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Miró's women, birds and stars. Miró instills life into his characters in his drawings.
Femme, oiseau, étoile July 28, 1942
Femme et oiseaux devant le soleil August 4, 1942
Femme devant le soleil, August 5, 1942
Femmes et oiseaux devant le soleil August 8, 1942
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The most beautiful thing about this scene in SENTIMENTAL VALUE (2025) is how Agnes reminds Nora that she was never alone growing up. The embrace, the tears, the way she gently strokes her sister’s hair. It’s such a tender portrayal of sisterhood.
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Norman Lloyd was born November 8 in 1914.
He was an American actor, producer and director with a career spanning nearly a century.
Filmography with Hitchcock:
▪︎ Saboteur (1942) - cast: Frank Fry.
▪︎ Spellbound (1945) - cast: Mr. Garmes
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Ashley Judd’s silent warning to Val Kilmer in HEAT (1995) is beautiful. One tiny hand gesture tells Chris the police are onto him. No dialogue, just an entire relationship playing out in a few seconds. Brilliant.
Buenas noches
Olivier Penin joue Johann Sebastian Bach 'Erbarm' dich mein, O Herre Gott' BWV 721 youtu.be/piUPdcat_cc?si=KxoM…
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All the main characters are seen in a reflection at some point except for Norman Bates, the one man who cannot see who he really is.
#Hitchcock
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Cuando anunciaron que Daniel Craig sería el nuevo James Bond, internet se volvió en su contra.
Era 2005.
El rubio, el físico compacto, la ausencia del aire clásico de Sean Connery o Pierce Brosnan causaron rechazo inmediato. Lo bautizaron “James Bland”. Surgió un movimiento online llamado *Craig Not Bond*. Firmas, foros, burlas. Para muchos, Craig simplemente no encajaba.
Craig no respondió con declaraciones grandilocuentes. Se limitó a trabajar. Llegó a Casino Royale (2006) con una interpretación más áspera, más física, más vulnerable.
El Bond de Craig dejaba de ser un ícono impecable y se convertía en un hombre que sangraba, dudaba y envejecía.
La apuesta de Eon era clara: menos seducción de escaparate, más desgaste real.
La franquicia cambió con él.
Quantum of Solace (2008), Skyfall (2012), Spectre (2015) y No Time to Die (2021) construyeron un arco más largo y personal de lo que la serie había intentado en décadas.
Craig sostuvo al personaje durante quince años, atravesando el escepticismo inicial hasta convertir su versión en una de las más influyentes del catálogo de 007.
El final llegó en el rodaje de No Time to Die.
En el discurso de despedida frente al equipo, Craig no pudo contenerse. Con la voz quebrada dijo:
“Mucha de la gente aquí presente ha trabajado conmigo en cinco películas. Sé que se han dicho muchas cosas sobre lo que pienso de estas producciones... pero he amado cada segundo de estas películas, y especialmente de esta, porque me he levantado cada mañana y he tenido la oportunidad de trabajar con ustedes. Y ese ha sido uno de los mayores honores de mi vida”.
El actor que había sido rechazado por no parecerse a Bond terminó despidiéndose del personaje entre lágrimas, rodeado de la gente con la que lo había reconstruido.
El rechazo fue ruidoso.
El compromiso, silencioso y largo.
Y al final, más elocuente que cualquier campaña en su contra, consciente de que su paso por la franquicia cambió a 007 para siempre.
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'Two Lily Bulbs.' (1952) Eliot Hodgkin was a meticulous painter of still life and as good at detail as the 18thC German botanist and artist Georg Ehret or Pierre-Joseph Redouté; it has botanical accuracy, aesthetic appeal and is painted with great affection for his subject.
The beginning of Torah portion Toledot (תּוֹלְדֹת) is marked by this design in red and gold. #ParashahPictures
Bodleian Library, MS Kennicott 1; 'The Kennicott Bible'; 1476 CE; La Coruña, Spain; f.20r @bodleianlibs
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While filming The Curse (2023), Nathan Fielder and Emma Stone avoided CGI for their "reverse gravity" scene by using mirrored sets, wire rigs, and an 80-foot crane, enduring strict 90-second harness limits under stunt coordinator Timothy Eulich.
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Rex Harrison and Audrey Hepburn photographed on the set of “My Fair Lady” (1964). Andre Previn, the film’s musical director, commented, “Rex Harrison didn’t give a damn about Audrey, the way he hadn’t given a damn about Julie Andrews. He thought no one cared about the girl, and that they were only interested in him. I don’t say this lightly, but Harrison was by far the most awful human being I have ever worked with.”
ヌーヴェルヴァーグを支えた名撮影監督ラウール・クタール(1924-2016)は今日11月8日で没後10年。
「映画撮影は教えることができるし、誰でも技術を学ぶことはできる。
しかし、キャメラの特別なタッチは、自分自身の内面から来るものでなければならない」
自身が撮影した『勝手にしやがれ』('60ゴダール)や『突然炎のごとく』(62トリュフォー)等について語るクタール⇩
A Tribute to Raoul Coutard
youtube.com/watch?v=xGstCP5m…
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Alain Delon in Le Cercle rouge (1970) Jean-Pierre Melville
Alain Delon’s screen presence was never simply a matter of beauty. As Samuel Blumenfeld observes in Le Monde, Delon had an extraordinary ability to transform a space through his posture, his gaze, and the smallest movement. He could give “every gesture the aura of mystery.” In Le Cercle rouge, even opening a door suggests the precision of a man breaking into a safe.
Melville, meticulous and obsessive about control, found in Delon an actor who needed neither dialogue nor elaborate direction. As Delon himself recalled, “I didn’t know how to move otherwise anyway.” As Corey, Delon turns this instinctive physical assurance into a character defined by restraint: a man whose gestures reveal his discipline, his solitude, and an unspoken code of honor.
— Based on Samuel Blumenfeld, Le Monde, August 2024.
#botd #AlainDelon #LeCircleRouge
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Before Tancredi, there was Rocco. Visconti took Delon's saintly, tragic innocence and set it against the brutal reality of post-war Milan. Operatic heartbreak. A beautiful soul crushed by a family feud. (Rocco and His Brothers, 1960)
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Meryl Streep & Clint Eastwood are quietly devastating in THE BRIDGES OF MADISON COUNTY (1995). That rain-soaked scene, Francesca’s hand on the door handle, Robert waiting, and the unbearable choice between the love she wants and the life she already has.
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Universal didn’t want Sally Field in Smokey and the Bandit because they didn’t think she was “sexy” enough... the idiots
Burt Reynolds and Field winged it; they just jumped in the Trans Am and tried to make each other laugh. What we get is two people falling in love in real time.
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The Insider (1999) is one of Michael Mann's finest films. Almost three hours of conversations, phone calls and difficult decisions, yet the tension never lets up. It takes real confidence to make a story like this so gripping.
Initial 'E'(xpeditis his que ad predicamenta Aristotilis)
St. Gallen, Stiftsbibliothek, Cod. Sang. 817; Aristotle's Categoriae and De interpretatione, and Boethius' Commentaries on them; 11th century; St. Gall (only parts); p.44
(e-codices.ch/en/list/one/csg…)































