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Floating in calm glass. #RobinLucianoBeaty

Floating in calm glass. #RobinLucianoBeaty

The River

The River

Whistles from the deep. (at Harvard Club of Boston)

Whistles from the deep. (at Harvard Club of Boston)

A smell of cold (at Harvard Club of Boston)

A smell of cold (at Harvard Club of Boston)

lottereinigerforever:

Yasujiro Ozu on set

lottereinigerforever:

Yasujiro Ozu on set

Salvador Dalí (1904-1989).

1.) Still from Spellbound” (c.1945), directed by Alfred Hitchcock.

2.) Set design for the film Spellbound, ca. 1945.

Oil on masonite. 88.8 x 113.1 cm

 Figueres, Spain

andrei-tarkovsky:

Offret, Andrei Tarkovski, 1986

mabellonghetti:

The Sacrifice // Offret (Andrei Tarkovsky - 1986) 

 I studied philosophy, history of religion, aesthetics. And ended up putting myself in chains. Of my own free will. 

andrei-tarkovsky:

Offret, Andrei Tarkovski, 1986

mpdrolet:

On the set of Andrei Tarkovsky’s The Sacrifice, 1986

mpdrolet:

On the set of Andrei Tarkovsky’s The Sacrifice, 1986

a-bittersweet-life:

The meaning of cinema and its colossal popularity is based on the fact that the viewer approaches it in search of his own un-accumulated experience, so to speak. I am not speaking of inexperience in life, but of the fact that our age offers one such a large amount of information and people are so busy that they do not have time sometimes even to find out what is surrounding them on a day-to-day basis. Cinema’s task is to substitute for this lacking experience. It stands before the very serious and profound task of speaking truthfully and sincerely, never deceiving the viewer.
Andrei Tarkovsky

a-bittersweet-life:

The meaning of cinema and its colossal popularity is based on the fact that the viewer approaches it in search of his own un-accumulated experience, so to speak. I am not speaking of inexperience in life, but of the fact that our age offers one such a large amount of information and people are so busy that they do not have time sometimes even to find out what is surrounding them on a day-to-day basis. Cinema’s task is to substitute for this lacking experience. It stands before the very serious and profound task of speaking truthfully and sincerely, never deceiving the viewer.

Andrei Tarkovsky

cinephiliabeyond:

Sven Nykvist liked a photograph taken by Tarkovsky, with the sun’s reflection in the camera.

Sven Nykvist expressed this view of Tarkovsky’s method: “The Russian director has scenes that run seven, eight or nine minutes, as a rule; and it is not just the camera that moves — within the shot itself there is constant movement. Usually we film the establishing shot and then a large number of close-ups are cut into it. With Tarkovsky everything is much more complex. He devotes a great deal of time to the mise-en-scène and the overall atmosphere within the frame, and this is much more interesting, both from a technical and from an artistic standpoint, but it takes a lot of time. The main thing is to be tuned to his wavelength.” —Andrei Tarkovsky: A Photographic Chronicle of the Making of The Sacrifice

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