Lady Snowblood

deforest:

Ava Gardner on the set of The Little Hut (1957)

oh-totoro:

Hayao Miyazaki at work, drawing a scene of Ashitaka for Princess Mononoke <3

deforest:

Rosalind Russell in His Girl Friday (1940)

ozu-teapot:

Ozu Interior #67
Equinox Flower - Yasujirô Ozu - 1958

liquidnight:

Clarence Bull
Greta Garbo for Ninotchka, 1939
From The Man Who Shot Garbo: The Hollywood Photographs of Clarence Sinclair Bull

classichollywood:

I seem to have the unhappy faculty of causing trouble wherever I go.
Marlene Dietrich in “Morocco” (1930)

deforest:

I was so glad when he married Carole; it was a perfect match. She was so right for him. They both hated anything phony, they both loved life so much… It was so awful, when she was killed in that plane crash. Clark came to me that night when he learned about it.
We didn’t make love—I just held him. He was drunk, he had to get drunk, and he cried like a baby, as though his life had ended, and maybe, in a way, it had.
Joan Crawford

Vivien Leigh out and about, c. the mid 1940s

Michael Jackson as Charlie Chaplin.

studio-ghibli-gifs:

Seiji: By the way, great lyrics. They’re even cornier than the original version.

foreignmovieposters:

Safety Last! (1923). Swedish poster.

“Orson Welles is a kind of giant with the look of a child, a tree filled with birds and shadow, a dog that has broken its chain and lies down in the flower beds, an active idler, a wise madman, an island surrounded by people, a pupil asleep in class, a strategist who pretends to be drunk when he wants to be left in peace. He knows better than anyone how to use the apparent nonchalance of true strength to give an impression of drifting, and advances with a half-open eye. The derelict manner he sometimes affects, like some dozing bear, shields him from the cold, restless whirl of the film world. A method that made him pack his bags, leave Hollywood and allow himself to be drawn toward other company and other prospects.” — Jean Cocteau