“The film historian in me fights to uncover the real story while the film fan deep inside revels in the legend.”
— Whay I didn’t know abut GWTW - TCM’s Classic Movie Blog
robotindisguise:He’s obviously not looking at lol cats
(de uma música que não lembro o nome)
I can’t stand the tension
that shows
I need your intervention
when I’m falling down
When the drum is playing down
is like a merry-go-round
Too late
to show
Too late
my love
Release
Release
Release
Release
Release
Pilgrim (via ICLAIMTHISNAME)
‘The September Issue’ Trailer HD (via hollywoodstreams)
Anna Wintour, the legendary editor-in-chief of Vogue magazine for twenty years, is the most powerful and polarizing figure in fashion. Hidden behind her trademark bob and sunglasses, she has never allowed anyone to scrutinize the inner workings of her magazine. Until now. With unprecedented access, filmmaker R.J. Cutlers new film, takes the viewer inside a world they only think they know. Every August a record-breaking number of people cant wait to get their hands on the September issue of Vogue. The 2007 issue was and remains the biggest ever, weighing over four pounds, selling thirteen million copies, and impacting the $300-billion global fashion industry more than any other single publication. He takes us behind the scenes at Fashion Week, to Europe, on shoots and re-shoots, and into closed-door staff meetings, bearing witness to an arduous, entertaining, and sometimes emotionally demanding process. At the eye of this annual fashion hurricane is the two-decade relationship between Wintour and Grace Coddington, incomparable Creative Director and fashion genius. They are perfectly matched for the age-old conflict between creator and curator. Through them, we see close-up the delicate creative chemistry it takes to remain at the top of the ever-changing fashion field.
“Still the wind continued to blow harder. By no conscious process could he measure it, for it had long since passed beyond all his experience of wind; but he knew somehow, nevertheless, that it was blowing harder. Not far away a tree was uprooted, flinging its load of human beings to the ground. A sea washed across the strip of sand, and they were gone. Things were happening quickly. He saw a brown shoulder and a black head silhouetted against the churning white of the lagoon. The next instant that, too, had vanished. Other trees were going, falling and criss-crossing like matches. He was amazed at the power of the wind. His own tree was swaying perilously, one woman was wailing and clutching the little girl, who in turn still hung on to the cat.”
—
Jack London South Sea Tales: The House of Mapuhi
other tales here
Gun Crazy (Deadly is the Female), Joseph Lewis, 1950
“Joseph H Lewis : ‘We started a mile out of town. John and Peggy knew the intent and content of the scene, improvised their own dialogue and generally played it by ear. It so happens a car pulled out as they drove up. Otherwise she was going to double park. We made two takes and used the second take. Off screen there were people that yelled ‘They held up the bank’. It was so real and none of the bystanders knew what we were doing. We had no extras except the people the policeman dircted. Everything -cars people - was there on the street’”
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