game to the former Roma midfielder Miralem Pjanic. Add a couple of lost balls that led to Roma counter attacks and you have an idea of what kind of performance we were seeing from the usually dependable Bosnian. Juve needed a point to secure the Scudetto and it was playing like it. At the break, it was Roma 0 – Juventus 0.25 minutes had passed in the second half and the most interesting moments were a Dybala disallowed goal and a Kolarov long-range effort that was blocked. The first substitution of the contest was made in the 67th minute, when Fernando Bernardeschi was replaced by Douglas Costa. Then, Radja Nainggolan, who had received a booking a few minutes earlier for pulling on Alex Sandro’s shirt, made a clumsy foul from behind on Dybala. The referee had no other choice but to show him a second yellow. In the 73rd minute, Gonalons substituted Pellegrini.Nainggolan’s red card changed the complexity of the game, as Juventus spent more time in Roma’s half than it did during the entirety of time prior to the send off. However, Allegri’s squad showed no desire to do more than simply pass the ball around while waiting for the remaining minutes to tick away. Eventually, the final whistle came. The viewers’ suffering ended and Juventus’ title celebration began.
Kylian Mbappe has put an end to rumours linking him with a switch to Real Madrid this summer by insisting that he has no intention of leaving Paris Saint-Germain after an impressive World Cup campaignThe 19-year-old became the first teenager to score in the final since Brazil legend Pele in 1958 against Sweden to score France’s fourth goal in their 4-2 win against Croatia on Sunday.Mbappe’s four goals in seven appearances at Russia also saw being named the FIFA Young Player of the World Cup with Croatia captain Luka Modric being named the Golden Ball winner.But with PSG under pressure to meet the Financial Fair Play (FFP) regulations by UEFA, there have been some suggestions that the Ligue 1 giants may sell the young star to Real Madrid this summer in order to ease their troubles.Zidane reveals Sergio Ramos injury concern for Real Madrid Andrew Smyth – September 14, 2019 Zinedine Zidane has put Sergio Ramos’ availability for Real Madrid’s trip to Sevilla next weekend in doubt after withdrawing him against Levante.But Mbappe is adamant he will be at the Parc des Princes next season.“I will stay with PSG, continuing on my path with them,” he said, as stated on beinSPORTS.“I am at the beginning of my career.”Mbappe scored 21 goals in all competitions last season for PSG.
Cardiff City Football Club manager Neil Warnock has revealed his disappointment at Chelsea’s decision to send youngster Tammy Abraham on loan to Aston Villa.The ex-QPR manager revealed he approach the Blues to sign Abraham on loan with the intention of making the player an important part of his team but is shocked the player was allowed to leave for the Championship, despite spending last season on loan with Swansea City in the Premier League.Warnock told Standard Sport:“I wanted Tammy Abraham from day one. I spoke to Eddie Newton (Chelsea’s loan player technical coach) about it, but he ended up at Aston Villa.“I was really disappointed they didn’t even come back to me. I thought I at least deserved a phone call saying ‘sorry Neil, he’s not joining.”“It might have been because our deadline was three weeks before the Championship’s.”Premier League Betting: Match-day 5 Stuart Heath – September 14, 2019 Going into the Premier League’s match-day five with a gap already beginning to form at the top of the league. We will take a…“Perhaps they weren’t sure at the time and then he ends up leaving at the end of the month, when only a move to a Championship club is possible. But even then, a phone call would have been better and shown a bit of class.”“Tammy would have been my main man in the Premier League – surely that would have been better for him? I don’t understand it. Surely they would want him playing in the Premier League?”“I don’t think it was a question over the size of the loan fee – we would have paid it. I just the felt the way we played, he would have enjoyed it and had an impact.”“I missed out on a few players waiting for him too, which disappointed me. But that’s life.”
The Italy and Roma footballer is happy with his club and nation right now and hopes he can still prove himself to fansRoma and Italy national team player Lorenzo Pellegrini is currently making his dreams come true for club and country right now.“I really liked De Rossi when I was a kid. Now he is my friend and teammate,” said Pellegrini to Football Italia.“The best player I worked with was probably Edin Dzeko, as he really impressed me at Roma. The strongest opponent was Leo Messi.”Serie A Betting: Match-day 3 Stuart Heath – September 14, 2019 Considering there is a number of perfect starts so early in the Serie A season, as well as a few surprisingly not-so perfect ones….“Gianluigi Buffon in goal. Paolo Maldini in defense. For the midfield, De Rossi and I, with Roberto Baggio upfront,” he said about his perfect Italian squad.“I don’t have a dream goal for Italy. I’d just be happy if the ball went in the net. I expect great things of this Nazionale, despite the fact we had a difficult moment. We are a strong and young squad who can do well.”“Against Portugal, we have to play with grit and determination, as we are in front of our home fans and want to bring home all three points,” he concluded.