↧
lunatictoons: Blue Cat Blues
↧
iloveitwhenyoucallmebigpapagena: Buster around age 10, 1903...
↧
↧
miruza-la-beeb: Just spotted the Catbus from My Neighbour...
Just spotted the Catbus from My Neighbour Totoro in this episode of the Simpsons!
Nice job!
↧
theoriginaljoefisher: (via Pop Culture-Themed Solo Art Show by...
↧
rimmerslustmonster: if there’s a gordon ramsay fandom i’m...
↧
↧
“When he had this marvelous success, she felt she had to keep...
“When he had this marvelous success, she felt she had to keep up with him, which was a big strain, ” commented their peer, actor John Gielgud. Actress and friend Maxine Audley observed, “People would say to Larry, ‘You are the greatest actor in the world’, and they would turn to Vivien and say, ‘You are the most beautiful woman in the world.‘”
↧
myvintagevogue: Happy Birthday Marilyn Monroe (June 1st 1926 -...
↧
Photo
↧
Photo
↧
↧
Photo
↧
Marquee outside Astor Theater promoting Alfred Hitchcock film...
Marquee outside Astor Theater promoting Alfred Hitchcock film “Spellbound” starring Ingrid Bergman and Gregory Peck, photographed by Andreas Feininger, 1946.
↧
lesliehowards: Cinematography by Jack Cardiff. Black Narcissus...
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.
↧
asymmetricprojection: Black Narcissus, 1947 Michael Powell...
↧
↧
idlesuperstar: Jack talking about the start of the beach scene...
Jack talking about the start of the beach scene in A Matter Of Life And Death, from Cameraman - The Jack Cardiff Story
↧
chaboneobaiarroyoallende: Jack Cardiff (1914-2009)
↧
noonesnemesis: Jack Cardiff
↧
salesonfilm: Films in 2012—#215 Cameraman: The Life and Work of...
Films in 2012—#215 Cameraman: The Life and Work of Jack Cardiff (Craig McCall, 2010)
***this is available to view on Instant Netflix, which means there’s no reason you shouldn’t be watching it right now
↧
↧
Red Shoes
Red Shoes
↧
Billy Wilder, Gloria Swanson and Cecil B. DeMille on the set of...
Billy Wilder, Gloria Swanson and Cecil B. DeMille on the set of Sunset Boulevard, 1949.
↧
Moonrise Kingdom
Moonrise Kingdom
↧