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1413 Notes

I’m not sure this is entirely safe.

I’m not sure this is entirely safe.

319 Notes

americanapparel:

"How did Coke succeed where history’s most ambitious leaders failed? By choosing the right weapon. Advertising."

americanapparel:

"How did Coke succeed where history’s most ambitious leaders failed? By choosing the right weapon. Advertising."

10051 Notes

On set photos from Goodfellas

2 Notes

How to drink Champagne the Bill Murray Way

"I learned how to drink champagne a while ago. But the way I like to drink champagne is I like to make what we call a Montana Cooler, where you buy a case of champagne and you take all the bottles out, and you take all the cardboard out, and you put a garbage bag inside of it, then you put all the bottles back in and then you cover it with ice, and then you wrap it up and you close it. And that will keep it all cold for a weekend and you can drink every single bottle. And the way I like to drink it in a big pint glass with ice. I fill it with ice and I pour the champagne in it, because champagne can never be too cold. And the problem people have with champagne is they drink it and they crash with it, because the sugar content is so high and you get really dehydrated. But if you can get the ice in it, you can drink it supremely cold and at the same time you’re getting the melting ice, so it’s like a hydration level, and you can stay at this great level for a whole weekend. You don’t want to crash. You want to keep that buzz, that bling, that smile."

http://www.dazeddigital.com/artsandculture/article/19003/1/bill-murray-hollywoods-last-eccentric

65060 Notes

glasmond:

A new set for an apocalypse movie? 
No.
The riots in Kiev. This is happening right now.

Those breathtaking pictures were taken by the young and usually happy tumblarian girl RedMisa during her volunteer work at Kiev.

"I never thought that I would cry for my native country. I’m not particularly patriotic, I do not like politics, large gatherings of people, meetings and inspirational slogans. but I still go to the central street of Kyiv almost every day, doing volunteer work, doing all I can to help. two months of no change for the better, things were getting worse and worse. but when the killings began, catching the protesters in the streets and beating them up…that was the last straw for me. I do not know what to expect next."

- RedMisa, http://redmisa.tumblr.com/

The Ukraine probably won’t have access to the internet soon. Read more about it here.

111 Notes

rogerwilkerson:

Old Hickory Bourbon - 1956
Source

rogerwilkerson:

Old Hickory Bourbon - 1956

Source

33674 Notes

True Romance: The Heartache of Wartime Farewells, April 1943 by Alfred Eisenstaedt at the height of the Second World War.

312 Notes

inothernews:

Jesus H. Christ, this thing is real.

inothernews:

Jesus H. Christ, this thing is real.

347716 Notes

Guy re-enacts classic movie scenes with his boss’s dog

245 Notes

‘Eyes Wide Shut’: Sleep walking. [thanks to Will McCrabb & David Ehrlich]
“Larry Smith notes that the filmmakers applied a classic trick in a rather unusual manner for a few medium shots of Harford walking restlessly along Manhattan streets. ‘In some of the scenes, the backgrounds were rear-projection plates,’ the cinematographer reveals. ‘Generally, when Tom’s facing the camera, the backgrounds are rear-projected; anything that shows him from a side view was done on the streets of London. We had the plates shot in New York by a second unit [that included cinematographers Patrick Turley, Malik Sayeed and Arthur Jafa]. Once the plates were sent to us, we had them force-developed and balanced to the necessary levels. We’d then go onto our street sets and shoot Tom walking on a treadmill. After setting the treadmill to a certain speed, we’d put some lighting effects on him to simulate the glow from the various storefronts that were passing by in the plates. We spent a few weeks on those shots.’” —Cinematographer Larry Smith helps Stanley Kubrick craft a unique look for Eyes Wide Shut, a dreamlike coda to the director’s brilliant career

On the occasion of the LACMA retrospective, two of Kubrick’s friends and collaborators reminisced about the master director’s approaches, rituals, and concerns. Tom Cruise, who starred in ‘Eyes Wide Shut,’ and former Warner Bros. head Terry Semel, who oversaw the production of many of Kubrick’s films, got together for a phone conversation that Annette Insdorf moderated in late August to discuss Kubrick’s brilliantly cinematic storytelling. —Stanley Kubrick By Terry Semel, Tom Cruise
SEMEL: Well, when Stanley did The Shining, he had someone else shoot a lot of second unit because that was in America. He would not fly to that set. Most of the interior filming was done in the studio in England. One of his great concerns was Jack Nicholson—a terrific actor and a big movie star, but Jack never went to sleep at night. He was always out socializing, having fun. Stanley thought that was terrible. He thought an actor had to go to bed early, get a good night’s sleep, and come to work in the morning. So after The Shining, Stanley would say, “I don’t want to use movie stars in my movies anymore. Jack Nicholson was fabulous but he was always out partying and I don’t want to do that.” He even said that about Tom on Eyes Wide Shut. And I said, “But Stanley, I want to have a movie star in Eyes Wide Shut. I mean, it’s been a long time.” He said, “No. They have too many opinions.”CRUISE: [laughs] Too many opinions. And he doesn’t want opinions.

