"We need the brand for the weirdos."
The Wicker Man (1973)
(Source: buttpincherdavidfincher, via trembling-colors-deactivated201)
Women’s March around the world [January 21, 2017]
(Source: iriswestsallen, via lecterings)
Anonymous asked: My friend told me that she is raising her son to not believe in Santa Claus because she thinks it's dishonest. Do you think it's ok to let kids believe in Santa?
Of course I do. That’s why I write letters to my nephew that are from Santa Claus.
Why would it be wrong for kids to think and know and understand that the world is a magical place? Why would it be wrong for someone to experience a protective force of love that gives and asks for nothing in return?
Anyway, the fact is Santa Claus is real. I can see the effects he has every day. Anyone I ask on the street will know his name and who he is and what he does. Just because I may never see him with my eyes and touch him with my hand doesn’t mean that he doesn’t affect me. I’ll never see or touch President Obama, but that doesn’t mean he doesn’t still have influence on me.
Santa Claus is real in the way that Superman is real and that ghosts are real; and, in fact, in the only way that really matters: they are indelibly laced with metaphorical power and metaphor is one of the strongest weapons we as a species have in our arsenal. Sticks and stones may break my bones, but words may destroy or heal me forever.
And just to be real for a second, if a mom thinks Santa Claus is the only “lie” she’s ever going to tell her child, I don’t think the child is the one she needs to focus on being honest with.
Cinematography by Jack Cardiff.
Black Narcissus (1946), The Red Shoes (1948), The African Queen (1951).
What I had picked up from painting was that light was the most important thing. The lighting played an important part. So it’s easy enough to analyse it and work out what looked good or what worked and so on. The only difference was I realised early on that because film was a transparency, and the Hollywood photographers used to use a lot of back-light because it made everything look crisper and glamorous. I realised that back-light and I relied very much on what I had picked up from paintings – a simplicity of lighting. Mind you, I recognised that painting’s a still picture where it’s easy enough to have a lighting effect, and on film where the actor gets up and walks around the room, you had to bear that in mind. But I still felt then, and still do, that you stick to a simple form of lighting.
[…]My original love in painting was Rembrandt, Caravaggio, people like that – but then I fell in love with the Impressionists. The Impressionists exaggerated everything. If someone is sitting on the grass, they would reflect the green light on their face. I sometimes used subtle green filters that probably one in fifty would notice but I got satisfaction out of it. That was the great thing. I used to use on the spot rails – in those days we used lots of arcs and arc-lights – when light was apparently coming from the sky. I used to use a faint blue filter so that it’s cold, and I used to use their methods by exaggerating the colour. I was always fighting with Technicolour because they wanted complete realism, whatever that was.