BlackBook
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BlackBook
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design-is-fine:

Ettore Sottsass + Shuji Hisada, ESPRIT Flagship store Köln 1986. Sottsass Associati, photo by Aldo Ballo
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Woman Seven Times
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I was really fucking terrified before starting this. I had just come off of Mad Men, literally drove to Ojai to do this the next day. I started the movie the day after that and I was pretty convinced I was going to be a massive disappointment to everybody involved. I had no idea what I was doing, and I found this role and the other things involved in it unbelievably challenging, and I was terrified to do it. The minute anyone said I had a good idea, I was like, thank you they’re not going to fire me, they don’t think I’m stupid!
Elisabeth Moss and Mark Duplass on Collaborating For Their New Film ‘The One I Love’
I was really fucking terrified before starting this. I had just come off of Mad Men, literally drove to Ojai to do this the next day. I started the movie the day after that and I was pretty convinced I was going to be a massive disappointment to everybody involved. I had no idea what I was doing, and I found this role and the other things involved in it unbelievably challenging, and I was terrified to do it. The minute anyone said I had a good idea, I was like, thank you they’re not going to fire me, they don’t think I’m stupid!
Elisabeth Moss and Mark Duplass on Collaborating For Their New Film ‘The One I Love’
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johncassavetes:

Hats in John Cassavetes’ films
johncassavetes:

Hats in John Cassavetes’ films
johncassavetes:

Hats in John Cassavetes’ films
johncassavetes:

Hats in John Cassavetes’ films
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bluesigloo:

Hester Street (Joan Micklin Silver, 1975)
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When master of erotic art cinema Radley Metzger takes the stage, you know you’re in for a treat. At the perfect age of eighty-five, the iconic filmmaker is every bit as charming, intelligent, gracious, charismatic, and wonderfully witty as ever, regaling us with tales of the ins and outs of his historic and tremendous career. It’s been thirty years since the release of his last film, The Princess and the Call Girl, but thanks to the Film Society of Lincoln Center and their This is Hardcore series, audiences were able to get a taste of his stunning and progressive mid-career films, from the swinging sensation of Score to the deliciously strange The Lickerish Quartet.

Not only a filmmaker, but an editor and distributor as well, Metzger began his career as an editor at Janus Films, cutting trailers for the likes of Michelangelo Antonioni and Ingmar Bergman, after releasing his acclaimed but unsuccessful passion project Dark Odyssey and starting his own distribution company Audubon Films (named after the legendary Audubon Theater in Washington Heights). Debuting in the 1960s and ’70s, his films were lauded for their candidly sexual nature, garnering attention with an X-rating, but for Metzger, it’s always been the “in-betweens” that have mattered most. From his literary adaptions such as Therese and Isabelle, the black-and-white youthful lesbian love story with visuals akin to that of Alain Resnais, to his Henry Paris hardcore films like the hilarious and creamy dreams of The Opening of Misty Beethoven, his work is always as expertly crafted as it is erotic. 

Having made films internationally for most of his career, Metzger’s devout professionalism and passion for storytelling and detail allowed him to call upon some of the most sought after set designers, composers, and directors of photography from around the world, resulting in work that is as modern and progressive in its sex positive attitude as it is aesthetically impeccable in its lavish grandeur. So before a screening of his twisted and tantalizing take on S&M, The Image, I sat down with Metzger at Lincoln Center to discuss his early days of innovative cutting, the “great pussy drought” of the 1950s, and getting in at the apex of porno chic.
Porn Before It Was Chic: An Interview With Radley Metzger on Sex and Cinema
When master of erotic art cinema Radley Metzger takes the stage, you know you’re in for a treat. At the perfect age of eighty-five, the iconic filmmaker is every bit as charming, intelligent, gracious, charismatic, and wonderfully witty as ever, regaling us with tales of the ins and outs of his historic and tremendous career. It’s been thirty years since the release of his last film, The Princess and the Call Girl, but thanks to the Film Society of Lincoln Center and their This is Hardcore series, audiences were able to get a taste of his stunning and progressive mid-career films, from the swinging sensation of Score to the deliciously strange The Lickerish Quartet.

Not only a filmmaker, but an editor and distributor as well, Metzger began his career as an editor at Janus Films, cutting trailers for the likes of Michelangelo Antonioni and Ingmar Bergman, after releasing his acclaimed but unsuccessful passion project Dark Odyssey and starting his own distribution company Audubon Films (named after the legendary Audubon Theater in Washington Heights). Debuting in the 1960s and ’70s, his films were lauded for their candidly sexual nature, garnering attention with an X-rating, but for Metzger, it’s always been the “in-betweens” that have mattered most. From his literary adaptions such as Therese and Isabelle, the black-and-white youthful lesbian love story with visuals akin to that of Alain Resnais, to his Henry Paris hardcore films like the hilarious and creamy dreams of The Opening of Misty Beethoven, his work is always as expertly crafted as it is erotic. 

