The important thing is, I'm meeting new people

soniasaraiya:

 

open-ended-insanity:

This is what people see as they commute to work in Philly. 

Hollaback Philly is absolutely doing it right. 

want these in nyc

descepter:

Ever wonder what happens if you cry in space?

(via notational)

itscolossal:

Suspended Horses Made of Wool Thread Dipped in Tar and Latex by Sandrine Pelletier.

I could not stop laughing as I watched Nelson Carvajal’s “Al Pacino: Full Roar”—not just because it’s the most entertaining collection of over-the-top moments since Harry Hanrahan’s “Nicolas Cage Losing His Shit,” but because Pacino is and always has been a theatrical actor, delightfully so—a performer who manages to be big even when he’s trying to be small. There’s an overabundance of every emotion in every moment Pacino inhabits and in every move he makes. He sings the body electric; sometimes he screams it. He’s a stripped electrical wire zapping lightning bolts into the air like those transformers in the old Universal horror films. Even when his characters are hiding or repressing things, they seem on the verge of imploding or exploding, transforming or mutating. When, in The Devil’s Advocate, Pacino’s Satan launches into his “absentee landlord” monologue and his face is momentarily lit up by pulses of volcanic red, it takes a moment to register it as a lighting effect, so naturally does it seem to express the lethal petulance streaming from the character’s eyes, mouth, and jabbing fingers. 

We live for these sorts of moments. Pacino can be wonderful when working small—see the first two Godfather films, the quiet parts of Serpico and Dog Day Afternoon, his under-seen and perhaps forgotten Bobby Deerfield, and the more Willy Loman-like interludes in Donnie Brasco, in which Pacino is more likely to flinch from pain than dish it out. But introversion and reflection didn’t make him a star; explosiveness did, and whether he arrives at it via “slow burn” buildup, as in the Godfather films, or launches into it full-throttle from frame one and never takes his foot off the gas (Heat, baby), it’s invariably as thrilling as the sight of Jack Nicholson tearing somebody a new one, or Sean Penn contorting his face into a wet-eyed ball of anguish, or Nic Cage being Nic Cage. You listen to the whisper while waiting for THE SCREAM, OH YEAH! THAT’S RIGHT! ATTICA! ATTICA! I’D TAKE A FLAMETHROWER TO THIS PLACE! THEY PULL ME BACK IN! CUZ SHE’S GOT A GREEEAAAAAT ASS! —Matt Zoller Seitz

(via cinephilearchive)

ashleyeleigh:

jokkes:

Spiderman crashes Xmen set.

He doesn’t even go here!

cinephilearchive:

Meet Marlon Brando: A rare documentary, circa 1965. This is a real gem!

In 1965 (after a string of box office flops) Marlon Brando opted to play ball for the studio — doing a rare press tour in support of Morituri. The documentary filmmakers — Albert and David Maysles — were on hand to record the encounters in a delightful and unusually candid portrait of the world-famous movie star during this fascinating tongue-in-cheek confrontation with the press. While television journalists interview him about his most recent film — Brando counters their futile questions with wit and insight — a man unwilling to sell himself. Always smiling and never modest — a very cheeky Marlon Brando shines in one of his most beguiling performances… Brilliant!

Terrific documentary covering Marlon Brando’s 1965 press junket for the film Morituri, which has the actor sitting in a hotel lobby and answering questions from various reporters. In my opinion Brando was the greatest actor to ever grace the movie screen and he was also one of the most fascinating people to listen to. He has several interviewers asking him questions ranging from various subjects including his films, Civil Rights, the American Indian and other social issues and it’s great to see how he tackles these various subjects. Needless to say, he’s really not interested in talking about his movies or what a great actor he is. He certainly doesn’t do his film any justice as he either doesn’t want to talk about it or throws mild insults at it. The real charm is seeing how Brando talks to the reporter depending on whether they’re female or male. With the male reporters he doesn’t really take them too serious and blows off the majority of their questions. With the females, he turns on that classic charm and spends most of the interview flirting with them. This makes for some great laughs and it’s easy to see why the women would fall to their feet for him. The film runs 25-minutes and there’s not a boring moment anywhere in it and it’s a shame there couldn’t have been more to see.

chels:

awesomepeoplereading:

Keaton tries to read, falls victim to newspaper.

I feel ya, Buster.