lauramaher25:

The X Files: B-Roll from Signs and Wonders

(via snogger-davidandgillian)

cokirk:

ONE EDIT PER EPISODE

25: This Side of Paradise

(via bbqandbutterflies)


Chris Pine appears in one of the first pictures of Into The Woods.

Chris Pine appears in one of the first pictures of Into The Woods.

(Source: dailychrispine, via cynics-and-romantics)

stree:

Movie Trailer Monday -

The Remains of the Day (1993)

slak:

from James Ivory’s Remains of the day, 

slak:

from James Ivory’s Remains of the day, 

thefrakkintrinity15:

Emma Thompson & Anthony Hopkins in The Remains of The Day (1993) 2.0

Emma Thompson & Anthony Hopkins in The Remains of the Day (1993)

(Source: gatissed)

"But that doesn’t mean to say, of course, there aren’t occasions now and then- extremely desolate occasions—when you think to yourself: ‘What a terrible mistake I’ve made with my life.’"

The Remains of the Day by Kazuo Ishiguro (via hermionejg)


"I do not think I responded immediately, for it took me a moment or two to fully digest these words of Miss Kenton. Moreover, as you might appreciate, their implications were such as to provoke a certain degree of sorrow within me. Indeed- why should I not admit it? - at that moment, my heart was breaking."
-Kazuo Ishiguro, The Remains of The Day

"I do not think I responded immediately, for it took me a moment or two to fully digest these words of Miss Kenton. Moreover, as you might appreciate, their implications were such as to provoke a certain degree of sorrow within me. Indeed- why should I not admit it? - at that moment, my heart was breaking."

-Kazuo Ishiguro, The Remains of The Day

(Source: charlesdances)

operaqueen:

Angela Lansbury and Bea Arthur, rehearsing for the original Broadway production of Mame. 1966.

operaqueen:

Angela Lansbury and Bea Arthur, rehearsing for the original Broadway production of Mame. 1966.

(via missschlegel)

missschlegel:

IVORY: We want to know about the book scene. 

THOMPSON: Okay, well, here’s what I remember. We had difficulty at first- I don’t think we had the curtains closed like that at first, I think the room was less… dark. And I couldn’t quite get my way into it.
And Tony and I had a chat about it and he said, ‘think of those afternoons when there’s, sort of, nothing happening and the air’s very still and heavy. And there’s maybe a fly buzzing in the window pane somewhere, but there’s nothing going on and nothing to be done and nothing needing to be done. And into that… stillness… comes this moment. Because I came in with too much intention and it just happened. 

And when she tries to take the book away and Tony’s staring, and if you notice, he’s looking at my mouth. And it’s very… it’s almost unbearable and at the end of each take, I was very close to fainting. Because I just stopped breathing. It was just- look. It’s so close , it’s almost unbearable. I was breathless at the end of each take, just completely breathless.

And then he did that thing of taking his hand, and putting it very… it’s just resting in the air, you can’t quite see it behind my head but I could feel it. As though he was just about to touch her hair. And it was- he just can’t manage to do it.

IVORY: And the audience thinks that’s what he’s going to do.

THOMPSON: Yeah. Absolutely, and that’s what I mean about the relationship- in most films, this is the moment where he’s got her clothes off and is shagging her up against the fucking cabinet, and there’s nothing left to the imagination at all…

From the Remains of the Day commentary with Ismail Merchant, James Ivory and Emma Thompson

missschlegel:

IVORY: We want to know about the book scene.

THOMPSON: Okay, well, here’s what I remember. We had difficulty at first- I don’t think we had the curtains closed like that at first, I think the room was less… dark. And I couldn’t quite get my way into it.
And Tony and I had a chat about it and he said, ‘think of those afternoons when there’s, sort of, nothing happening and the air’s very still and heavy. And there’s maybe a fly buzzing in the window pane somewhere, but there’s nothing going on and nothing to be done and nothing needing to be done. And into that… stillness… comes this moment. Because I came in with too much intention and it just happened.

And when she tries to take the book away and Tony’s staring, and if you notice, he’s looking at my mouth. And it’s very… it’s almost unbearable and at the end of each take, I was very close to fainting. Because I just stopped breathing. It was just- look. It’s so close , it’s almost unbearable. I was breathless at the end of each take, just completely breathless.

And then he did that thing of taking his hand, and putting it very… it’s just resting in the air, you can’t quite see it behind my head but I could feel it. As though he was just about to touch her hair. And it was- he just can’t manage to do it.

IVORY: And the audience thinks that’s what he’s going to do.

THOMPSON: Yeah. Absolutely, and that’s what I mean about the relationship- in most films, this is the moment where he’s got her clothes off and is shagging her up against the fucking cabinet, and there’s nothing left to the imagination at all…

From the Remains of the Day commentary with Ismail Merchant, James Ivory and Emma Thompson