I Like You To Be Exactly The Way That You Are, Because In All My Experience, I Have Never Known Anyone

Shoji Ueda  /Japanese, 1913 -2000

Untitled,  from ‘Seasons of the Children’, 1972

Gelatin silver print

© LotSearch

Daido Moriyama: Shinjuku, Limited Edition (Second Printing) [SIGNED]

© Vincent Borrelli, Bookseller.

The Virgin Suicides (1999) | dir. Sofia Coppola | USA

Cinematography by Edward Lachman

In my opinion, there are two things that can absolutely not be carried to the screen: the realistic presentation of the sexual act and praying to God.

Orson Welles (via somenotesonfilm)

“Mean Streets” isn’t so much a gangster movie as a perceptive, sympathetic, finally tragic story about how it is to grow up in a gangster environment. Its characters have grown up in New York’s Little Italy, and they understand everything about that small slice of human society except how to survive in it. Scorsese places these characters in a perfectly realized world of boredom and small joys, sudden assaults, the possibility of death, and the certainty of mediocrity. He shot some exteriors in Little Italy, where he was born and where he seems to know every nuance of architecture and personality (though most of the movie was shot in Los Angeles), and his story emerges from the daily lives of the characters. They hang out. They go to the movies. They eat, they drink, they get in sudden fights that end as quickly as a summer storm. Scorsese photographs them with fiercely driven visual style. We never have the sense of a scene being set up and then played out; his characters hurry to their dooms while the camera tries to keep pace. There’s an improvisational feel even in scenes that we know, because of their structure, couldn’t have been improvised. The movie’s scenes of violence are especially effective because of the way Scorsese stages them. We don’t get spectacular effects and skillfully choreographed struggles. Instead, there’s something realistically clumsy about the fights in this movie. A scene in a pool hall, in particular, is just right in the way it shows its characters fighting and yet mindful of their suits (possibly the only suits they have). The whole movie feels like life in New York; there are scenes in a sleazy nightclub, on fire escapes, and in bars, and they all feel as if Scorsese has been there.

Roger Ebert

Félix Vallotton (Swiss 1865-1925) Sunset à Grâce (1912) oil on canvas

Only God Forgives (2013) | dir. Nicolas Winding Refn

Cinematography by Larry Smith

Harakiri / Seppuku (1962) | dir. Masaki Kobayashi

Cinematography by Yoshio Miyajima

The Virgin Suicides (1999) | dir. Sofia Coppola | USA

Cinematography by Edward Lachman

Withnail & I (1987) 

"I have of late, but wherefore I know not, lost all my mirth. And indeed it goes so heavily with my disposition that this goodly frame, the earth, seems to me a sterile promontory. This most excellent canopy, the air, look you, this brave o'erhanging firmament, this majestical roof fretted with golden fire, why, it appeareth nothing to me but a foul and pestilent congregation of vapours. What a piece of work is a man! How noble in reason! How infinite in faculties! How like an angel in apprehension. How like a God! The beauty of the world! The paragon of animals! And yet, to me, what is this quintessence of dust? Man delights not me, no, nor woman neither. Nor woman neither."