1. Screaming Females. Asbury Lanes 9/28/13 (at Asbury Park)

  2. ktcassidy:

    Twins in Roselle, New Jersey, 1967. Photo: Diane Arbus. This image is said to have inspired the appearance of the twins in Stanley Kubrick’s The Shining (1980). Maybe so; Kubrick was a friend of Diane Arbus. KA

    (via stanley-kubrick-cinema)

  3. rifftrax:

    At long last, RiffTrax Live: Manos The Hands of Fate is now available as a VOD! Get it here: http://www.rifftrax.com/vod/rifftrax-live-manos-hands-fate

    (Source: rifftrax)


  4. "This suggests a more contemporary version of Kraus’s dichotomy: Mac versus PC. Isn’t the essence of the Apple product that you achieve coolness simply by virtue of owning it? It doesn’t even matter what you’re creating on your Mac Air. Simply using a Mac Air, experiencing the elegant design of its hardware and software, is a pleasure in itself, like walking down a street in Paris. Whereas, when you’re working on some clunky, utilitarian PC, the only thing to enjoy is the quality of your work itself. As Kraus says of Germanic life, the PC “sobers” what you’re doing; it allows you to see it unadorned. This was especially true in the years of DOS operating systems and early Windows."
  5. cinephilearchive:

    Paul Thomas Anderson on meeting Stanley Kubrick on the set of Eyes Wide Shut.

    If you were nineteen and starting out again, would you go to film school?
    The best education in film is to make one. I would advise any neophyte director to try to make a  film by himself. A three-minute short will teach him a lot. I know that all the things I did at the beginning were, in microcosm, the things I’m doing now as a director and producer. There are a lot of noncreative aspects to filmmaking which have to be overcome, and you will experience them all when you make even the simplest film: business, organization, taxes, etc., etc. It is rare to be able to have an uncluttered, artistic environment when you make a film, and being able to accept this is essential. The point to stress is that anyone seriously interested in making a film should find as  much money as he can as quickly as he can and go out and do it. And this is no longer as difficult as  it once was. When I began making movies as an independent in the early 1950s I received a fair amount of publicity because I was something of a freak in an industry dominated by a handful of huge studios. Everyone was amazed that it could be done at all. But anyone can make a movie who has a little knowledge of cameras and tape recorders, a lot of ambition and — hopefully — talent. It’s gotten down to the pencil and paper level. We’re really on the threshold of a revolutionary new era in film. —Stanley Kubrick

    You can read the full interview below, clearly one of the best interviews ever.

    (Source: cinephiliabeyond)

  6. The use of Light in Movies - Imgur

    Light is an integral part of cinematography and is largely responsible for the look of the film. It can easily set the tone of a scene and make or break how “good” a movie looks. It can also be used artistically. Light can represent a feeling or a presence. Coloured lights can hold meaning or highlight the tone of a scene.

    This gallery will examine how cinematographers achieve the lighting in their films and how that light can affect the audience.

    A primer on movie lighting using examples from famous movies.

  7. cinephilearchive:

    A rare photo of producer-star Kirk Douglas talks to director Stanley Kubrick between shots of Spartacus.

    The film’s eponymous star, Kirk Douglas, had teamed with Kubrick a few years earlier, in 1957, on one of the most powerful anti-war movies ever made — the lean masterpiece, Paths of Glory. Everything about Spartacus was far different, far more complex, far bigger than that first Douglas-Kubrick pairing. (Spartacus was produced by Douglas’ own production company, Bryna Productions, in association with Universal Studios.) Along with the photos that offer insights into Kubrick’s method, this gallery also features images that, for film buffs, resonate with far more import than the simple action depicted. —‘Spartacus’: LIFE Behind the Scenes of a Kubrick Classic

    One of the all-time great screenwriters Dalton Trumbo (Thirty Seconds Over Tokyo, Roman Holiday, Spartacus) interviewed by one of the all-time great film critics Roger Ebert. From September 5, 1971. —Written Interview: Dalton Trumbo

    (Source: cinephiliabeyond)