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Lars von Trier, Emily Watson, and Stellan Skarsgård on the set of Breaking the Waves.
Source: larsvontrier
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bridlebends
Sufjan Stevens // All Of Me Wants All Of You
On the sheet I see your horizon All of me pressed onto you But in this light you look like Poseidon I’m just a ghost you walk right through
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He was smoking, and I liked the way he put his cigarette to his lips, gracefully cocking his head as he inhaled, his hand covering his chin. He had a manner that made him seem manly and self-assured far beyond his years. - Liz Sheridan
Source: jamesdeandaily
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Stumps of trees cut at the Alder Creek site by members of the Donner Party, photograph taken in 1866. The height of the stumps indicates the depth of snow.
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Jacques Rivette with directing tool, circa Out 1.
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Hobson’s Choice, David Lean (1954)
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It’s strange. I felt less lonely when I didn’t know you.
Jean-Paul Sartre, from The Flies, No Exit and Other Plays
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Easy Rider Dennis Hopper. 1969
Police 157 Bridge St, Las Vegas, 87701 New Mexico, United States See in map
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unjeunehommechic
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fuckyeahmegwhite
The White Stripes onstage at the Point, 2001
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Chapel by Filippo Brunelleschi for the Barbadori family, 1419-23; acquired by the Capponi family, who ordered paintings by Pontormo, 1535-28, Capponi Chapel (Church of Santa Felicita, Florence, Italy)
Source: wga.hu
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"For a long time, François thought that Domicile conjugal would be the last Doinel, that he wouldn’t make any more. But he was dissatisfied: ‘It’s not possible, to have had the chance to film an actor from ages fourteen to thirty, to have all this material, and not to do something.’ And we embarked on L’Amour en fuite, ‘to finish off Doinel,’ he said. But he never really wanted to get rid of Doinel. We had black shouting matches on this project. I would say, ‘Either we want there to be other films with Jean-Pierre Léaud as Doinel, and we end on a shot like Charlie Chaplin: he hits the road and we’ll meet up with him somewhere; or we kill him and we’re rid of him.’ ‘You’re completely crazy, we can’t kill Doinel, I haven’t the right!’ "Then, I suggested that we end it as a film within the film. At the end we would have discovered that it was a film being shot, we would have said, ‘Ah, yes, he’s an actor!’ and François would have entered the picture. We would thereby really have detached Léaud from Doinel. Of course, this was another way of killing Doinel, and I thought that would liberate François and Jean-Pierre. But he didn’t like that at all and he refused." — Suzanne Schiffman
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The ancient Greek Erechtheum on the Athenian Acropolis, 421-406 BC. In the southwestern corner of the Erechtheum is the famous ‘Porch of the Maidens’ (photo 1), where statues of six young girls take the place of supporting columns. The Iconic order was considered feminine to the Greeks due to its elaborate decoration and slender proportions -apparently stereotypical female characteristics.
The sculptures of the maidens, due to severe weathering, were replaced by replicas in 1978, with the originals moved to the Acropolis Museum (with the exception of one which was removed earlier, and is now located at The British Museum: GR 1816.6-10.128). The photographs illustrating this post were chosen as they show the original sculptures, before they were replaced by the replicas.
Vitruvius, a Roman author and architect of the 1st century BC, gives his history on the reason behind the creation of these caryatides in his work De Architectura (I.1.5):
”Should any one wish for information on the origin of those draped matronal figures crowned with a mutulus and cornice, called Caryatides, he will explain it by the following history. Carya, a city of Peloponnesus, joined the Persians in their war against the Greeks. These in return for the treachery […the Greeks] resolved to levy war against the Caryans. Carya was, in consequence, taken and destroyed, its male population extinguished, and its matrons carried into slavery. That these circumstances might be better remembered, and the nature of the triumph perpetuated, the victors represented them draped, and apparently suffering under the burthen with which they were loaded, to expiate the crime of their native city. Thus, in their edifices, did the ancient architects, by the use of these statues, hand down to posterity a memorial of the crime of the Caryans.” (Qwilt translation.)
Both photographs are from the Cornell University Library (A. D. White Architectural Photographs): 15/5/3090.00290 & 15/5/3090.00610. The first photo was taken in 1869, and the second, sometime between 1865 and 1875.