Marilyn Monroe photographed by Arthur Weegee, 1949

Marilyn Monroe photographed by Arthur Weegee, 1949


valentino haute couture spring/summer 2012

valentino haute couture spring/summer 2012


She’s just perfect, she was so welcoming and easy to work with, and I was nervous about that, because it’s nine months and a lot of stuff to do together and that relationship has really got to work, just from a getting-through-the-day point of view, never mind the acting side. I really think she is a brilliant actress, too: in every take she’s got something new, she makes it look effortless. - David Tennant

She’s just perfect, she was so welcoming and easy to work with, and I was nervous about that, because it’s nine months and a lot of stuff to do together and that relationship has really got to work, just from a getting-through-the-day point of view, never mind the acting side. I really think she is a brilliant actress, too: in every take she’s got something new, she makes it look effortless. - David Tennant

deforest:


One day my sister Teddy said to me, “What are you going to do? What would you like to do when you grow up?” And I remember—at that time I was about twelve—I told my sister that I would like to go to Hollywood and become a cowboy.  I had just seen my first movie—it was a cowboy movie, of course—and I thought it was the most amazing thing. I had no idea that Hollywood meant the movie business. I thought Hollywood was where they raised cows, and where they used horses to keep the cows corralled, and where the cowboys were good guys, and they were always fighting the bad guys, who were trying either to steal the cows or do something to the people who owned the cows, and I wanted to do that kind of work. Teddy laughed, but the laughter wasn’t at me; she laughed with me. … I’m sure she must have thought it was so wonderful that I was having this terrific dream, but she didn’t correct me, she didn’t say, “That’s such a way-out fantasy.” She didn’t say, “Who do you think you are? Man, you better get your feet on the ground. Boy, you got a long way to go.” No, she obviously had dreams too. About ten years later the family was able to gather in a theater in Nassau to see the first picture I ever made, something called No Way Out. This was in 1950, and it was the first time my parents had ever seen a movie. It must have been something like a fantasy for them, a dream.

Sidney Poitier, "The Measure of a Man"

deforest:

One day my sister Teddy said to me, “What are you going to do? What would you like to do when you grow up?” And I remember—at that time I was about twelve—I told my sister that I would like to go to Hollywood and become a cowboy.

I had just seen my first movie—it was a cowboy movie, of course—and I thought it was the most amazing thing. I had no idea that Hollywood meant the movie business. I thought Hollywood was where they raised cows, and where they used horses to keep the cows corralled, and where the cowboys were good guys, and they were always fighting the bad guys, who were trying either to steal the cows or do something to the people who owned the cows, and I wanted to do that kind of work.

Teddy laughed, but the laughter wasn’t at me; she laughed with me. … I’m sure she must have thought it was so wonderful that I was having this terrific dream, but she didn’t correct me, she didn’t say, “That’s such a way-out fantasy.” She didn’t say, “Who do you think you are? Man, you better get your feet on the ground. Boy, you got a long way to go.” No, she obviously had dreams too.

About ten years later the family was able to gather in a theater in Nassau to see the first picture I ever made, something called No Way Out. This was in 1950, and it was the first time my parents had ever seen a movie. It must have been something like a fantasy for them, a dream.

Sidney Poitier, "The Measure of a Man"

zoewashburne:

What were your inspirations, especially since [Tauriel] is a completely created character; what brought you to bring that power because there were a lot of ways you could have played that role that would have been along the lines of what we usually see for a girl in an action movie where she’s not in the adventure, she’s the prize…?

#burn the term ”strong female character” to the ground #SLAY IT EVANGELINE

sandandglass:

Lisa Simpson, The Simpsons, 1991.

Angelina Jolie (1999)

Catherine Deneuve and director Luis Buñuel on the set of Belle de Jour, photographed by Manuel Litran, 1967.

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