flatclem

you can literally see her looking at Nolan, waiting for him to say cut.... 💀🙌🏻

Tura Satana on Russ Meyer's love for b00bs & his feminist worldview: "He loved the big b00bs, and anybody he found that had b00bs bigger or better was there. But Russ always had this special respect for women. When we were on location, there were certain rules. I think I'm the only one who broke his rule about no sex on the set. I would say he was a feminist. He loved to make women look good. I have never seen any of the gals in his films look bad. And the men in his movies were always incapacitated in some way. They were either in a wheelchair or on crutches or short of a full deck. He liked to make women strong, make them feel that they were empowered. [He wanted to glorify women] And he always made sure there was a moral. The good always won out over evil. You will find that in any of his films." ("The Man Who Really, Really Loved Women", Chris Gore, 2004) Remembering Russ Meyer, on his 104th birthday! Clip from: Faster, Pussycat! Kill! Kill! (1965) Director: Russ Meyer

Jim Carrey était littéralement incontrôlable dans The Mask 😱🎬 Il improvisait tellement que l’équipe ne savait jamais ce qu’il allait faire. La scène du “Cuban Pete” avec les policiers… est totalement improvisée

This ‘funny’ scene in Saving Private Ryan captures perfectly what Veterans have often described as "fog of war", where soldiers would end up in hand-to-hand combat using mess kits, rocks, or helmets when their primary weapons failed in close combat.

Christopher Nolan x Denis Villeneuve. Ludwig Göransson x Hans Zimmer. The Odyssey x Dune: Part Three.

I always thought Spider-Man’s mask was skin-tight…

qm não tem pelo menos uma crítica sobre a obra/mídia favorita é uma pessoa extremamente rasa

Dune: Messiah (2026)c

Gus Van Sant on how he approached making "Elephant" (2003) & the scathing critical response it received: "My film observes from multiple points of view several students who cross paths in the hallways of a suburban American school on a seemingly normal weekday that culminates in a massacre. The film may be provocative but it refuses to preach or to explain. It’s an approach that frustrates and even angers some of the audience. The film’s refraining from giving answers drew reprobation from American film critics in Cannes, especially those from L.A. The scathing Variety review called the film ‘gross and exploitative,’ and ‘pointless at best and irresponsible at worst.’ The L.A. Times’ Kenneth Turan wrote after the film won the Palme d’or at Cannes that the jury confused ‘artful vacuousness with genuine art.’ 'Elephant' is more like a poem about Columbine than a detective story. I am not surprised by the critical response. I was jettisoning theatrical conventions most moviegoers (and critics) assume a film is supposed to have. I think that critics have their viewpoints and their viewpoints are valid. Really, the film is meant to be looked at and commented on. It’s not meant to be commented on favorably." ("Elephant: Director Van Sant on his Controversial Movie", Emmanuel Levy, 2006)