Having made films internationally for most of his career, Metzger’s devout professionalism and passion for storytelling and detail allowed him to call upon some of the most sought after set designers, composers, and directors of photography from around the world, resulting in work that is as modern and progressive in its sex positive attitude as it is aesthetically impeccable in its lavish grandeur. So before a screening of his twisted and tantalizing take on S&M, The Image, I sat down with Metzger at Lincoln Center to discuss his early days of innovative cutting, the “great pussy drought” of the 1950s, and getting in at the apex of porno chic.
Porn Before It Was Chic: An Interview With Radley Metzger on Sex and Cinema
When master of erotic art cinema Radley Metzger takes the stage, you know you’re in for a treat. At the perfect age of eighty-five, the iconic filmmaker is every bit as charming, intelligent, gracious, charismatic, and wonderfully witty as ever, regaling us with tales of the ins and outs of his historic and tremendous career. It’s been thirty years since the release of his last film, The Princess and the Call Girl, but thanks to the Film Society of Lincoln Center and their This is Hardcore series, audiences were able to get a taste of his stunning and progressive mid-career films, from the swinging sensation of Score to the deliciously strange The Lickerish Quartet.

Not only a filmmaker, but an editor and distributor as well, Metzger began his career as an editor at Janus Films, cutting trailers for the likes of Michelangelo Antonioni and Ingmar Bergman, after releasing his acclaimed but unsuccessful passion project Dark Odyssey and starting his own distribution company Audubon Films (named after the legendary Audubon Theater in Washington Heights). Debuting in the 1960s and ’70s, his films were lauded for their candidly sexual nature, garnering attention with an X-rating, but for Metzger, it’s always been the “in-betweens” that have mattered most. From his literary adaptions such as Therese and Isabelle, the black-and-white youthful lesbian love story with visuals akin to that of Alain Resnais, to his Henry Paris hardcore films like the hilarious and creamy dreams of The Opening of Misty Beethoven, his work is always as expertly crafted as it is erotic. 

Having made films internationally for most of his career, Metzger’s devout professionalism and passion for storytelling and detail allowed him to call upon some of the most sought after set designers, composers, and directors of photography from around the world, resulting in work that is as modern and progressive in its sex positive attitude as it is aesthetically impeccable in its lavish grandeur. So before a screening of his twisted and tantalizing take on S&M, The Image, I sat down with Metzger at Lincoln Center to discuss his early days of innovative cutting, the “great pussy drought” of the 1950s, and getting in at the apex of porno chic.
Porn Before It Was Chic: An Interview With Radley Metzger on Sex and Cinema
When master of erotic art cinema Radley Metzger takes the stage, you know you’re in for a treat. At the perfect age of eighty-five, the iconic filmmaker is every bit as charming, intelligent, gracious, charismatic, and wonderfully witty as ever, regaling us with tales of the ins and outs of his historic and tremendous career. It’s been thirty years since the release of his last film, The Princess and the Call Girl, but thanks to the Film Society of Lincoln Center and their This is Hardcore series, audiences were able to get a taste of his stunning and progressive mid-career films, from the swinging sensation of Score to the deliciously strange The Lickerish Quartet.

Not only a filmmaker, but an editor and distributor as well, Metzger began his career as an editor at Janus Films, cutting trailers for the likes of Michelangelo Antonioni and Ingmar Bergman, after releasing his acclaimed but unsuccessful passion project Dark Odyssey and starting his own distribution company Audubon Films (named after the legendary Audubon Theater in Washington Heights). Debuting in the 1960s and ’70s, his films were lauded for their candidly sexual nature, garnering attention with an X-rating, but for Metzger, it’s always been the “in-betweens” that have mattered most. From his literary adaptions such as Therese and Isabelle, the black-and-white youthful lesbian love story with visuals akin to that of Alain Resnais, to his Henry Paris hardcore films like the hilarious and creamy dreams of The Opening of Misty Beethoven, his work is always as expertly crafted as it is erotic. 

Having made films internationally for most of his career, Metzger’s devout professionalism and passion for storytelling and detail allowed him to call upon some of the most sought after set designers, composers, and directors of photography from around the world, resulting in work that is as modern and progressive in its sex positive attitude as it is aesthetically impeccable in its lavish grandeur. So before a screening of his twisted and tantalizing take on S&M, The Image, I sat down with Metzger at Lincoln Center to discuss his early days of innovative cutting, the “great pussy drought” of the 1950s, and getting in at the apex of porno chic.
Porn Before It Was Chic: An Interview With Radley Metzger on Sex and Cinema
When master of erotic art cinema Radley Metzger takes the stage, you know you’re in for a treat. At the perfect age of eighty-five, the iconic filmmaker is every bit as charming, intelligent, gracious, charismatic, and wonderfully witty as ever, regaling us with tales of the ins and outs of his historic and tremendous career. It’s been thirty years since the release of his last film, The Princess and the Call Girl, but thanks to the Film Society of Lincoln Center and their This is Hardcore series, audiences were able to get a taste of his stunning and progressive mid-career films, from the swinging sensation of Score to the deliciously strange The Lickerish Quartet.

