Seattle’s Pike Street Cinema, photo by Dennis Nyback
Now that is an evil grin! Charles Laughton with Kathleen Burke (The Panther Woman) in a still from Island of Lost Souls (1932).
Original Watercolor for Frankenstein Laboratory by Kenneth Strickfaden, the genius responsible for the original machines and design of Colin Clive’s 1931 Frankenstein lab.
I once read a caption around the time Twin Peaks originally aired that referred to Kyle MacLachlan as “geeky sex god Kyle MacLachlan”. Here he is illustrating this point (with some of the Blue Velvet crew).
McCabe & Mrs. Miller original screenplay by Robert Altman & Brian McKay [pdf]. (NOTE: For educational purposes only)
1970 – ’71 was definitely a high-water mark for Film Director (not to mention a badass photographer to boot) Robert Altman. Hot on the heels of M*A*S*H (1970), McCabe and Mrs. Miller (1971) was released and became, what many consider to be, one of Warren Beatty’s finest roles, and one of the best Westerns (or anti-Western, if you will) ever made according to many film aficionados. It wasn’t your typical red-blooded Western by any stretch of the imagination. See it for yourself.
There was a definite charged energy on the set (shot completely in B.C.)– the reported tension between the egomaniac Beatty and the chill Altman– not to mention the sexual energy between Beatty and Christie, who were deep in the throes of a passionate love affair– is there any other kind of affair with Beatty? Then there’s the haunting film soundtrack including the legendary Leonard Cohen that accompanied Zsigmond’s “flashed” film negative. A truly ballsy move– Altman and Zsigmond shot the film “pre-fogged” through a number of filters to maintain the visual effect they wanted, rather than manipulate it in post-production. That ensured that studio wimps couldn’t later tune-down the film’s look to something more safe and conventional. Vilmos Zsigmond’s brilliant work would garner him a nomination by the British Academy Film Awards.
“If you’ve only got 90 minutes left to live, ignore your friends, ignore your family, watch this film. Werner Herzog on his friendship with Klaus Kinski.” —My Best Fiend (Mein liebster Feind) by Werner Herzog, Part 2
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Geoffrey Unsworth (right), legendary director of photography (right) on the ‘2001’ monolith excavation set at Shepperton, late december 1965 - early january 1966.
I can still remember Geoffrey wandering round the set with a slightly bemused expression, telling all and sundry: ‘I’ve been in this business for forty years — and Stanley’s just taught me something I didn’t know.’ (Arthur C. Clarke, “The ghost from the grand banks”, p.119)
The Grandmother 1970 David Lynch
Shinya Tsukamoto and Alejandro Jodorowsky together. Also they apparently had pizza together. The world is sometimes beautiful.
Artwork in homage to the film “Mad Monster Party” by Dave Perillo.
I would travel down to hell and wrestle a film away from the devil if it was necessary.
The making of David Lynch’s first feature film, ‘Eraserhead.’
“Eraserhead is my most spiritual movie. No one understands when I say that, but it is.” —David Lynch, Catching the Big Fish
- Young David Lynch talks ‘Eraserhead’ in 1979 on-location video interview
- David Lynch interview, Search & Destroy 1978
- 'Erased' — on Jack Nance, Premiere 1997
- Jack Nance and David Lynch
- Interview with Tom Snyder
Andrei Tarkovsky while filming Solaris (1972)
Carroll Borland as Luna Mora in Tod Browning’s “Mark of the Vampire” (1935).