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)
Gregory Peck on the set of I Walk the Line (1970, dir. John Frankenheimer) Photographer: Dennis Stock (via)
The Red Shoes (1948, dir. Michael Powell & Emeric Pressburger)
Marilyn Monroe & Montgomery Clift on the set of The Misfits (1961, dir. John Huston) (via)
Photo by Eve Arnold.
Pascal Lamorisse in The Red Balloon (1956, dir. Albert Lamorisse) (via)
(Fonte: oldhollywood)
Marilyn Monroe & Eli Wallach in The Misfits (1961, dir. John Huston) (via)
Photo by Erich Hartmann.
Happy 4th of July from your friends at the Overlook Hotel
![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](http://25.media.tumblr.com/tumblr_m7r3vkKFFs1qzdvhio1_r1_250.jpg)
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
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)
Gort escorts Patricia Neal to his space shuttle in The Day The Earth Stood Still (1951, dir. Robert Wise) (via)
The Conformist (1970, dir. Bernardo Bertolucci) (via)
(Fonte: oldhollywood)
