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twitter.com/blogcinergia:

    gregorypecks:

    Happy Birthday Gregory Peck!

    (5 April 1916 - 12 June 2003)

    We might have wanted to be Cary Grant or Clark Gable, but we weren’t smooth enough. We might have wanted to be Burt Lancaster or Kirk Douglas but they were too flashy and athletic. Jimmy Stewart was a bit too aw shucks, and Charlton Heston too granite-jawed handsome. But Gregory Peck made us feel we were him

    The Washington Post

    (via hushpuppyy)

    — há Há 1 ano com 1518 notas
    oldhollywood:

Gregory Peck on the set of I Walk the Line (1970, dir. John Frankenheimer) Photographer: Dennis Stock (via)

    oldhollywood:

    Gregory Peck on the set of I Walk the Line (1970, dir. John Frankenheimer) Photographer: Dennis Stock (via)

    — há Há 1 ano com 422 notas
    oldhollywood:

2001: A Space Odyssey (1968, dir. Stanley Kubrick)

    oldhollywood:

    2001: A Space Odyssey (1968, dir. Stanley Kubrick)

    — há Há 1 ano com 1375 notas
    oldhollywood:

The Red Shoes (1948, dir. Michael Powell & Emeric Pressburger)

    oldhollywood:

    The Red Shoes (1948, dir. Michael Powell & Emeric Pressburger)

    — há Há 1 ano com 737 notas
    oldhollywood:

Marilyn Monroe & Montgomery Clift on the set of The Misfits (1961, dir. John Huston) (via)
Photo by Eve Arnold.

    oldhollywood:

    Marilyn Monroe & Montgomery Clift on the set of The Misfits (1961, dir. John Huston) (via)

    Photo by Eve Arnold.

    — há Há 1 ano com 1413 notas
    oldhollywood:


Joan Crawford, 1959 (via) Photographer: Eve Arnold

    oldhollywood:

    Joan Crawford, 1959 (via) Photographer: Eve Arnold

    — há Há 1 ano com 693 notas
    Pascal Lamorisse in The Red Balloon (1956, dir. Albert Lamorisse) (via)

    Pascal Lamorisse in The Red Balloon (1956, dir. Albert Lamorisse) (via)

    (Fonte: oldhollywood)

    — há Há 1 ano com 2396 notas
    oldhollywood:

Marilyn Monroe & Eli Wallach in The Misfits (1961, dir. John Huston) (via)
Photo by Erich Hartmann. 

    oldhollywood:

    Marilyn Monroe & Eli Wallach in The Misfits (1961, dir. John Huston) (via)

    Photo by Erich Hartmann. 

    — há Há 1 ano com 1386 notas
    oldhollywood:

Joseph Cotten in The Third Man (1949, dir. Carol Reed)

    oldhollywood:

    Joseph Cotten in The Third Man (1949, dir. Carol Reed)

    — há Há 1 ano com 1894 notas
    oldhollywood:

Happy 4th of July from your friends at the Overlook Hotel

    oldhollywood:

    Happy 4th of July from your friends at the Overlook Hotel

    — há Há 1 ano com 10586 notas
    oldhollywood:

Klaus Kinski & Isabelle Adjani in Nosferatu the Vampyre (1978, dir. Werner Herzog) (via)
“I never thought of my film Nosferatu as being a remake. It stands on its own feet as an entirely new version..It is a very clear declaration of my connection to the very best of German cinema, and though I have never truly functioned in terms of genres, I did appreciate that making a film like Nosferatu meant understanding the basic principles about the vampire genre, and then asking, ‘How am I going to modify and develop this genre further?’
The images found in vampire films have a quality beyond our usual experiences in the cinema. For me genre means an intensive, almost dreamlike, stylization on screen, and I feel the vampire genre is one of the richest and most fertile cinema has to offer. There is fantasy, hallucination, dreams and nightmares, visions, fear and, of course, mythology. What I really sought to do was connect my Nosferatu with our true German cultural heritage, the silent films of the Weimar era, and [F.W.] Murnau’s work in particular.” 
-Werner Herzog, quoted in Herzog on Herzog

    oldhollywood:

    Klaus Kinski & Isabelle Adjani in Nosferatu the Vampyre (1978, dir. Werner Herzog) (via)

    “I never thought of my film Nosferatu as being a remake. It stands on its own feet as an entirely new version..It is a very clear declaration of my connection to the very best of German cinema, and though I have never truly functioned in terms of genres, I did appreciate that making a film like Nosferatu meant understanding the basic principles about the vampire genre, and then asking, ‘How am I going to modify and develop this genre further?’

    The images found in vampire films have a quality beyond our usual experiences in the cinema. For me genre means an intensive, almost dreamlike, stylization on screen, and I feel the vampire genre is one of the richest and most fertile cinema has to offer. There is fantasy, hallucination, dreams and nightmares, visions, fear and, of course, mythology. What I really sought to do was connect my Nosferatu with our true German cultural heritage, the silent films of the Weimar era, and [F.W.] Murnau’s work in particular.” 

    -Werner Herzog, quoted in Herzog on Herzog

    — há Há 1 ano com 1740 notas
    oldhollywood:

Elsa Lanchester on the set of Bride of Frankenstein (1935, dir. James Whale) 
On her maternal instincts:
“I held a baby once. It felt like a bag of hot snakes.”
(via)

    oldhollywood:

    Elsa Lanchester on the set of Bride of Frankenstein (1935, dir. James Whale) 

    On her maternal instincts:

    “I held a baby once. It felt like a bag of hot snakes.”

    (via)

    — há Há 1 ano com 3846 notas
    oldhollywood:

Gort escorts Patricia Neal to his space shuttle in The Day The Earth Stood Still (1951, dir. Robert Wise) (via)

    oldhollywood:

    Gort escorts Patricia Neal to his space shuttle in The Day The Earth Stood Still (1951, dir. Robert Wise) (via)

    — há Há 1 ano com 508 notas
    The Conformist (1970, dir. Bernardo Bertolucci) (via)

    The Conformist (1970, dir. Bernardo Bertolucci) (via)

    (Fonte: oldhollywood)

    — há Há 1 ano com 353 notas
    oldhollywood:

The Cat and the Canary (1927, dir. Paul Leni) (via)

    oldhollywood:

    The Cat and the Canary (1927, dir. Paul Leni) (via)

    — há Há 1 ano com 871 notas