Not only a filmmaker, but an editor and distributor as well, Metzger began his career as an editor at Janus Films, cutting trailers for the likes of Michelangelo Antonioni and Ingmar Bergman, after releasing his acclaimed but unsuccessful passion project Dark Odyssey and starting his own distribution company Audubon Films (named after the legendary Audubon Theater in Washington Heights). Debuting in the 1960s and ’70s, his films were lauded for their candidly sexual nature, garnering attention with an X-rating, but for Metzger, it’s always been the “in-betweens” that have mattered most. From his literary adaptions such as Therese and Isabelle, the black-and-white youthful lesbian love story with visuals akin to that of Alain Resnais, to his Henry Paris hardcore films like the hilarious and creamy dreams of The Opening of Misty Beethoven, his work is always as expertly crafted as it is erotic. 

Having made films internationally for most of his career, Metzger’s devout professionalism and passion for storytelling and detail allowed him to call upon some of the most sought after set designers, composers, and directors of photography from around the world, resulting in work that is as modern and progressive in its sex positive attitude as it is aesthetically impeccable in its lavish grandeur. So before a screening of his twisted and tantalizing take on S&M, The Image, I sat down with Metzger at Lincoln Center to discuss his early days of innovative cutting, the “great pussy drought” of the 1950s, and getting in at the apex of porno chic.
Porn Before It Was Chic: An Interview With Radley Metzger on Sex and Cinema
When master of erotic art cinema Radley Metzger takes the stage, you know you’re in for a treat. At the perfect age of eighty-five, the iconic filmmaker is every bit as charming, intelligent, gracious, charismatic, and wonderfully witty as ever, regaling us with tales of the ins and outs of his historic and tremendous career. It’s been thirty years since the release of his last film, The Princess and the Call Girl, but thanks to the Film Society of Lincoln Center and their This is Hardcore series, audiences were able to get a taste of his stunning and progressive mid-career films, from the swinging sensation of Score to the deliciously strange The Lickerish Quartet.

Not only a filmmaker, but an editor and distributor as well, Metzger began his career as an editor at Janus Films, cutting trailers for the likes of Michelangelo Antonioni and Ingmar Bergman, after releasing his acclaimed but unsuccessful passion project Dark Odyssey and starting his own distribution company Audubon Films (named after the legendary Audubon Theater in Washington Heights). Debuting in the 1960s and ’70s, his films were lauded for their candidly sexual nature, garnering attention with an X-rating, but for Metzger, it’s always been the “in-betweens” that have mattered most. From his literary adaptions such as Therese and Isabelle, the black-and-white youthful lesbian love story with visuals akin to that of Alain Resnais, to his Henry Paris hardcore films like the hilarious and creamy dreams of The Opening of Misty Beethoven, his work is always as expertly crafted as it is erotic. 

Having made films internationally for most of his career, Metzger’s devout professionalism and passion for storytelling and detail allowed him to call upon some of the most sought after set designers, composers, and directors of photography from around the world, resulting in work that is as modern and progressive in its sex positive attitude as it is aesthetically impeccable in its lavish grandeur. So before a screening of his twisted and tantalizing take on S&M, The Image, I sat down with Metzger at Lincoln Center to discuss his early days of innovative cutting, the “great pussy drought” of the 1950s, and getting in at the apex of porno chic.
Porn Before It Was Chic: An Interview With Radley Metzger on Sex and Cinema
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I love to compare Philippe to a painter. He tries to extract small things in existence, the simple details. He loves to paint simple beauty, the existence in a simple beauty.
LOUIS GARREL
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gallowhill:

David Hockney - Three Chairs With a Section of a Picasso Mural, 1970
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"I’ve been doing some research. In real life there is no algebra."
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I found an expression to explain what it is, because I love to compare Philippe to a painter. He tries to extract small things in existence, the simple details. He loves to paint simple beauty, the existence in a simple beauty. But then it requires a lot of concentration and precision, and sometimes can be a little bit frustrating because of the artificiality of cinema. Philippe does not like that—not because he’s not funny, but because his kind of cinema is very pure and the way he tells the story is very simple. It’s interesting, because at the same time, he asks all of his actors to put themselves in the movie, so the experience of making a movie with Philippe is very intimate. He talks a lot about Sigmund Freud, he talks a lot about himself, about his private life and the way he interacts and communicates with women.  
I talked to Louis Garrel about his wonderful new film JEALOUSY