TL Carpenter

Maria Klonaris & Katerina Thomadaki’s Double Labyrinthe (1976)

Pretty sure this is Requiem for a Dream (2000).

When Toshirô Mifune (三船 敏郎) first auditioned for 'TOHO', he was about to be rejected by the selection committee. They felt his demeanour was disrespectful. Akira Kurosawa (黒澤 明), who was impressed by his acting, intervened & proposed to change their evaluation method. The Rest is History. Akira Kurosawa reciting the above story in his own words: "IT’S NOT POSSIBLE for me to talk about 'Drunken Angel', which was released in 1948, without devoting some attention to the actor Mifune Toshiro. In June of 1946, in order to get into the spirit of postwar activity, Toho conducted open auditions to recruit new contract actors. Using the headline “Wanted: New Faces,” they got a tremendous number of applicants. On the day of the interviews and screen tests I was in the middle of the shooting of No Regrets for Our Youth, so I couldn’t participate in the judging. But during lunch break I stepped off the set and was immediately accosted by actress Takamine Hideko, who had been the star of Yamamoto Kajirō’s Horses when I was chief assistant director. “There’s one who’s really fantastic. But he’s something of a roughneck, so he just barely passed. Won’t you come have a look?” I bolted my lunch and went to the studio where the tests were being given. I opened the door and stopped dead in amazement. A young man was reeling around the room in a violent frenzy. It was as frightening as watching a wounded or trapped savage beast trying to break loose. I stood transfixed. But it turned out that this young man was not really in a rage, but had drawn “anger” as the emotion he had to express in his screen test. He was acting. When he finished his performance, he regained his chair with an exhausted demeanor, flopped down and began to glare menacingly at the judges. Now, I knew very well that this kind of behavior was a cover for shyness, but the jury seemed to be interpreting it as disrespect. I found this young man strangely attractive, and concern over the judges’ decision began to distract me from my work. I returned to my set and wrapped up the shooting early. Then I proceeded to look in on the room where the jury were deliberating. Despite Yamasan’s strong recommendation of the young man, the voting was against him. Suddenly I heard myself shouting, “Please wait a minute." The jury was made up of two groups: movie-industry specialists (directors, cinematographers, producers and actors) and representatives of the labor union. The two groups were equally represented. At that time the union was gaining in strength daily, and union representatives appeared wherever something was happening. Because of them, all decisions had to be made by voting, but I felt that for them to voice their opinions on the selection of actors was really going too far. Even the expression “going too far” doesn’t do justice to the suppressed anger boiling in me. I called for a time out. I said that in order to judge the quality of an actor and predict his future capacities you need the talents and experience of an expert. In the selection of an actor it isn’t right to equate the vote of an expert and the vote of a complete outsider. It’s like appraising a gemstone—you wouldn’t give a greengrocer’s appraisal the same weight you would a jeweler’s. In evaluating an actor, an expert’s vote should have at least three if not five times the weight of an amateur’s. I emphasized that I wanted a recount of the votes with more appropriate weight assigned to the experts’ opinions. The jury was thrown into an uproar. “It’s anti-democratic, it’s monopoly by directors!” someone shouted. But all of the production people on the jury raised their hands in approval of my suggestion, and even some labor-union representatives nodded their assent. Finally Yama-san, who was head of the jury, said that as a movie director he would take responsibility for his opinion of the quality and potential of the young actor in question. With Yama-san’s pronouncement the young man squeaked through. He was, of course, Mifune Toshiro." (Excerpt taken from "Something like an autobiography", Akira Kurosawa) Clip from: Drunken Angel (1948) Director: Akira Kurosawa

Between this and her shooting the dog they’re basically living a John Waters movie.

Is this why Kristi Noem shot her dog execution style in the backyard? Because they knew too much!?!

i stand with bryon noem

I’ve mentioned watching Stern late night on E! before, but I’ve not given Dave Attell his flowers yet — Insomniac used to run all night on Comedy Central and it got me through many a tough evening

obsessed with what they had going on

Dubbed the "King of the B-movies," Roger Corman's visionary filmmaking revolutionized independent cinema and influenced several generations of storytellers from Martin Scorsese to James Cameron. Join us for four nights this April honoring his legacy, starting Friday at 8pm ET.

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The iconic Mariko Kaga (1971)

Bong Joon-ho designed the final shot of Memories of Murder (2003) to stare directly into the eyes of the real killer, believing he might one day watch it. In 2019, DNA identified Lee Chun-jae as the culprit, and he later admitted he had seen the film.

The Elephant Man (1980 dir. David Lynch) (Cinematography by Freddie Francis)

@ArrowFilmsVideo Looks like Sunshine.

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今日は梶芽衣子さん誕生日｡暗い陰り､鋭い眼力｡野良猫ロックの都会派スケバンから"さそり"へ､既成の女性観へのカウンターでした｡｢広島死闘篇｣｢修羅雪姫｣そして｢曽根崎心中｣の名演｡TV｢寺内貫太郎一家｣ではしっかり者の長女役｡｢きのう何食べた?｣｢罪の声｣と近年のご活躍も嬉しい限り｡

MS. 45 IN PERSON—A teenage Zoë Lund outside the NUART Theatre in LA, 1981

🚨KOREAN ALF JUMPSCARE ALERT🚨 😱sound on😱

Meiko Kaji photographed in the subway, Tokyo, Japan, 1970s.

Chuck was an icon. I am grateful that I was able to work with him in multiple ways over the years, from promoting fitness to sharing the screen together. He was a badass, in real life and in Hollywood. His legend will be with us forever. My thoughts are with his family.