SEMEL: Not until he trusts the person and realizes they are going to contribute positively toward the film. I said, “I want Tom Cruise.” And Stanley said, “He’s not going to fly all the way here.” I said, “Hold on. Give me the phone.” And I called Tom and I said, “Tom, I’m sitting with Stanley Kubrick. I think this is a fabulous idea and a great movie for you and it’s a great movie for Stanley. Would you consider the idea of coming to London and meeting Stanley Kubrick and talk about Eyes Wide Shut?” And Tom said something like, “I’ll be there in the morning.” And as it happened, they became two brothers—or a brother and a father. Stanley isn’t like how others imagine he would be, but he didn’t like to meet many people. So he didn’t use a lot of movie stars in his pictures.
 INSDORF: But he used Kirk Douglas in Paths of Glory. In fact, the only way Kubrick was able to make Paths of Glory was to have a star—Douglas—take the role.

CRUISE: And Ryan O’Neal was in Barry Lyndon. And he actually offered Paul Newman [2001: A] Space Odyssey. But for me, it was so interesting hanging out with Stanley and being able to spend time with him. When I first met him, he was an incredibly charming guy. I remember I took a helicopter and landed on his property. And I read the script for Eyes Wide Shut, which was about 95 pages long. It was a very simple story. We sat down and he made lunch for me at his house and we spent about four hours in his kitchen talking. We talked about the story and where he wanted to shoot it and how he wanted it to go. He said, “Look, I need to start shooting this right away in summer because I want to finish the movie by Christmas. Okay?” Of course, I had studied Stanley’s movies and I’d spoken to many people about the way he works—especially Terry—and I knew it was going to be at least a year of shooting, at the minimum. So I said, “Okay, Stanley, let’s do this.” Then we talked about the female lead and I said, “Listen, I don’t know if you’ve seen Nicole Kidman’s work, but you’ve really got to look into her. She’s a great actress.” And we kind of talked about the wife, and Nicole playing that character. He also talked about baseball. He loved baseball.
SEMEL: That’s right.

CRUISE: He started as a photographer at Look magazine. We discovered that we were both Yankees fans. But in that meeting, he didn’t really want to discuss certain subjects—like how he made certain pictures or the choices he made. But as time went on, we became great friends, and he just broke down for me all the sequences of his movies—starting with 2001—and how he came up with all the ideas for each shot. It was an incredible learning experience. Working with Stanley was a lot of fun because even though it may look like a very simple film, he was brilliant at getting under the audience’s skin. He was very interested in the idea of, “How can I tell this with just a camera?” I know the games that he and Sydney Pollack used to play back-and-forth. They would trade commercials back-and-forth and see how much of the dialogue could be taken out of the commercial while still retaining a story and also seeing what they could do visually with it. When you look at Eyes Wide Shut, there’s the sense of, “Is this a dream or is this a nightmare?” and how do you handle the aspects of the story in such a way that you’re not resorting to the usual visual techniques to say, “This is nightmare.”INSDORF: You mean Kubrick was playing with formal structures?

CRUISE: He was pushing the film very hard. One fascinating thing about Barry Lyndon was that he used the Apollo lenses [still photography lenses developed for NASA, modified for film use]. The speed of those lenses is startling, and he used them to shoot in candlelight, which gives it that incredible depth of frame that he’s really known for. He likes those wide-angle lenses and he would often adjust the furnishing and the pictures on the wall. He understood those lenses completely, because a lens like that will bend the picture. It will alter it, and he made adjustments because he wanted that depth, he wanted the audience to feel the space. He was very selective when he went into a close-up. Every director has his taste in a performance, but Stanley would explore a scene to find what was most interesting for him. When you look at the lens choices with Jack Nicholson, for example, when he’s in the pantry leaning against the door and Stanley shoots up at him, its clear what an amazing eye he had. When you’re working with a filmmaker with that command of storytelling, you know right away that it’s his taste, it’s an extension of him. It’s not necessarily analytical. As an actor—like an artist—you have to ask, “Why do I choose a certain moment to play something a certain way?” It’s organic to who we are. I think you see through Stanley’s movies that his visual command was an extension of him.

