“Thank you for going on this journey with me. I’ll see you at the movies.”
— Roger Ebert, 1942-2013
(Source: criterioncollection)
"I was perfectly content before I was born, and I think of death as the same state. What I am grateful for is the gift of intelligence, and for life, love, wonder, and laughter. You can’t say it wasn’t interesting."
—
Roger Ebert. (via nedhepburn)
you will be missed tremendously.
(via nedhepburn)
I’m not sentimental by nature. Sure I miss the Keystone Cops, and Mack Sennett, and Stan and Oliver and the rest. But I don’t moon over the past. I don’t have time. One Easter Sunday I went to a party at Mary Pickford’s house. Everybody from silent films was there. I tried to have fun, but I discovered we had nothing to talk about. I like The Beatles, for instance, and some of them had never even heard a Beatles record. They haven’t kept up with the times.
- Buster Keaton, 1965
(Source: railwayshoes, via polyhymnia)
"The side effects of the chemo wouldn’t kick in for at least a week, so she spent her days with Delia powering through a TV pilot they were writing for Scott Rudin… Because of my mother’s tremendous sense of will and a modest dose of steroids, the script was finished before the chemo was."
— Jacob Bernstein writes about his badass mother, Nora Ephron, in this great New York Times piece “Nora Ephron’s Final Act”
"And there’s something else. On a regular basis, I will be walking around, going about my business, and I’ll see the Empire State Building or the Brooklyn Bridge and it’ll suddenly hit me again. My God. I live here. In a city some people dream their whole lives of just seeing once. That’s pretty goddamn magical."
—
from this post about “on not being middle class in New York City” (via remnant)
——
as much as i bitch and moan about the lack of in-unit laundry or having to haul my groceries home with me on the subway, having had the opportunity to live in this city these last few years has been pretty fantastic. i’m going to miss it a lot.
(Source: lajoiedevivre, via nogreatillusion)
"On March 13, 1995, in the small Scottish town of Dunblane, a forty-three-year-old man, Thomas Hamilton walked into a primary school with four handguns and opened fire, methodically killing sixteen children and one adult teacher before killing himself. The unprecedented massacre of children led, within two years, to legislation that imposed a total ban on the private ownership of handguns in the United Kingdom. Today, no one in the United Kingdom can privately own a handgun or a semiautomatic weapon. There was not much hand wringing or heated debate over this legislation. It was discussed, and enacted, with overwhelming public support, in response to the mood of national shame and grief over the killings."
— The New Yorker: “Guns and the limits of shame” (via monkeysnowballfight)
(Source: lauraolin, via monkeyknifefight)
"the human bible is little better than Us Weekly."
— Salome, True Blood 5x03
"He’s brutal, brutal. He’s expedient delivery of brutality. And you know, he’s a big dude. He’s a big dude who’s incredibly clinical, in the fact that he has a result-based and orientated fighting style. The result is clear…It’s: f**k off and die…It’s not about fighting. It’s just about carnage with Bane. He’s a smashing machine. He’s a wrecking ball. The style is heavy-handed, heavy-footed, it’s nasty. Anything from small joint manipulation to crushing skulls, crushing rib cages, stamping on shins and knees and necks and collarbones and snapping heads off and tearing his fists through chests, ripping out spinal columns. It’s anything he can get away with. He is a terrorist in his mentality as well as brutal action. So he’s horrible. A really horrible piece of work."
—
Tom Hardy on Bane in Empire magazine’s special on The Dark Knight Rises
"Directing ain’t about drawing a neat little picture and showing it to the cameraman. I didn’t want to go to film school. I didn’t know what the point was. The fact is, you don’t know what directing is until the sun is setting and you’ve got to get five shots and you’re only going to get two."
—
David Fincher (via canadamarcus)
THIS. ONE HUNDRED THOUSAND TIMES. THIS.
As a 1st, I often see the weaknesses of the director in times when they are simply running out of time. A strong director can look at the situation and figure out how to get what they need without compromising everything and will do so without getting huffy at the 1st AD about timing issues. A weak director not only sweats, but can freak out, yell at his crew, and make poor decisions about the shots, compromising what was filmed and getting rid of elements that were necessary in order to save time so he could shoot an insert the editor won’t use.
(via goingforpicture)
1. shot list
2. work with the AD
3. fix it in post
(via goingforpicture)
these things do matter.
"And if a day goes by without my doing something related to photography, it’s as though I’ve neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible."
—
Richard Avedon, 1970
(via scottnathan)
how funny. i was just thinking last night that i should give it a rest for a little bit.
“i love my cast and crew. don’t fuck it up.” — Kurt Sutter
words to live and die by.
(Source: charmingcrows, via fuckyeahsamcro)
