(via obiwanskenobi)

Girl Interrupted (1999)

(via cyberqueer)

“We met at the wrong time. That’s what I keep telling myself anyway. Maybe one day years from now, we’ll meet in a coffee shop in a far away city somewhere and we could give it another shot.”

(via stewarter)

I wish you had stayed.

(via gyllenhawl)

nataliedrmers:

Why can’t you be happy for me and then go home and talk about me behind my back like a normal person?

(via bexitah)

Happiness can be found, even in the darkest of times, if one only remembers to turn on the light.

(via goldenstories)

Lord, Why?

Where were you?

Did you know?

Who are we to you?

(via mikkelsening)

marinaesque:

Darjeeling Limited

(via howdyspacebuddy)

What I’m not sure about is if our lives have been so different from the lives of the people we save. We all complete. Maybe none of us really understand what we’ve lived through, or feel we’ve had enough time.

(via stewarter)

Film Meme [ 7 ] Directors
→ [ 2 ] David Fincher "Directing ain’t about drawing a neat little picture and showing it to the cameraman. I didn’t want to go to film school. I didn’t know what the point was. The fact is, you don’t know what directing is until the sun is setting and you’ve got to get five shots and you’re only going to get two."

#favorite  

"What if I were smiling and running into your arms? Would you see then what I see now?"

(via mroscarisaac)

Nostalghia (1983)

(via kubrickit)

A heart’s a heavy burden.

(via flickeringmuse)

"Sometimes I think I’ve felt everything I’m ever gonna feel. And from here on out I’m not gonna feel anything new. Just lesser versions of what I’ve already felt." - Her (2013)

(via 9090432-deactivated20140709)

Color and light were also prime elements in Her’s art direction. K.K. Barrett, a production designer and art director, says he was enamored with red and wanted to include just a hint [due to its power] in every frame. “We referenced a photograph of a burning cigarette that was mainly out of focus with this one red dot [from the flame] to complete the composition,” he adds. “When we threw a red jacket on Amy Adams, the camera tests looked so great that the default color became different shades of red throughout. Hoyte wanted to avoid blue, so we skewed our spectrum accordingly.

Her’s playful use of color is evident throughout. Two walls of soft LED light panels in Theodore’s apartment dim and rise as he enters and leaves. “Sometimes those wall lights were pink, sometimes they might have been a warm color reflected in the window at night,” Barrett recalls. “It was a futuristic touch people will recognize right now.”

A similar freedom of color and shape permeates Theodore’s office, at beautifulhandwrittenletters.com. “Spike wanted a fun working environment, he wanted joyous, which I translated into being a riot of colored Plexiglas, instead of paint, which really helped us out budget- and schedule-wise, not having to alter an existing location.

Van Hoytema embraced the colored Plexiglass. “I would often use [LED-based] light for a shop window behind a character, and make it a strong color. Or, for the shots of Joaquin walking through the city at the beginning, we would insert a splash of bright color around him. x

(via patheticjunkies)