davidlynch reblogged
sadie-sinks ➝ sam-raimis
needed a change and because i’m feeling whoreish for him so. anyways
tagging some mutuals below ⬇⬇
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katharineshepburn-deactivated20
ARRIVAL (2016) dir. Denis Villeneuve
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Ernest Hemingway once wrote, “The world is a fine place and worth fighting for.” I agree with the second part.
SE7EN (1995) dir. David Fincher
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I want to see what love looks like when it’s triumphant. I haven’t had a good laugh in a week. It Happened One Night (1934) dir. Frank Capra
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“It’s important to always be by the sea. The sea is the element of love. […] Aphrodite emerged from the water.” - Agnès Varda
Portrait of a Lady on Fire (2019) dir. Céline Sciamma L’Avventura (1960) dir. Michelangelo Antonioni Our Little Sister (2015) dir. Hirokazu Koreeda I Walked with a Zombie (1943) dir. Jacques Tourneur Y tu mamá también (2001) dir. Alfonso Cuarón Persona (1966) dir. Ingmar Bergman Atlantics (2019) dir. Mati Diop Humoresque (1946) dir. Jean Negulesco
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“I identify so very completely with the role because it was exactly what Harry Cohn and what Hollywood was trying to do to me, which was to make me over into something I was not. In the beginning, they hire you because of the way you look, obviously, and yet they try to change your lips, your mouth, your hair, every aspect of the way you look and the way you talk and the way you dress. So it was constantly fighting to keep some aspect of yourself, trying to keep some of you. You feel: there must have been something in you that they liked, and yet they wanted to change you.” — Kim Novak
Vertigo (1958) dir. Alfred Hitchcock
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Academy Award Winners for Best Cinematography: 2020 — Roger Deakins, BSC, ASC 1917 (2019) Directed by Sam Mendes Aspect Ratio: 2.39 : 1
1917 is made with a series of long shots, the longest of which was about 8½ minutes, stitched together. Sam Mendes, who worked with Deakins on 2005’s Jarhead, 2008’s Revolutionary Road and 2012’s Skyfall, says that shots averaged 20 takes, with the most difficult needing as many as 50. The experience of working with such meticulous choreography was “exhilarating,” Deakins says. “Everyone’s high-fiving. All the grips I’ve known for, like, 30 years, saying, ‘Oh, my word, that was something. I’ve never done that before.’ It was really great.”
One tricky sequence featured the pair crossing No Man’s Land, which Mendes says involved “constantly changing the actors’ relationship to the camera so you weren’t simply following them from behind.“
Explains Deakins: “When we got on No Man’s Land, it was like, ‘OK, well, how do we work with the actors and choreograph the camera movement with the actors so you see details, and then you go from one character’s close-up to another character?’ And then you see them wide, and then you see what they’re looking at. That was really interesting. That informed a lot about what we were going to do with the rest of the film — how we could free the camera at moments where we needed to.”
“We spoke early on about not wanting an audience to think about, ‘Oh, that’s interesting, look where they put the camera.’ So the camera doesn’t do anything showy. The goal was to make sure that the camera followed the action but didn’t draw attention to itself. You just wanted it to disappear in the image, and for the most part, I think that’s quite successful,” Deakins says. — [x]
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Eva Marie Saint’s wardrobe for the film was originally entirely chosen by MGM. Hitchcock disliked MGM’s selections and the actress and director went to Bergdorf Goodman in New York to select what she would wear.
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I’m in love with you… I’m in love with you… Mulholland Drive (2001) dir. David Lynch
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Do you understand the things that you’ve been dreaming? Do you understand the things that you’ve been seeing?
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Scenery in Twin Peaks S1.
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A dream is an answer to a question we haven’t learned how to ask.
The X-Files, Season 4 Episode 10 “Paper Hearts” (1996) dir. Rob Bowman
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Totoro came back, Dad! I saw him!
My Neighbor Totoro (1988) dir. Hayao Miyazaki
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“J'ai une âme solitaire.”
Twin Peaks, Episode 14 "Lonely Souls" (1990) dir. David Lynch
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David Lynch pays tribute to Gene Kelly in “Twin Peaks: The Return”
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“I can’t even sometimes tell the difference between the Pilot and the film, because to me, my job was to tell Laura’s story and to tell Maddy’s story. So, those all run together as one story. I don’t differentiate Laura’s story as the film and the television show. To me, it’s all the story of Laura.” — Sheryl Lee (Twin Peaks Archive interview, 2013)