And in Eyes Wide Shut he was very much pushing the film. Every morning, I would go in early and we would look at the negatives together. We would look at the day’s rushes—not with sound, but we would look at the image, and he was checking the film to see how hard could he push it. There was an interesting moment during filming. We were shooting in the backlot of Pinewood Studios and he had built a set to resemble New York. We were working on a scene where I see that a guy is following me. He cast a very distinct-looking actor, a bald guy with a very particular wardrobe. In the shot, this guy walks across the street. We went back and looked at the video playback; we must have spent hours studying it, just to figure out what the behavior of this man should be like crossing the street. Finally, Stanley said, “Listen, when you’re crossing the street, please don’t stop staring at Tom.” It looks like a very simple thing, but behaviorally, it had a tremendous effect. He just immerses you with his tone. His tracking shot through the trenches in Paths of Glory is revolutionary. And it’s the same with the Steadicam shot in The Shining with [camera operator] Garrett Brown. That was a very difficult shot where the boy is racing from carpet to floor to carpet. That was the brilliance of Stanley: he knew how to use the medium of film and the camera and the lens, and, of course, also sound. He had such command of his craft.


//

‘Eyes Wide Shut’: Sleep walking. [thanks to Will McCrabb & David Ehrlich]

“Larry Smith notes that the filmmakers applied a classic trick in a rather unusual manner for a few medium shots of Harford walking restlessly along Manhattan streets. ‘In some of the scenes, the backgrounds were rear-projection plates,’ the cinematographer reveals. ‘Generally, when Tom’s facing the camera, the backgrounds are rear-projected; anything that shows him from a side view was done on the streets of London. We had the plates shot in New York by a second unit [that included cinematographers Patrick Turley, Malik Sayeed and Arthur Jafa]. Once the plates were sent to us, we had them force-developed and balanced to the necessary levels. We’d then go onto our street sets and shoot Tom walking on a treadmill. After setting the treadmill to a certain speed, we’d put some lighting effects on him to simulate the glow from the various storefronts that were passing by in the plates. We spent a few weeks on those shots.’” —Cinematographer Larry Smith helps Stanley Kubrick craft a unique look for Eyes Wide Shut, a dreamlike coda to the director’s brilliant career

On the occasion of the LACMA retrospective, two of Kubrick’s friends and collaborators reminisced about the master director’s approaches, rituals, and concerns. Tom Cruise, who starred in ‘Eyes Wide Shut,’ and former Warner Bros. head Terry Semel, who oversaw the production of many of Kubrick’s films, got together for a phone conversation that Annette Insdorf moderated in late August to discuss Kubrick’s brilliantly cinematic storytelling. —Stanley Kubrick By Terry Semel, Tom Cruise

SEMEL: Well, when Stanley did The Shining, he had someone else shoot a lot of second unit because that was in America. He would not fly to that set. Most of the interior filming was done in the studio in England. One of his great concerns was Jack Nicholson—a terrific actor and a big movie star, but Jack never went to sleep at night. He was always out socializing, having fun. Stanley thought that was terrible. He thought an actor had to go to bed early, get a good night’s sleep, and come to work in the morning. So after The Shining, Stanley would say, “I don’t want to use movie stars in my movies anymore. Jack Nicholson was fabulous but he was always out partying and I don’t want to do that.” He even said that about Tom on Eyes Wide Shut. And I said, “But Stanley, I want to have a movie star in Eyes Wide Shut. I mean, it’s been a long time.” He said, “No. They have too many opinions.”

CRUISE: [laughs] Too many opinions. And he doesn’t want opinions.

SEMEL: Not until he trusts the person and realizes they are going to contribute positively toward the film. I said, “I want Tom Cruise.” And Stanley said, “He’s not going to fly all the way here.” I said, “Hold on. Give me the phone.” And I called Tom and I said, “Tom, I’m sitting with Stanley Kubrick. I think this is a fabulous idea and a great movie for you and it’s a great movie for Stanley. Would you consider the idea of coming to London and meeting Stanley Kubrick and talk about Eyes Wide Shut?” And Tom said something like, “I’ll be there in the morning.” And as it happened, they became two brothers—or a brother and a father. Stanley isn’t like how others imagine he would be, but he didn’t like to meet many people. So he didn’t use a lot of movie stars in his pictures.

INSDORF: But he used Kirk Douglas in Paths of Glory. In fact, the only way Kubrick was able to make Paths of Glory was to have a star—Douglas—take the role.

