Install Theme
Learning to let go should be learned before learning to get. Life should be touched, not strangled. You’ve got to relax, let it happen at times, and at others move forward with it.

— Ray Bradbury  (via bleedingthoughtsblog)

(Source: thecalminside, via bleedingthoughtsblog)

cinephiliabeyond:

Gordon Willis, the legendary cinematographer behind such classic 1970s films as ‘Annie Hall,’ ‘Klute,’ ‘The Parallax View,’ ‘All the President’s Men’ and the ‘Godfather’ series, died on Sunday. He was 82.

“For a while, I really didn’t know what to do with that movie,” he said of the original ‘Godfather’ in a 2002 interview on NPR’s Fresh Air. “I finally decided this should have this brassy, yellow look to it. Don’t ask me why. It just felt right.” Francis Ford Coppola, a collaborator on three films, once said of Willis, “He has a natural sense of structure and beauty, not unlike a Renaissance artist.”

VIDEO ESSAY: In Memory of Gordon Willis (1931-2014) by Nelson Carvajal:

In the fall of 2006, Globe reporter Mark Feeney talked with Gordon Willis at his Falmouth home about his life and work. Here is a transcript of his conversation with the acclaimed cinematographer. It’s a brilliant interview, full of golden nuggets.


There’s a quote from the interview you did for the book ‘Principal Photography,’ “Most art, if you want to call film an art, comes out of craft.”
Yeah. I’ll expand on that. Somebody will say, “How did you do that?” Well, you know, it’s not really “how” you do something that’s important, it’s “why” you do it. It’s what you do and why you do it that’s important, I said; then how becomes part of the chain. “How” is your craft. It’s something you should know and learn and then, like paintbrushes, you pick up what you need to do what you do. But you can’t transpose an idea without your craft. The natural thing for someone to do, we all tend to reduce or expand things to a level that we understand. But what you’re doing is you’re avoiding your ability to function [laughs]. You can really function well if you reduce or expand. They may hire you for that. But the real meaning of it is — like the guy who doesn’t really know how to light so he keeps reducing things so he doesn’t have to light — “Let’s shoot it on the lawn.” So bottom line is: You do have to learn your craft. A lot of kids shoot movies, they don’t shoot the movie. They have no ideas. What they do is go out and shoot everything, put it together in film school, then they try to make a movie out of it. That goes on with people who should know better, who are making money.

Craft Track honour the work of Gordon Willis, “what’s unique about Mr. Willis is that just about everything he said was a golden nugget. The closer we looked, the more we learned — which Jeff wrote about in his post, One Morning with the Master: 5 Things I Learned from Gordon Willis. Here it is, everything we ever posted and learned from our time with Mr. Willis. You can also enjoy the complete unedited audio interview here or on our Through the Lens iTunes podcast.” The Collected Wisdom of the Late Gordon Willis

INTERVIEW PART 1:

INTERVIEW PART 2:

Also Recommended Reading:

What is narrative filmmaking to you?
Gordon Willis: Good storytelling. I always said that you could photograph a good story badly and it wouldn’t matter, but you can shoot a bad story well and it’s not going to help the story at all. It’s not. But you get the two together, and it’s great.

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(via fuckyeahwoodyallen)

updownsmilefrown:

Johnny Cash in London, 1960s
by Jan Olofsson

updownsmilefrown:

Johnny Cash in London, 1960s

by Jan Olofsson

(via vintagegal)

1950sunlimited:

MGA 1600, 1961

1950sunlimited:

MGA 1600, 1961


The cat held by Marlon Brando in the opening scene was a stray the actor found while on the lot at Paramount, and was not originally called for in the script. So content was the cat that its purring muffled some of Brando’s dialogue, and, as a result, most of his lines had to be looped.

The cat held by Marlon Brando in the opening scene was a stray the actor found while on the lot at Paramount, and was not originally called for in the script. So content was the cat that its purring muffled some of Brando’s dialogue, and, as a result, most of his lines had to be looped.

(Source: randomfilmfacts, via vintagegal)

I met this crew of young skaters recently on a walk through the old neighborhood. They were eager to show off their homemade skate park they had spent the day building. Their last oasis of skate was torn down after it became a favorable place to sleep and serve dope. Without any deterrence, they moved on and found new materials to work with. The resilience, dedication, and commitment of these boys put a smile on my heart. They just want to skate; not vandalize or destroy, just enjoy their neighborhood with their friends, and skate. The human spirit ceases to amaze. If you ever find yourself at a point of loss, desperation, or despair, talk to a child who still has that light in their eyes and they will show you why you never have a reason to give up. (at Baldwin Hills/Crenshaw, Los Angeles)

I met this crew of young skaters recently on a walk through the old neighborhood. They were eager to show off their homemade skate park they had spent the day building. Their last oasis of skate was torn down after it became a favorable place to sleep and serve dope. Without any deterrence, they moved on and found new materials to work with. The resilience, dedication, and commitment of these boys put a smile on my heart. They just want to skate; not vandalize or destroy, just enjoy their neighborhood with their friends, and skate. The human spirit ceases to amaze. If you ever find yourself at a point of loss, desperation, or despair, talk to a child who still has that light in their eyes and they will show you why you never have a reason to give up. (at Baldwin Hills/Crenshaw, Los Angeles)

une-dame-folle:

Anna Karina and Jean-Luc Godard

une-dame-folle:

Anna Karina and Jean-Luc Godard

arcadiainteriorana:

Loch Coruisk, Isle of Skye - DawnGeorge Fennell Robson (British, 1788–1833)
Watercolour and gouache on paper, 45.1 x 65.4 cm, ca. 1826-1832.Yale Center for British Art, Paul Mellon Collection.

arcadiainteriorana:

Loch Coruisk, Isle of Skye - Dawn
George Fennell Robson (British, 1788–1833)

Watercolour and gouache on paper, 45.1 x 65.4 cm, ca. 1826-1832.
Yale Center for British Art, Paul Mellon Collection.

 

 

(via emonstr)

Thank You @lacanvas for keeping the city informed and feat. @no1arthouse on The Weekly!Tonight @theundergroundmuseum Doors open at 8:30 #CONCRETE (at The Underground Museum)

Thank You @lacanvas for keeping the city informed and feat. @no1arthouse on The Weekly!Tonight @theundergroundmuseum Doors open at 8:30 #CONCRETE (at The Underground Museum)