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daccodacc:

I laughed so hard no sound came out

(via notahabswhale)

"Her and Lost In Translation are connected to each other. They’re very much on the same wavelength. They explore a lot of the same ideas. This all makes sense since Spike Jonze and Sofia Coppola were married from 1999 to 2003 and had been together for many years before that. Sofia Coppola had already made her big personal statement in regards to love and marriage right when the couple was on the verge of divorce; Her would be Spike Jonze’s answer to those feelings. What makes it even more poignant is that Her never feels resentful or petty. It feels more like a legitimate apology. It’s an acknowledgement that, in the end, some people aren’t meant to be with each other in the long run. Some people do grow apart. Lost in Translation is about a couple on the verge of growing apart, Her is about finally letting go of the person you’ve grown apart with and moving on.”

(via skeletales)

jicheshire:

thestonemask:

*aggressively collects money in a video game*

*never buys anything with it*

it’s like some kind of sick security from not having real life money

it just feels so good

(via zohbugg)

starllex:

when your mom is yelling at you to do more chores while you’re doing chores and you’re there like 

image

(via the-absolute-funniest-posts)

cinephilearchive:

François Truffaut and his long-time cinematographer Raoul Coutard during the filming of ‘Antoine et Colette,’ rue Lemercier, Paris, 1962. Photos by Raymond Cauchetier.

“Following his dazzling international success with the release of ‘Jules and Jim’ (1962), François Truffaut was contemplating his next move when he was approached by producer Pierre Roustang who wanted his involvement in an omnibus film to be titled ‘Love at Twenty’ (1962). Truffaut was not only given free reign to direct his own episode, ‘Antoine and Colette,’ but also helped Roustang select the other four directors for the project. Among them were Renzo Rossellini, Shintaro Ishihara, Andrzej Wajda and Marcel Ophuls and their contributions varied in quality and tone though Truffaut’s vignette is easily the most memorable part of the film. The director later said, ‘For my part, the French episode gave me the occasion to realize a project I hadn’t dared to launch on my own, a short sequel to my first film, ‘The 400 Blows’ (1959), in which we would meet up with the young Antoine Doinel three years later having his first sentimental adventure, one that would illustrate the moral: you risk losing everything by wanting too much.’” —Jeff Stafford, TCM

How do you feel about the future of film? Are you optimistic?
No. They have machines now on which you can skip past all the scenes that might be boring. That frightens me. I’m worried that we’re entering a subliterate age, in which nobody will ever read ‘War and Peace’ unless he’s in a sanatorium. All these cassettes, videodiscs… the complete works of any artist in 153 minutes. Like those volumes I see in American book­ stores—portable Tolstoy!  I’m afraid this will happen to filmmakers, too. —François Truffaut, An interview by Steve Lawson

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(via coldliar)

crocettis:

You found me just in time, and changed my lonely life that lucky day.

(via deforest)

(via btfreek)

boywithoutawinkle:

"anti distinctly minty"

(via btfreek)

dumbcuntts:

paintvrlife:

Leonid Afremov is a passionate painter from Mexico who paints with palette knife with oil on canvas. He loves to express the beauty, harmony and spirit of this world in his paintings, which are rich in different moods, colors and emotions.

these literally just changed my mood

(via youwillunderstand)


In the goat’s mind: ”hello furry sausages let’s be friends okay”
In the puppies’ minds: “jeSUS CHRIST WHAT THE HELL”

In the goat’s mind: ”hello furry sausages let’s be friends okay”

In the puppies’ minds: “jeSUS CHRIST WHAT THE HELL”

(via lisaedelstein)