CRUISE: And Ryan O’Neal was in Barry Lyndon. And he actually offered Paul Newman [2001: A] Space Odyssey. But for me, it was so interesting hanging out with Stanley and being able to spend time with him. When I first met him, he was an incredibly charming guy. I remember I took a helicopter and landed on his property. And I read the script for Eyes Wide Shut, which was about 95 pages long. It was a very simple story. We sat down and he made lunch for me at his house and we spent about four hours in his kitchen talking. We talked about the story and where he wanted to shoot it and how he wanted it to go. He said, “Look, I need to start shooting this right away in summer because I want to finish the movie by Christmas. Okay?” Of course, I had studied Stanley’s movies and I’d spoken to many people about the way he works—especially Terry—and I knew it was going to be at least a year of shooting, at the minimum. So I said, “Okay, Stanley, let’s do this.” Then we talked about the female lead and I said, “Listen, I don’t know if you’ve seen Nicole Kidman’s work, but you’ve really got to look into her. She’s a great actress.” And we kind of talked about the wife, and Nicole playing that character. He also talked about baseball. He loved baseball.

SEMEL: That’s right.

CRUISE: He started as a photographer at Look magazine. We discovered that we were both Yankees fans. But in that meeting, he didn’t really want to discuss certain subjects—like how he made certain pictures or the choices he made. But as time went on, we became great friends, and he just broke down for me all the sequences of his movies—starting with 2001—and how he came up with all the ideas for each shot. It was an incredible learning experience. Working with Stanley was a lot of fun because even though it may look like a very simple film, he was brilliant at getting under the audience’s skin. He was very interested in the idea of, “How can I tell this with just a camera?” I know the games that he and Sydney Pollack used to play back-and-forth. They would trade commercials back-and-forth and see how much of the dialogue could be taken out of the commercial while still retaining a story and also seeing what they could do visually with it. When you look at Eyes Wide Shut, there’s the sense of, “Is this a dream or is this a nightmare?” and how do you handle the aspects of the story in such a way that you’re not resorting to the usual visual techniques to say, “This is nightmare.”

INSDORF: You mean Kubrick was playing with formal structures?

CRUISE: He was pushing the film very hard. One fascinating thing about Barry Lyndon was that he used the Apollo lenses [still photography lenses developed for NASA, modified for film use]. The speed of those lenses is startling, and he used them to shoot in candlelight, which gives it that incredible depth of frame that he’s really known for. He likes those wide-angle lenses and he would often adjust the furnishing and the pictures on the wall. He understood those lenses completely, because a lens like that will bend the picture. It will alter it, and he made adjustments because he wanted that depth, he wanted the audience to feel the space. He was very selective when he went into a close-up. Every director has his taste in a performance, but Stanley would explore a scene to find what was most interesting for him. When you look at the lens choices with Jack Nicholson, for example, when he’s in the pantry leaning against the door and Stanley shoots up at him, its clear what an amazing eye he had. When you’re working with a filmmaker with that command of storytelling, you know right away that it’s his taste, it’s an extension of him. It’s not necessarily analytical. As an actor—like an artist—you have to ask, “Why do I choose a certain moment to play something a certain way?” It’s organic to who we are. I think you see through Stanley’s movies that his visual command was an extension of him.

And in Eyes Wide Shut he was very much pushing the film. Every morning, I would go in early and we would look at the negatives together. We would look at the day’s rushes—not with sound, but we would look at the image, and he was checking the film to see how hard could he push it. There was an interesting moment during filming. We were shooting in the backlot of Pinewood Studios and he had built a set to resemble New York. We were working on a scene where I see that a guy is following me. He cast a very distinct-looking actor, a bald guy with a very particular wardrobe. In the shot, this guy walks across the street. We went back and looked at the video playback; we must have spent hours studying it, just to figure out what the behavior of this man should be like crossing the street. Finally, Stanley said, “Listen, when you’re crossing the street, please don’t stop staring at Tom.” It looks like a very simple thing, but behaviorally, it had a tremendous effect. He just immerses you with his tone. His tracking shot through the trenches in Paths of Glory is revolutionary. And it’s the same with the Steadicam shot in The Shining with [camera operator] Garrett Brown. That was a very difficult shot where the boy is racing from carpet to floor to carpet. That was the brilliance of Stanley: he knew how to use the medium of film and the camera and the lens, and, of course, also sound. He had such command of his craft.

7730 Notes

This was the first guy to buy legal, non-medical marijuana in Colorado

This was the first guy to buy legal, non-medical marijuana in Colorado

276179 Notes

How many stars can you count in these beautiful animated night skies?

Tyger, Tyger, Burning Bright
In the forests of the night
What immortal hand or eye
Dare Frame Thy Fearful Symmetry?